Using narrative techniques creatively and perceptively to engage an audience
How do characters (and authors) use narrative techniques to tell a story?
Samantha Churcher 1 Z3033723 ENGLISH STAGE 5 UNIT OVERVIEW YEAR: 9/10 FOCUS/TOPIC: Narrative Style and Writing
Concept: Using narrative techniques creatively and perceptively to engage an audience.
Key Question: How do characters (and authors) use narrative techniques to tell a story?
Key Learning Ideas:
• How literary techniques shape narrative texts • Using varying narrative texts with different narration modes to recognise and analyse narrative techniques • To develop their own writing by utilising creative narrative modes, voices, & techniques to create original and imaginative texts
Main Text/s to be Explored in Unit:
‘The Graveyard Book’ by Neil Gaiman ‘Thirteen Reasons Why’ by Jay Asher
Outcomes: Cross curricular content: Assessment Task/s: Literacy: punctuation, figurative devices, Outcome 1: A student responds to and imagery, spelling and vocabulary One substantial piece of creative writing composes increasingly sophisticated and ICT (1000 words), focusing on narration, and sustained texts for understanding, interpretation, Aboriginal & Indigenous ‘showing not telling’. critical analysis and pleasure. Difference and diversity Short story, worth 20% Outcome 5: A student transfers understanding Outcomes: 1, 5, & 6 of language concepts into new and different AND which language modes are being contexts. specifically addressed: Outcome 6: A student experiments with Reading, speaking, listening, writing, different ways of imaginatively and representing, speaking, applying knowledge interpretively transforming experience, information and ideas into texts.
Samantha Churcher 2 Z3033723
Rationale
This unit teaches students to engage with different narration styles within texts, and to compose texts with differing narration styles. By the end of this unit, students will have learnt to express themselves in clear and creative ways. English is mandatory to learning as it nurtures skills in confident communication, critical and imaginative thinking, and academic and creative writing. This unit covers important models of teaching such as: personal growth, particularly in students writing skills; Literacy, this is covered widely in this unit as it deals with narrative features and language features; and to an extent Cultural Studies, students look at two British texts, two American texts and an Indigenous text.
Narrative structure and features can be particularly important in stage 5 if being looked at prior to NAPLAN in year 9, as narrative writing is included in this testing module. Narrative studies are highlighted in the NSW Syllabus, specifically in outcome 1.9 – the ways sustained texts use elements such as evidence, argument, narrative, dialogue and climax – this ties into students learning skills and knowledge that contributes to their reading, writing and speaking skills.
The Graveyard Book, while not focusing on diversity, subtly insinuates that regardless of race (which is barely mentioned in the book) or gender, even life status, everyone can co-exist happily together, this works well in a multicultural classroom, as no one is singled out or made to feel uncomfortable. Bod and the other characters in the book are by no means gender stereotypes, and there is no sexism present in the novel – while Mrs Owens ghost seems to be a typical mother figure, Scarlett’s mother is a university professor. The character of Bod is interesting and non- conventional, making him appealing to most members of a teenage audience.
The supplementary text, Thirteen Reasons Why, focuses on common issues within the teenage world, such as bullying, image and suicide. While suicide is a sensitive subject, the unit focuses on the narrative styles, and how the story is being told, not entirely on what is being told –however, the content is contemporarily relevant and the story is engaging and easy for students to read.
Other texts being looked at in this unit include excerpts from Harry Potter and the Philosopher’s Stone, The Hunger Games and The Rainbow Serpent. The first two texts are popular, and engage students easily, while the third is a popular dreamtime story, which includes Indigenous students, and opens non-indigenous students in the indigenous culture and history.
This unit’s writing exercises are predominately creative, and allow students to write at a level with which they are comfortable, about content they are familiar with. The teacher should be familiar with each students learning needs, and will know what level of language to expect from each student. In order to access each students’ abilities, they perform creative writing exercises at the beginning of the unit, and continually throughout, allowing the teacher to clearly see where each student lies in their ability. Vocabulary exercises are inferred to have been undertaken earlier in the unit, to assist with ESL and Life Skill students understanding of the texts.
Samantha Churcher 3 Z3033723
This unit contains individual and group work, allowing kids to engage in personal growth as well as collaboration, giving them a chance to learn not only from their teacher, but also from their peers. This kind of learning can be crucial, particularly for ESL and Life Skill students, who may struggle to understand something that a teacher might explain, however understand something when explained more simply by a classmate. The activities and the texts are of varying levels, yet still engage the majority of students. The unit uses a lot of graphic organisers, these are a good tool for simplifying and laying out ideas and concepts that might otherwise be too complex for some students, and allow students to immediately relate these constructs to texts.
The unit is based predominately around writing. Writing is essential in all learning, and promotes: deep learning, complex thought, focus, translating thought into language, exploration of students personality and their world, and pleasure in the manipulation of language. Writing is flexible, and mouldable to a students’ abilities. This allows fair and more precise marking and monitoring of students and their progression, as students are able to start expressing themselves more individually and in such a way that marks their work as their own.
Quality teaching has been considered in the writing of this unit, it promotes high levels of intellectual quality, a high quality learning environment that supports and nurtures each student, and aims to show students the significance of their work. With high levels of intellectual quality in the classroom, all students have the chance to be individually assessed based on individual performance and not against a generic benchmark, with creative writing behind the main focus students are creating personal texts based on a range of achievable outcomes. A high quality learning environment is being nurtured, with activities being included that promote mixed ability, group work, visual learning, auditory learning and kinetic learning; students are continually monitored as they produce writing on the skills being learnt as they learn them. The students’ work is predominately personal, allowing them to, at time, relate to the world around them, outside of the classroom, perhaps personally or culturally; this allows students to attach significance to the work they are completing1.
Overall the unit is engaging, inclusive, exciting and promotes an in-depth study of the set text, The Graveyard Book, to encourage a deep understanding of language and narrative features, that can be utilised in their own writing in this unit, in this subject and in other subjects and endeavours that they undertake. This unit in turn, also promotes personal growth, and teaches self-reflection; both of which allow students to have an understanding if their learning, why they are learning it and the significance it has on other aspects of their world.
1 Quality teaching in NSW public schools: Discussion paper © 2003 State of NSW, Department of Education and Training, Professional Support and Curriculum Directorate, SYDNEY, NSW accessed https://lms- blackboard.telt.unsw.edu.au/bbcswebdav/courses/5124_00294/QualityTeachEPSColor.pdf
Samantha Churcher 4 Z3033723 SYLLABUS TEACHING AND LEARNING STRATEGIES AND ACTIVITIES EVIDENCE OF CONTENT LEARNING (N.B.: In previous lessons, students will have taken part in a vocab exercise, the activity for this is appendix A, and they will have looked at and received a handout on ‘Narrative Structure’, appendix B. Students have read Thirteen Reasons Why at home, and The Graveyard Book in class, as a class(approx. 7 lessons))
Learn to: Lesson 1 5.2 compose written, oral and visual Characterisation. Students look at what makes a character stand out, what texts for personal, historical, cultural, social, technological and workplace distinguishes one character from another. contexts This class will start with students writing a short narrative piece, slightly guided, to Short piece of narrative 1.1 respond to and compose a range of imaginative, factual and critical show what they have learnt in the beginning of this unit (narrative structure). This is to writing, to be kept for future texts which are increasingly gauge an idea of each students writing styles and level of writing skill – this should be comparison. demanding in terms of their linguistic, structural, cognitive, kept to monitor progress through the unit. emotional and moral complexity
1.3 analyse the effectiveness and • Writing exercise – students free-write for 5-10mins from a prompt (a good impact of texts on responders in terms idea might be to use a prompt from The Graveyard Book, e.g. – imagine Bod of ideas, perspective and originality has started at your school and tells you he lives in a graveyard, what do you
think?) Learn about: • As a group, the similarities and distinctions of the two characters in the Students will write on their 1.7 the ideas, information, excerpts are listed on the board in a table (Bod, Both, Hannah), students fill worksheets the comparative perspectives and ideologies presented in increasingly demanding these in on the worksheet (Appendix C) – (these will be simple to start with – points between the two text imaginative, factual and critical texts where the characters are located, are they old/young, what time are they from excerpts. and the ways they are presented etc.) Worksheet shows students 6.7 ways in which literary and non- • Students then complete the rest of the worksheet about the different characters literary composers transform ideas understanding of the and experience into texts, including mentioned in the two excerpts individually. consideration of their insight, different narrative styles and imaginative powers and verbal • Homework – create a character and write a paragraph that introduces them the characters. ingenuity creatively.
Resources Worksheet on characters (Appendix C), board markers
Learn to: Lesson 2 Narrative voice. In this lesson, students will look more closely at how narrative voice 1.6 respond to and compose texts that works, how the narrative voices differ between texts, and more particularly how it is use inference and figurative language, such as symbolism and allusion, in used in Thirteen Reasons Why. This focuses closely on the supplementary text and the complex and subtle ways. set text. (N.B. This could even take a double lesson.) Samantha Churcher 5 Z3033723 5.1 apply knowledge of language forms and features and structures of texts to respond to, compose and Students verbally answer adapt texts to suit new and unfamiliar • Students are asked the questions – what is unique about Hannah’s narration, these questions to show their contexts and Clay’s narration? What is unique about the voice telling Bods’ story? understanding
5.3 adapt their own or familiar texts • ICT component –access the site http://www.thirteenreasonswhy.com/tapes.php into different forms, structures, modes and media for different Play one of the tapes, show how this adds another dimension to the story, purposes, audiences and contexts giving an actually voice to Hannah Baker, the eeriness of the tapes. Students write a short piece • Students then write a piece of fiction, short, and told in a particular voice – a of creative prose which is 6.2 respond imaginatively and interpretively to an increasingly good idea could be to get them to write a scene from Silas’ point of view in then recorded as part of a demanding range of literary and non- The Graveyard Book, or maybe Tony, or Justin from Thirteen Reasons Why. digital story – this may be literary texts expanded into a full digital • Students will then tell their story, by recording their voice, making sure that story in the next lesson if Learn about: they use tone, inflections and description to make it jump out as words on a 1.12 how inference and figurative students so choose. language can be used in complex and page might – imagine what the voice of the character you have chosen would subtle ways. sound like – for this they can use Windows Movie Maker, or Garage Band,
5.8 how particular forms and features iMovie on Mac (or downloaded software). of language and structures of texts can be adapted to new purposes, audiences and contexts
Resources Internet access, computers, website - http://www.thirteenreasonswhy.com/tapes.php, Voice recording software, board markers,
Lesson 3 – Narrative modes– see detailed lesson plan Learn to: Lesson 4 1.2 respond to and compose more Descriptive language. This lesson looks at how, as writers, we need to be creative – sustained texts in a range of contexts show don’t tell! To look at description and voice, small examples of how to show a 1.6 respond to and compose texts that character through their voice will be shown, both narration and dialogue and discuss use inference and figurative language, the ‘Show, don’t tell’ concept. This lesson focuses closely on the set text. such as symbolism and allusion, in complex and subtle ways. • Examples from The Graveyard Book of how Gaiman can ‘show’ us what is 5.1 apply knowledge of language forms and features and structures of happening, or who we are reading about (Appendix D) Students respond to the texts to respond to, compose and adapt texts to suit new and unfamiliar • Short discussion regarding the handout above on way things are shown, as narrative examples – this will contexts opposed to simply being told to us, even though the narrator of the novel tends show their understanding of what the author/narrator is 6.3 compose texts that demonstrate to try and hide information. showing originality, imagination and ingenuity • Can students think of other times the narrators shown us something instead of in content and language telling us in the novel? Students show their Learn about: • Students then do a writing exercise where they are asked to show something understanding of the concept Samantha Churcher 6 Z3033723 5.6 the ways in which existing skills, from The Graveyard Book, instead of telling it to the reader – for example, by giving other examples that knowledge and understanding about language can be used to access and show that it is cold, without using the words cold, chilly, freezing etc – some they have read. express information for new ideas could be to tell us that Bod is in a graveyard without using the word purposes, audiences and contexts Students write a short piece graveyard, to describe Scarlett without saying she is a 5 year old girl, or to where they demonstrate the 5.8 how particular forms and features show that one of the characters is dead without stating so. of language and structures of texts learnt skill – ‘show don’t can be adapted to new purposes, tell’ with close reference to audiences and contexts the set text Resources Handout on show don’t tell in The Graveyard Book (Appendix D), board markers
Learn to: Lesson 5 1.6 respond to and compose texts that Language Features. In this lesson, students look at the language features that Gaiman use inference and figurative language, such as symbolism and allusion, in uses to present The Graveyard Book to the reader. Extending on the show don’t tell complex and subtle ways. idea. Looking at how telling can work as effectively as showing if used creatively, it depends on what you chose to tell the reader, and how you choose to do that – for this 5.1 apply knowledge of language forms and features and structures of purpose, language is extremely important. This lesson focuses closely on the set text. texts to respond to, compose and adapt texts to suit new and unfamiliar Allusion sheet is handed out (Appendix E) and discussion begins. contexts • • Where did you notice social satire along with all the folklore and history? 6.1 explore real and imagined Students write a series of (including virtual) worlds through What purposes did it serve? short pieces using symbolism close and wide engagement with increasingly demanding texts • What symbolism is there in the novel? Look at the Symbolism, Imagery and as a basis to describe each Allegory handout (Appendix F) grave as a type of book in a 6.6 compose imaginative texts based library. This is a great • Writing exercise: When exploring the symbolism of the graveyard as a library on a proposition, premise or stimulus. language feature to look into – students look at the idea of each grave representing a book and teaching telling the reader something Learn about: Bod something. If each grave was a type of book, thinking of the person who’s 1.12 how inference and figurative in a round about way. language can be used in complex and grave it is, what type of books might they be and why? subtle ways.
5.8 how particular forms and features See if students can come up with any other language features or examples of figurative of language and structures of texts language in The Graveyard Book. can be adapted to new purposes, audiences and contexts
6.9 the ways in which imaginative texts can explore universal themes and social reality.
Resources Allusion in The Graveyard Book (Appendix E), Symbolism, Imagery and Allegory sheet (Appendix F)
Samantha Churcher 7 Z3033723 Learn to: Lesson 6 1.2 respond to and compose more Narrative form. Can you tell a story without it being traditional prose? sustained texts in a range of contexts This lesson focuses in responding to the set text creatively.
1.3 analyse the effectiveness and impact of texts on responders in terms • Even though The Graveyard Book is written as a novel, it was originally meant of ideas, perspective and originality to be a collection of short stories, and Gaiman referred to it in an interview as 1.4 explain their responses to texts a ‘shnovel’, he compliments the text with imagery, and uses this to add to the and their widening personal preferences within and among texts information being given in the story. Look at how Gaiman uses this form in the book (graphic novel). 5.1 apply knowledge of language forms an features and structures of • Students then look at creative ways they can tell a story without using texts to respond to, compose and adapt texts to suit new and unfamiliar traditional prose. For example: A digital story, a comic strip, a script, a contexts dialogue, a menu, a poem, a map, etc. Show examples of this online or in print
– (Look at how Neil Gaiman often uses images to fill in gaps in the story, he 5.3 adapt their own or familiar texts into different forms, structures, shows things that aren’t being told, also, he uses the tombstones to talk about modes and media for different purposes, audiences and contexts the characters instead of just telling the audience, try writing an obituary of
6.3 compose texts that demonstrate one of the characters perhaps) originality, imagination and ingenuity • Students will write a short piece about a new character in The Graveyard Book in content and language Students write a short piece – this can be someone that Bod meets, someone that comes looking for Bod – (250 words) about a new Learn about: maybe a distant relative? A new ghost that teaches Bod something, or anyone character in The Graveyard 1.11 their own emerging sense of they can think of. This character will be the basis of their writing assessment style, personal preference and Book. They imaginatively discernment in responding to and based on the set text. present this characters story. composing texts • (This is very short, maybe 250 words – make it creative, look at ideas above) This is the basis of their 5.8 how particular forms and features creative writing assessment of language and structures of texts Hand out and explain charts for story plan that will be worked on next lesson, get them can be adapted to new purposes, and will be expanded upon. audiences and contexts to think about it and start filling it in for homework. (They can begin to fill in their character chart based o the character they have just created.) Resources Character Development Chart (Appendix G), Story Map Chart (Appendix H), Sensory Chart (Appendix I), board markers, internet access, examples of other ways to present a story (online examples mostly)
Leading up to Assessment: Narrative plan. In the next lesson, students will continue to work on filling in their character, map and sensory worksheets, these charts will act as their story plan. This should be aimed to be finished during a lesson, where they can utilise the teachers’ help, as well as their classmates’ help and inspiration. This narrative plan will then be referenced to write their assignment creative writing piece.
Samantha Churcher 8 Z3033723 Assessment Task
Outcomes to be assessed: 1, 5 & 6
Language Modes to be Assessed: Writing, responding & representing
Key Learning Idea(s): Using narration and narrative techniques to create a short story
Nature of Task:
Write a short story, about 1000 words, inspired by The Graveyard Book, and the activities covered in classes.
You must create a new character, who did not appear in Neil Gaiman’s The Graveyard Book, and describe an interaction between this character and Nobody Owens.
• The interaction may take place in the setting of your choice. • There may or may not be dialogue. • You should include a conflict and a resolution of the conflict. • You may choose the narrative mode you use – first, second or third person – but make sure you use the one mode throughout the whole piece. • You should show the audience what is going on, and not always tell the audience.
You will be assessed on how well you:
§ Use a consistent narrative mode. § Use language features to engage the audience. § Put into practice ‘show, don’t tell’ narration. § Complete this work as an individual. § Present a publishable finished piece of work. § Adhere to the word limits.
You might find the Narrative Checklist on the next page helpful.
Samantha Churcher 9 Z3033723 3. 2. Build charactersTechniques forintroducing grabreader’: the possible Some ‘to astory foropening options characters Opening/introducing 1. Checklist for effective narrative writing
Dilemma Varying sen Varying e.g. point, a emphasis to fragment a using by rule sentence the breaking Occasionally question a asking by in reader the Drawing adverbs and adjectives using than verbsrather and nouns Strengthening problem a Introducing place as well as season and of day time weather, the Using of place is out what unusual, looks detail invented some plus places, known on settings Basing touched smelled, impressions sense on based detail Using dosomething characters the Making ideas and thoughts own characters’ the Revealing characters of other reactions and thoughts the Giving muttered, ambled h show verbsto powerful Using dialogue and action through character portraying on Relying e.g are, they what or e.g. feels, character the how on description Limiting name interesting an Using intriguing something Introducing event or dramatic (Help!) exclamation dramatic a Using characters ofof the one behaviour strange some Describing question a reader the Asking another to character one by warning a e.g. dialogue, Using Using short sentences to be dramatic be to sentences short Using what e.g. atmosphere, Creating - up/creating setting up/creating
tence openings openings tence Silence Silence
or tasted or
.
bossy, shy
ow a character feels and behaves, e.g. e.g. behaves, and feels character owa
is hidden, what is dangerous, what what dangerous, is what hidden, is
–
what can be seen, heard,
sad, lonely, angry lonely, sad,
Samantha Churcher 10 Z3033723 Possibleastory forclosing options Techniquesdilemma the forresolving 5 4. Reaction/events . Resolution and ending
future the to Looking … that was she lucky elemen an Introducing aloud think to character main the Allowing unless it is a as such clichés Avoiding exclamation wordor an one Using changed has character a how Showing question a Using dialogue Using resolution the about comment a Making the future dilemma of the part resolvinga Only problem overcomeeffortthe to extra some character the Allowing and not real moment that… form, e.g. unexpected an in arrive to help Allowing as such characters of the feelings action unfold events as tension increasing the describe to going the story of part earlier the in used already techniques of the many on Building Revisiting where the story began story the where Revisiting minds characters’ the in only was problem/dilemma the that Showing unexpected dosomething character(s) the Making phrases words and connecting using complications further Introducing paint help to simile and metaphor Using the within sounds portray to sentences short and alliteration Using rhythm a get to sentences longer using by structure sentence Varying
unfortunately…and what he hadn’t noticedwas… hadn’t he what unfortunately…and
fabrication of a traditional story traditional a of fabrication
–
a comment from one of the characters
t of mystery, e.g. e.g. of mystery, t The end end The
or
They all lived happily ever after after ever happily lived all They so the characters learn a lesson for lesson a learn characters the so
Vanya would never know how the scene and describe the
It was at that
Samantha Churcher 11 Z3033723 Marking Guidelines
A § Skilful use of narrative structure 17-20 § Astute use of narrative voice § Highly developed use of language § Shows imaginatively instead of telling § Cleverly consistent use of narrative mode § Highly creative presentation and form
B § Effective use of narrative structure 13-16 § Coherent use of narrative voice § Well developed use of language § Sustained use of narrative mode § Creative presentation and form
C § Appropriate use of narrative structure 9-12 § Adequate use of narrative voice § Appropriate use of language § Sound use of narrative mode § Interesting presentation and form
D § Shows a developing ability to use narrative structure 5-8 § Limited use of narrative voice § Emerging use of language § Evolving use of narrative mode
E § Attempts to tell narrative story 1-4 § Inconsistent use of narrative mode § Some use of language
Samantha Churcher 12 Z3033723 Appendix A
Samantha Churcher 13 Z3033723 Appendix B
Samantha Churcher 14 Z3033723 Appendix C S.#Churcher # # # # # # # looks#like? Can # # # # main#trait? What#do#you#think#is#the#character’s# # # # # Describe#the#character#in#three#words: # # # Nobody&Owens & The&Graveyard&Book # # # # # # # # # # # # # # # # # # # # # you#describe#what#the#character# Nobody&Owens & # # # & & & & & Character # & & Both # isation # # # # # # looks#like? Can#you#describe#what#the#character# # # # # main#trait? What#do#you#think#is#the#character’s# # # # # Describe#the#character#in#three#words: # Hannah&Baker & Thirteen&Reasons&Why # # & , Sheet # # , # & Hannah&Baker & & # 2012 #
Samantha Churcher 15 Z3033723 Appendix D a$yu hn$o$a cn$i$te ok hr$te artr hw$us$ shows$ narrator$ the$ ! where$ book$ the$ ! in$ scene$ a$ something$instead$of$telling$us? of$ think$ you$ Can$ ! ! ! plot.!! narrator!works!for!this!novel!bec reader! the! leaving! perplexed!and!intrigued!about!this!mysterious!killer.!!All!in!all,!I!think!that!this! possible,! as! himself! to! facts! the! of! many! as! keeps! narrator! This!is!the!same!with!t ! is!able!to!persuade!humans!into!doing!what!he!wants.!! that!he!sleeps!during!the!day,!he!can!change!into!something!that!flutters,!and!he! much! really!comes!out!and!tells!you!what!Silas!is,!so!what!you!are!left!with!is!the!facts! narra as! The! keep! ! can.! and! possibly! they! try! as! long! to! as! reader! seems! the! narrator! from! information! This! ! is.! Silas! what! you! tell! never! feeling!that!they!aren’t!telling!you!everything.!!Such!as!the!descriptions!of!Silas,! The!narrator!always!knows!just!a!little!bit!more!than! whole!time,!it!seems!that!the!narrator!is!always!just!a!few!years!older!than!Bod.!! This!story!is!told!from!third!person!omniscient.!!While!this!stays!the!same!the! ! ! both the blade and the handle were wet. The knife had done almost everything it was brought to that house to do, and immediately. If it sliced razor. any than “ ! The knife had a handle of polished black bone, and a blade finer and sharper ! !
! ! he!man!called!Jack!that!killed!Bod’s!original!parents,!the! The$Graveyard$Book
you, you might not even you had know been cut, not ! Show$D ause!it!adds!to!the!mystery!and!suspense!of!the! $ ! ” on’
$ ! t$T ell $ ! Bod,!and!you!always!get!the! ! ! $ ! Pg. o!never! tor! 5 !
Samantha Churcher 16 Z3033723 Appendix E % % % % % % % % % % % % % % % % % for%the%ghouls? Using%the%internet%at%h % % seem%to%have%meaning,%while%others%of%them%are%simply%for%hum the%United%States,%and%the%famous%writer%Victor%Hugo.%%Some%of%these% and%Wells,%the%Duke%of%Westminster,%the%Emperor% the%ghouls,%their%names%are% There%are%also%references%to%historical%events%and%people.%%When%Bod%is%taken%by% % could%be%interesting% dates%back%to%Cel Celtic%culture.%%The%oldest%grave%in%the%graveyard% an% plays% that% thing% This%nove $ l%alludes%to%many%different%subjects%and%histories%outside%the%text.%%One% % tic%times.%%The%descriptions%of%inside%the%tomb%and%of%the% to%study. motn%rl%truhu%te tr%i%te luin o the% to% allusion% the% is% story% the% throughout% role% important% ome,%c The$Graveyard$Book the%Honorable%Archibald% an%you%find%out%why%Neil%Gai % Allusion $ $ of%China,%the%33 is%buried%deep%in%the%hill%and% Fitzhugh,%the%Bishop%of%Bath% $ man%chose%these%names% or.%% rd % % President%of% allusions% culture%
Samantha Churcher 17 Z3033723 Appendix F $ $ $ Letitia$Borrows,$Mr.$Pennyworth,$Liza$Hempstock,$and$the$tomb$of$the$Sleer,$in$particular. If$each$grave$was$a$type$of$book,$what$sort$of$book$wou W be$a$ghoul$gate. ghouls$ He$uses$them$to$learn$to$read.$Also,$think$of$when$Bod$goes$to$Hell$in teach$him$to$read.$Silas$does$use$a$few$books,$but$mostly$the$gravestones$are$Bod’s$books.$ When$Bod$first$shows$curiosity$about$the$people$buried$in$the$various$graves,$Silas$begins$to$ leads$to$something$new$and$exciting. We$might$think$of$the$graveyard$as$Bod’s$own$library,$and$of$each$grave$as$a$book,$which$ Allegory $ address$and$fix$unfairness$in$the$past. things$right.$We$might$also has She$ burial.$ mark$her$spot.$It$takes$Bod,$a$live$boy$with$a$huge$heart,$to$notice$this$unfairness$and$make$ proper$ a$ allowed$ wasn't$ she$ witch,$ a$ being$ of$ accused$ was$ she$ But$Liza$doesn't$have$a$headstone.$We$can$u and$"I$am$worth$remembering." that$person's$memory$alive$in$the$world$of$the$living.$A$headstone$says,$“I$am$remembered”$ s The$headstone$is$a$symbol$of$friendship,$caring,$and$compassion.$Headstones$themselves$are$ Symbolism:$ $ ymbols$ riting$exercise: – $ – how$does$he$get$to$this$fantasyland?$By$going$through$a$grave$that$also$happens$to$ $ they’re$a$sign$of$respect$for$the$person$buried$on$the$spot.$They’re$meant$to$keep$ :$The$Graveyard$as$A$Library?$ $ Liza $ w hat$kinds$of$thing$does$Bod$learn$or$experience$from$the$other$graves?$ ’ s$Headstone $ The$Graveyard$Book look$at$her$headstone$as$a$symbol$of$our$ability$in$the$present$to$ $ Symbolism$ $ $ $ nderstand$why$she's$upset$about$this.$Because$ $ &$Allegory $ ld$it$be?$Think$about$Caius$Pompeius,$ $ $ $ Chapter$3$with$the$ $ nothing $ $ to$
Samantha Churcher 18 Z3033723 Appendix G Details Other Goals Weaknesses Strengths Personality Appearance Age Name of Filling out a person/character chart gives you a clearer look at a character in a piece Person/ writing • •
Add more rows to explore other details about the person. Fill in each box
. Use it when writing a character sketch character a writing it when . Use
Character Chart
with the information about the character.
.
Samantha Churcher 19 Z3033723 Appendix H Feel Taste Smell Hear See smelled, tasted, or felt. A sensory chart can help you think about details that can be seen, heard, Sensory Chart • •
Use some of the sensory details Fill in each box.
in your writing. your in
Samantha Churcher 20 Z3033723 Appendix I Resolution Climax Event 3 Event 2 Event 1 Rising Action Setting Conflict Characters Other Characters Main Title A story map can help you plot out just what happens in a story. STORY MAP • •
Use the story map to guide your writing. Fill in each part of the story map.
Samantha Churcher 21 Z3033723 DETAILED LESSON PLAN
Teacher: School: Date: Ms. Churcher 25 May 2012 Class: Topic: Period: Year 9/10 English Narrative Modes (lesson 3 in the Unit) What do you want the students to learn by the end of the lesson? Narrative modes The types of narrative modes How and when each mode is used effectively
What prior knowledge must the students have for them to achieve the learning goal? What narrative is Narrative structure That different narrators sound different
What syllabus outcome(s) are you specifically targeting?
Outcome 1: A student responds to and composes increasingly sophisticated and sustained texts for understanding, interpretation, critical analysis and pleasure. Outcome 5: A student transfers understanding of language concepts into new and different contexts. Outcome 6: A student experiments with different ways of imaginatively and interpretively transforming experience, information and ideas into texts.
Assessment: What do you want the students to produce or present by the end of the lesson?
Students will produce two short pieces of writing in class, representing the two narration modes that were not shown in the article they were presented in their group, these are written individually and handed in at the end of the lesson. Students will also present, as a homework task, a re-written section (approx. a page) of The Graveyard Book written in a different narrative mode – so either first person or second person, and possibly from the point of view of a character other than Bod. This will be collected next lesson.
Equipment/resources:
Powerpoint on Narrative voice (Appendix A)(email or usb), board markers, examples of narration modes (Appendices B-F), narration mode organiser (Appendix G),
Samantha Churcher 22 Z3033723
Stage/ Learning activities/strategies Student activity time
Listening/ analysing/ writing This lesson looks at narrative techniques, the different types of narrative modes that allow the author, as the narrator, to tell the story a certain way. Students learn about: The previous lessons looked at the narrative structure, and characterisation in the 1.7 the ideas, information, perspectives and ideologies two novels that we are studying: ‘The Graveyard Book’ by Neil Gaiman and ‘Thirteen presented in increasingly demanding imaginative, factual and Reasons Why’ by Jay Asher. This lesson looks at both texts plus supportive excerpts, critical texts and the ways they are presented
as well as close reference to the set text The Graveyard Book in a closing exercise. 1.9 the ways sustained texts use elements such as evidence, argument, narrative, dialogue and climax 15 mins Teacher has either notes or powerpoint on narrative mode. The point being looked 5.8 how particular forms and features of language and at is that narrative mode is the way the author has chosen to tell the story – that is, structures of texts can be adapted to new purposes, audiences in either first person, second person, or third person (normal or omniscient). and contexts
6.7 ways in which literary and non-literary composers The powerpoint (Appendix A) is presented, and students are encouraged to take transform ideas and experience into texts, including notes in their notebooks on the different kinds of narration, taking into consideration of their insight, imaginative powers and verbal consideration what they are thinking about writing for their assessment piece. ingenuity Reading/ Writing/ Applying Knowledge/ Speaking/ Collaboration Different examples will be used here with a wide range if voices, for example: a piece from the studied text Thirteen Reasons Why (1st P), a piece from The Hunger Students learn to:
Games (which a lot of yr 9 & 10 will have read – 1st P), a piece from Harry Potter (3rd 15 mins 1.2 respond to and compose more sustained texts in a range of P), a piece from the studied text, The Graveyard Book (Om.1st P) and an aboriginal contexts story will be included (3rd P) (Appendices B-F). 1.3 analyse the effectiveness and impact of texts on responders in terms of ideas, perspective and originality Students are put into groups, and each group is given one of the example excerpts. Each group is also given a handout, which will need to be completed according to 5.1 apply knowledge of language forms and features and structures of texts to respond to, compose and adapt texts to the excerpt the group was given. suit new and unfamiliar contexts
This activity has the students showing their full understanding of the narrative Students learn about: modes, as they fill out a organiser that asks them: 1.8 the features of increasingly complex imaginative, factual and critical texts, including the cognitive, emotional and moral • Narration mode, voice, scene dimensions of the text and its linguistic and structural features Does this narration mode work for this scene? • 1.9 the ways sustained texts use elements such as evidence, • How has it been used effectively here? argument, narrative, dialogue and climax
5.8 how particular forms and features of language and structures of texts can be adapted to new purposes, audiences Samantha Churcher 23 Z3033723 • Would you use a different mode for this scene, why/why not? and contexts
Reading/ Writing/ Applying knowledge
20 mins Students are next given the task of individually, quietly rewriting a few sentences Students learn to: from the piece in one of the other two modes (i.e. if it was written in first person, 1.3 analyse the effectiveness and impact of texts on responders they must rewrite it in third person or third person omniscient) in terms of ideas, perspective and originality
5.1 apply knowledge of language forms and features and Students may copy the text, but are encouraged to rewrite it with their own creative structures of texts to respond to, compose and adapt texts to language. The purpose of the activity is to indicate that they understand the modes suit new and unfamiliar contexts of narration. 5.3 adapt their own or familiar texts into different forms, structures, modes and media for different purposes, audiences By the end of the lesson, students should have produced two half-page pieces of and contexts writing. These will be collected, and once again kept in each students' file, for future 6.4 compose texts using a range of literary and non-literary reference to see progression, and also to gauge their understanding of the narrative texts as models modes. This can be assessed or not. Students learn about:
N.B. When assigning groups, try and have a mixed variation of students in each group, 1.10 the use of variations within conventions of particular genres, including forms of poetry, fiction and film and how these this encourages students to work together and help each other, as well as allowing variations address the composer’s purpose indigenous students and non-indigenous students to access indigenous texts, and affords disadvantaged learners access to their peers support and encouragement. 1.11 their own emerging sense of style, personal preference and discernment in responding to and composing texts However, bear in mind the academic level of each student, and try to place any one of them too far out of their depth, as some excerpts are harder than others. 5.6 the ways in which existing skills, knowledge and understanding about language can be used to access and express information for new purposes, audiences and contexts
6.7 ways in which literary and non-literary composers transform ideas and experience into texts, including consideration of their insight, imaginative powers and verbal ingenuity HOMEWORK: Writing/ Applying knowledge
Students must chose a passage from The Graveyard Book and re-write it in a Students learn to: different narration mode (most likely first person, but students may attempt second 6.3 compose texts that demonstrate originality, imagination and person if they feel confident). ingenuity in content and language
As a challenge, try and write it from the point of view of a character other than Bod. Students learn about:
5.8 how particular forms and features of language and Students will include a short paragraph detailing why they chose the narration structures of texts can be adapted to new purposes, audiences mode presented, and (if applicable) the chosen character to narrate, and how they and contexts Samantha Churcher 24 Z3033723 think this improved, or did not improve the story.
Differentiated Learning
Differentiated (Life Skills) Outcomes:
Reading and Responding
This lesson has been created with all learning capabilities in mind. The 6.5 Reads with understanding a range of authentic texts for reading/writing activities in this lesson have varying degrees of difficulty, for varying purposes, making justifiable interpretations beyond a example: literal level.
6.6 Relates a text’s format, structure and choice of language to • In the comprehension activity, students work in groups where higher-level its purpose.
students can help lower level students. The groups may also be determined Writing by academic level, as each of the excerpts cater to a different level of 5.10 Adjusts the form of writing to intended contexts, purposes academic ability and literacy and narrative understanding. and audiences.
• In the writing activity, students have the option to copy the text while 6.10 Takes some account in writing that readers react to changing the narrative mode, or being more creative with the text – they can written texts according to their experiences, interests and values. work at a level that they are comfortable with.
The lesson also includes indigenous students in the learning as it includes an indigenous text, this can be used at the teachers discretion, either by allocating this excerpt to the indigenous students, or talking about the excerpts before or after the activity as a class, and allowing them to give their input.
Samantha Churcher 25 Z3033723 Appendix A – Narrative mode powerpoint
Samantha Churcher 26 Z3033723 Appendix B lovely!little!box,!your!name!will!pop!up...!I!promise. I'm!not!saying!which!tape!brings!you!into! ! What?!No! ! the!reasons!why. specifically,!why!my!life!ended.!And!if!you're!listening!to!these!tapes,!yo I!hope!you're!ready,!because!I'm!about!to!tell!you!the!story!of!my!life.!More! ! No,!I!can ! No!return!engagements.!No!encore.!And!this!ti ! I!don ! Hello,!boys!and!girls.!Hannah!B ! ! From% works? What%is%t killed%herself.%In%this%scene,%Clay%has%just%received%Hannah Clay%Jensen% ’ t!believe!it. ! ’ t!believe!it. Jay%Asher ! Excerpt(from( % he%unique%narrative%style%being%used%here,%and%do%you%think%it% ! listens ! ’ s% ! Thirteen(Reasons(Why Hannah!Baker!killed!herself. % as%Hannah%Baker%tells%him%all%the%reasons%why%she% aker!here.!Live!and!in!stereo. Thirteen(Reasons(Why the!story.!But!fear!not,!if!you!received!this! % (GB,%Penguin%Books,%2009)%Pages%7 me!absolutely!no!requests. ! ! ! ’ s%tapes.% % u're!one!of! ( ! = 8 %
Samantha Churcher 27 Z3033723 Appendix C It got to its feet and came toward Harry swiftly Harry at right looked and head its raised lowered its head over the in wound the animal’s side, and began to drink its blood. unicorn, the reached figure cloaked The transfixed. stood Fang and Malfoy, Harry, beast. stalking some like ground the across the crawling came of figure out hooded a Then, shadows, . . . quivered. clearing the of edge the on bush A stood. he where had it where angles fallen and its mane spread was pearly odd at out stuck were legs slender long, Its sad. and beautiful white g was Excerpt(from( evil) What)clues)does)J.)K.)Rowling)use)to)communicate)that)Voldemort)is)an) Voldemort)for)the)first)time.) Voldemort)is)the)villain)of)the) From J.From K. Rowling’s ! bolted and scream terrible a out let Malfoy “AAAAAAAAAAARGH!” freeze him made sound slithering a when it toward step one taken had Harry so anything seen never had Harry dead. was it and right, all unicorn the was It “Look character)in)the)story? leaming on the ground. They inched closer. — ” he murmured, holding out his arm to stop Malfoy. Something bright Something Malfoy. stop to arm his out holding murmured, he ” Harry%Potter%and%the% Scholastic, 1997), pages 255 Harry Potter and the Sorcerer’s Stone ) )
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Samantha Churcher 28 Z3033723 Appendix D Immediately. and! left! sparse!piney!woods.!This!is!where!H my! To! lake.! a! lies! right! my! To! cliff.! a! even! or! slope! downward! Behind!the!tributes!across!from!me,!I!can!see!nothing,!indicating!either!a! ! ! do. for!it!against!the!other! would!protect!from!almost!any!sort! be!of!some!use only!a!few!steps!from!my!feet!lies!a!three supplies,!their!value!decreasing!the!farther!they!are! medi things!that!will!give!us!life!here!in!the!arena.!Food,!containers! curved!tail,!the!mouth!of!which!is!at!least!twenty!feet!high,!spilling! equidistant!from!the!Cornucopia,!a!giant!golden!horn!shaped!like!a!cone! and circles! ! From%Suzanne%Collins ! ! land!mines!blow!your!legs!off.!Sixty!seconds!to!t What% part%in%the%74 Katniss%tells%this%story%from%her%point%of%view.%In%this%scene,%she%is% ie!gret, ie tres!Srw!aon!the! around! Strewn! starters.! fire! garments,! cine,! er!o!a! on! We're! metal! our! on! stand! to! required! we're! long! how! That's! seconds.! Sixty! before!the!sound!of!a!gong!releases!us.!Step!off!before!the!minute!is!up,! are%the% ! Excerpt(from( ! in!a!downpour.!But!there! th emotions% % Annual%Hunger%Games,% lt!oe!srth f groun of! stretch! open! flat,! twenty ’ % T he$Hunger$Games,$ that A three!tributes.!Which!I!have!been!instructed!not!to! % Katniss%portraying The$Hunger$Games of!weather.!If!I!had!the!guts!to!go!in!and!fight! aymitch!would!want!me!to!go.! A in!the!mouth,!I!can!see!a!tent!pack!that! foot! and%the%games%are%about%to%begin. (NY,%Scholastic,%2008 square!of!plastic.!Certainly!it!could! . !pan f hard of! plain! A! d.! % in%this%scene? ake!in!the!ring!of!tributes!all! from!the!horn.!For!instance,! oncpa r!other! are! Cornucopia! of!water,!weapons,! % )$ pages%179 ( ! taking over!with!the! A akd dirt.! packed! % @ with!a! 180 % steep! back,! $
Samantha Churcher 29 Z3033723 Appendix E barely!a!toddler,!to!take!care!of.!One!more!and!his!task!would!be!done. surrounded!by!toys!and!half the!man!on!the!bedroom!floor, the! put! he! then! it;! holding! been! handkerchief!away.!The!hunt!was!almost!over.!He!had!left!the!woman!in!her!bed,! had! which! hand! right! gloved! his! and! knife! white!hand the!house!through!the!open!door. who!held!it!had!slipped!in,!and!wisps!of!night!time!mist!slithered!and!twined!into! and!both!the!blade!and!the!handle!were!wet. not! cut,! been! had! you! know! even! not! immediately. might! you! you,! sliced! it! If! razor.! any! The!knife!had!a!handle!of!polished!black!bone,!an and!both!the!blade!and!the!handle!were!wet. There!was!a!hand!in!the!darkness,!and!it!held!a!knife. ! ! how%does%Neil%Gaiman%do%this? What%aspects%of%this%excerpt%make%us%believe%The%man%Jack%is%ba man. this%scene,%we%are%meeting%The%Man%Jack,%whom%we%are%shown%as%a%bad% Bod’s%story%is%told%by%a%Narrator%who%can%see%all From% ! The!man!Jack!paused!on!the!landing.!With!his!left!hand!he!pulled!a!large! The!street!door!wa The!knife!had!done!almost!everything!it!was!brought!to!that!house!to!do,! The!knife!had!done!almost!everything!it!was!brought!to!the!house!to!do,! % Neil%Gaiman’s% kerchief!from!the!pocket!of!his!black!coat,!and!with!it!he!wiped!off!the! ! Excerpt(from( The$Graveya s!still!open,!just!a!little,!where!the!knife!and!the!man! B finished!models.!That!only!left!the!little!one,!a!baby! ! the!older!child!in!her!brightly!coloured!bedroom,! ! % The$Graveyard$Book rd$Book % (GB,%Bloomsbury,%2008)%pages% ! ! d!a!blade!finer!and!sharper!than! , % and%seems%to%know%all.%In% ! d,%and% ( ! 2 ; 7 %
Samantha Churcher 30 Z3033723 Appendix F so!all!the!people!built!humpies!for!shelter. m long!time,!then!he!came!out!and!was!welcomed!by!his!people.!He!showed!the! two!rivers,!Goorialla!found!his!own!people!singing!and!dancing.!He!watched!for!a! "Those!are!my!people,!they!are!holding!a!big!Bora."!At!the!meeting!place!of!the! five!caves!and!was!called,!Minalinha.!One!day!Goorialla!hear one!of!the!Naradunga!was!long!made!of!granite,!the!other!had!sharp!peaks!and! creeks!and!rivers!as!he!journeyed!North.!Goorialla!made!two!more!mountains,! where!he!came!down.!He!travelled!N my!own!people.!Goorialla!left!Naralullgan!and!his!huge!body!made!a!deep!gorge! This!is!not!my!country,!the!people!here!speak!a!different!tongue.!I!must!look!for! ! languages. Naralullgan.!He!listened! reached!Cape!York!where!he!stopped!and!made!a!big!red!mountain!called! look!for!his!own!tribe.!He!travelled!across!Australia!from!South!to!North.!He! The!country!was!flat.!Goorialla,!the!great!Rainbow!Serpent,!stirred!and!set!off!to! ! bushes,!no!hills!or!mountains. Far!off!in!Dreamtime,!there!were!only!people,!no!animals!or!birds,!no!trees!or! ! ! en!how!to!dress!properly!and!taught!them!to!dance.!A!big!storm!was!gathering,! how%does%Neil%Gaiman%do%this? What%aspects%of%this%excerpt%make%us%believe%The%man%Jack%is%ba man. this%scene,%we%are%meeting%The%Man%Jack,%whom%we%are%shown%as%a%bad% Bod’s%story%is%told%by%a%Narrator%who%can%see%all ! % ! Excerpt(from( From% Australian%Dreamtime%Story to!the!wind!and!heard!only!voices!speaking!strange! http://www.didjshop.com/stories/rainbow.html ! The$ % orth!for!many!days!and!his!tracks!made!the! Rainbow$Serpent ! % The$ , % Rainbow$Serpent and%seems%to%know%all.%In% % d!singing!and!said,! d,%and% $ (
Samantha Churcher 31 Z3033723 Appendix G – Narrative Mode Organiser S.Churcher not?) ( mode? different use a Would you How? effectively? used mode been Has the scene? for this mode work Narration Does the happening?) is (What Scene speaking?) is (Who Char Voice/ Mode Narration Title Once you have read the excerpt, answer the questions below loud) out read to readers more or one nominate or individually Look at the excerpt you have been given, as a group, read the excerpt (read Narration Modes Name: ______Why/wh
acter
y
Class: ______
as a group
:
1
Samantha Churcher 32 Z3033723 S.Churcher Answer: Excerpt: In the provided below, the space please question answer Name: ______
______
______
Class: ______at the top of your excerpt:
2
Samantha Churcher 33 Z3033723