Fat Boy Swim by Catherine Forde

Fat Boy Swim by Catherine Forde The story of an overweight teenager overcoming his size and finding out that he is a person of worth and purpose. Reading skill Suggested activities Example Using strategies to  Word families & word patterns Cumulatively build a class decode words they don’t  Chunking and breaking down the “Word Origins Chart” – know – phonics, syntax, sounds in a word unfamiliar words in context, with word recognition and  Dictionary activities strategic guessing of meanings context  Starter activities focusing on word level and subsequent research,  Re-writing sentences with different e.g..”dunted”(p.30),”dronesville” syntax - a portmanteau word -  Progress Unit on Phonics (p.47),”extraordinaire” – an imported word (p48)  Cloze  Reading backwards and forwards Unpick and discuss “…amn’t I?”  Asking “Does the word make sense?” (p.19) [Am not I/Am I not]. Also: cf.the English ungrammatical colloquial equivalent – [Aren’t I/ Are not I/ Are I not ]

Pupils keep a glossary of new vocabulary as pupils work through the text.

From Chapter 1, pick out specialist terms connected with cooking. Check the meanings, discuss the origins – why are culinary terms often French?

Find examples in the text of foreign phrases – déjà vu, piece de resistance. Check meanings.

Starter activity based on thought-mapping various slang words in use. Move on to providing substitutes for the slang used in Chapter 1.

Starter activity reading from Unrelated Incidents by Tom Leonard leading to discussion of dialect/accent/ RP. Engaging with meaning  Asking questions – who, what, where, Three photographs feature on as well as decoding when, why pages 37 – 40. ‘Draw’ the  Discussing what has been read photos using simplified  Matching illustrations to appropriate silhouettes (individually/ pairs/ sections of text whole class). Caption the drawn  KWEL charts photos as follows; {“…you with o What do I know the rest of the family?”} : {“…my o What I want to know place. Way out in the bush in South Africa.”} : {“…a dump in o Where will I find the the middle of nowhere…”}. evidence Attach quotations from the What I have learned o featured page to bring the  Focusing on key words (reverse images alive. Discuss: How cloze/fridge magnets) might the word “secret” (p 37)  Role play, hot-seating, thought link the photos? tracking  Summary sub-headings Design a KWEL chart to record  Matching quotations to meaning Victor’s attitude to Jimmy at different points in the narrative. Focus on key words to identify his motives and behaviour.

Sensing miscues and  Guided reading with teacher Use Chapter 12 where there are then self-correcting  Paired reading – one listening for three voices to include several sense readers – a conventional  Using existing knowledge/analogy to narrator “Jimmy stumbled from decode, then applying to new, similar the bus” -a ‘vocal thoughts’ words narrator “Not today.” - a  Opportunities to prepare a passage to ‘commentating’ narrator “…now read to group/class Jimmy would join the  Reading buddies Latecomers Line…”, Jimmy  Modelling self correction during himself and the italicised voices reading of the other characters in Jimmy’s head.  Using tapes to support reading Chapter 26: Merman. Pupils work as reading buddies.

Tackling extended  Modelling how to identify the main Compare the opening sentence sentences clause in an extended sentence – of each chapter in the good examples in Dickens “Desserts” section. What effect  Re-structuring a long sentence on is the writer trying to achieve in cards each case? Which of them is  Re-writing a sentence into visual the longest and which is the diagram – showing main clause and shortest? Why is the sentence how other parts of sentences relate to length important to the effect? main clause e.g. Investigate the sentences from page 153 up to “…as though his wings were jet propelled.” on page 155, by simply counting  Re-writing an extended sentence as a the number of one-word, two- series of short sentences and word, three-word four-word discussing the difference sentences. Why, in an action  Reading sentences aloud, using sequence does the writer do intonation to underpin meaning this? What is the effect of the extended sentence on page 155?

Pages 17-18. “Everything was under control…” to “What is that smell?” Read the sentences aloud, using intonation to underpin meaning. Then investigate the structure of the sentence beginning, He was just… Rewrite as a visual diagram, showing how other parts relate to the main idea. What does the sentence show us about Jimmy? Using punctuation,  Identify paragraph breaks in an Pages 153 to 155. Investigate paragraphing and text unformatted piece of text how many different punctuation layout as a guide to  Shared reading focusing on marks are used; investigate meaning punctuation for meaning which sentence uses the most  Pacing the classroom/drama studio, unusual structure and the most changing direction at each punctuation unusual punctuation. Model mark these using alternative  Sentences Progress Unit materials on punctuation – what is lost or how punctuation helps us to read gained? aloud  Highlighting topic sentences in Consider the use of different paragraphs fonts and italics on pages 140  Identifying paragraph breaks in an and 141. Why does the writer unformatted piece of text do this?  Selection of novel openings – How is text layout used for considering differences of structure effect on pages 183 – 185 in the  Sequencing build up to the kiss?  Providing titles for chapters or sections of the novel  Removing the punctuation from an extract and asking pupils to make their own choices Developing a mental  Flow chart of events Build a thought map of the text map of the text as they  Thought map of key ideas as it unfolds (possibly using read  Drawing and labelling a map of the ICT) observing how arrowed setting links between previously  Drawing a family tree unconnected characters  Tracking a character or theme using emerge. The central nature of post-it notes in book GI Joe as a linking character should become increasingly evident.

Design a ‘self-esteem’ chart, chapter by chapter, tracing the self-image of Jimmy/Jim/Big Jim Kelly as it blips falteringly upwards. Annotate with key influences. Consider adding other characters (linked to key events?), e.g. GI Joe (constant?) and Victor (in decline?) “Crossing points” might be interesting.

Draw Jimmy’s family tree:  As he thought it was at the start of the novel  As it really is Use sticky notes to track the clues which prepare the reader for the truth about his birth.

Track all references to food in the novel - both actual and when food is used as a metaphor. Pupils discuss why Catherine Forde has used food as a metaphor so frequently. Visualisation and other  Drama: guided tour; sculptured freeze Six sculptured freeze frames: sensory responses frames; hot seating  Thought maps, Venn diagrams; role on Page 50: ‘The first moment of the wall resistance’  Plot lines, tension graphs  Colouring over words which Page 77 / page 93 : ‘The refer/appeal to the senses bullying’  Prop box or pictures  Drawing Page 108: ‘Ellie fights back’  Walk-in debates Page 159: ‘Jimmy fights back’  Casting the film of the novel  Story mapping/living graphs Page 171: ‘Jimmy the chef’  Creating sound effects Page 199: ‘The transformation’

NB – Pupils choose their own ‘titles’ of the freeze frames as part of the discussion

Pupils draw Jimmy – before and after – and look at the poster alteration

Pupils draw Jimmy with some of the things which symbolise his life:  At the beginning of the novel  At the end

Pupils imagine the various locations of the novel: the changing rooms, the swimming baths, the cookery rooms, the flat. Then list the sights, sounds, smells of each place.

Pupils draw a picture of the “Shadow Shape” (page 34) Prediction, retrospection  Identifying the ‘turning point’ and Using a reading journal, pupils and speculation predicting outcomes of the storyline record first impressions of  Gathering predictions (you can tape Jimmy. these), returning to them later to discuss why the author chose Use some of the chapter particular resolutions headings to speculate about the  Looking for clues in last chapter as a narrative. first activity to predict what will happen in the novel The unfolding discovery of the  Starting in the middle and considering true relationship between Aunt what might have led to this situation Pol and Jim can be managed  Reading the first few chapters and with an incremental sequence of suggesting what might happen next. prediction/ review/ prediction/ Recording ideas in reading journal. review… etc. culminating in Highlighting clues which led to those tracing the author’s hints/ predictions (evidence base) then filling unresolved suspense moments. in reading journal to reflect on original This requires prediction predictions (unresolved) at page 60,  Drama activity – pupils act out their followed by revisiting page 60 predictions. Rest of class assess after reading page 64 (still whether they are realistic / feasible unresolved), then revisiting both after pages 95/96 (insightful guesswork?), then revisit all three earlier references after page 119 (the truth dawns?), then continue the back- referencing after pages 133, 136 and 139, noting how the writer has ‘planted’ the sequence of discovery.

Look at names and predict what they tell us about the characters, e.g. GI Joe, Victor Questioning  Shared reading and targeted questions Why is there such a difficult and – modelling thought process/answers tense atmosphere between either orally or on OHP Mum and Aunt Pol?  Identifying questions you want answered in the next few chapters Conscience alley – Mum and  Questions based on front cover/title of Aunt Pol. Are they responsible book, extend to include ‘blurb’ on back for Jimmy’s problems? re. expectations raised  Hot-seating – question the characters - Chapter 6 ‘The Hungry Hole – conscience tunnels up to page 38 “..It never made  Thought/speech bubbles for him feel better.” characters at key moments (inner Taken out of context, this raises voice) questions about Jimmy’s  Extracts out of context – what personality plus wider issues, questions do we need to ask about this without betraying any of the text? plot. It is a very strong extract for characterisation.  Asking pupils to think of the questions ------they want to ask at particular points in the text A key feature of the text is the exploration of characters’ motives which remain largely implicit – apart from the explanations given for Jim’s adoption. A fertile area for encouraging pupil’s engagement is the open- ended questioning of what prompts the main AND minor characters’ behaviour and attitudes. This is ‘ever present’ as the events unfold. Passing mental  Poster of the book The simple device of asking comments and  Interviewing each other about pupils to choose their key word savouring the text reactions on ‘where we’re up to in the in the sentence/ paragraph/ book’ page/ section/ chapter – where  Presentation of a ‘favourite bit’ to a their choice cannot be wrong – small group – or the class – with some with extension into key phrases, commentary about why it’s dead good! key quotations, with explanation  Using post-it-notes to jot down of the choice linked to plot, thoughts and keep as markers in the character setting, theme or style text is a fertile and inclusive  Cultivating reading journal responses, standard approach. This key- using a range of strategies to capture word approach throughout the responses, ideas, questions, text is a natural way to engage visualisation tools active reading approaches and  Using symbols on post-it-notes e.g. the independent judgement and evaluation of the unfolding text ? to come back to or discuss ! by pupils. with a partner ☺ Use sticky notes to record Jimmy’s highs (cooking, learning to swim, Ellie) and lows (football match, binges, bullying) Empathising  Questioning – (how do you feel Chapters 1, 6, 15, 27 and 32 about…..?) l are all particularly good for  Diary extract pupils to adopt a character and  Role-play (character or theme based) to write diary/blog extracts.  Hot-seating  Thought tunnel Agony Aunt letters from Jimmy,  Letter from one character to another Aunt Pol, Mum, Chantal Pupils reply to the letter in Chapter 34: use a success ladder of key criteria, negotiated with pupils, to initiate content, character, structure and style ‘requirements’, then use the ladder to review the effectiveness of the written outcomes as a class/ in pairs/ as self-review. Pupils write a letter from Jimmy to his dad or a ‘Love letter’ from Jimmy to Ellie.

Make a series of hats labelled with the central character’s different roles within the text – Jimmy the victim – Jim the family member - Big Jim the swimmer – Jimmy the chef – Jimmy the boyfriend. Line up the five Jimmys and ask the same class-generated generic questions to each in turn.

Hot seat Victor or write his diary entries. Establishing a  Hot-seating the narrator Present Chapter 26 as a word relationship with the  Annotating a stick man with words that document. Pupils work in pairs narrator define the narrator with the task of highlighting/  Rewriting part of a third person italicising/underling in the given narrative in the first (or second) person text any lines which would not  Drama – placing the narrator in a appear if the narrator had been sculpted scene a pool-side observer/spectator. Save the resulting version. Delete the chosen lines on a second version. Read the second version aloud and check for ‘inappropriate’ content which an observer could not know. Evaluate the outcome in the context of understanding the role of the omniscient narrator.

Draw a silhouette of Jimmy Kelly. Students write key words on post-its and place inside or outside the silhouette depending on how strongly they define the reader’s relationship with Jimmy. This can be added to during the course of reading the novel. Re-reading, re-evaluating  Guided work on a section they have The Shadow Shape – once this and other clarification read previously is resolved, look back to see activities  Timeline, plot mountain, sort events how and when the Shadow into chronological order/order of Shape emerged and its effect significance on Jimmy.  Re-evaluating the way a character is presented or seen Compare Chapter 10 with  Close questioning Chapter 35 (page 199 onwards)  Annotation Look at the writer’s treatment of  Comparing passages from different Jimmy, how the other sections of the novel characters treat Jimmy. Compare the accounts /interpretation of the photograph on pages 37 and 149.

Draw a chart to show the differences in how Jimmy is presented in these two chapters.

In the novel as a whole, chart Jimmy’s triple role as follows; Ordinary/ normal (“He was just a teenager. Normal in every way.” - p 16) - Separate/ isolated (“Might as well have been a universe away, the lot of them.” - p 6) – Individual/ special (“He was a star.” - p 18)

Create a time line of the events that lead to Jimmy’s eventual triumph.

Compare Jimmy’s meeting with G.I. Joe in Chapter 1 to the letter from him in Chapter 34. How do the two extracts help us to understand his character? Reading between the  Shared – then group – then paired – ‘Decode’ the dreams and the lines and other then individual annotation of passages key symbolic images. interpretation activities from the text to build independence The ‘dream trail’ can be pursued and confidence with reading between on pages 46, 56/7, 63, 73, the lines 98/99/100, 102, 124, 143/4.  Discussion (following the pattern Explain ‘The Shadow Shape’, above) about the symbolism of places, the butterfly, the mermaid. objects, or names if appropriate  Choice of symbolically and Compare “Come on big man” (p metaphorically dense text which is 5) and “Come on the big man” multi-layered (p 155). Why does the writer do  Role play/thought tracking to this? understand a character’s motivation

Relating the text to one’s  Drawing explicit links between texts Discuss body image of boys own experience and with similar themes, issues, location, and girls. knowledge, including characters, narrative structures etc other literature  Teacher to lead on links to own Put the novel into the context of experience. Then draw out pupils’ own all other texts which address reactions. Handle sensitively! issues of overcoming adversity, rites of passage and the essential quality of the novel form, the transition of the central character.

Specifically this might link with Holes by Louis Sachar Adopting an appropriate  Keeping a reading journal to develop Chapter 2- annotate as if you reading stance and express your unfolding responses were the Head Teacher / Head  Creating a ‘freeze frame’ tableau and of Year, reading a report on this then invite the reader to physically bullying incident – how many place themselves in the scene things can you find that are  Annotating the text (marginal notes) wrong and what do you suggest with responses/chat back is done about them?  Creating “recipe” of each genre e.g. horror / sci-fi etc Create a series of freeze  Exploring the book cover for evidence frames: of what it is about / what kind of text it  A family group: Mum, is / what questions you could ask Dad, Aunt Pol, Frankie Fallon,  Historical context / social context GI Joe, Barry Dyer research  A school photo: Ellie,  Asking questions about the voice in Victor, Maddo, Dog Breath, the text after reading first paragraph Senga, Chantal, Billy  The soccer team  The swimming team Place Jimmy and the reader in the scene, adjusting relationships/friendship groups as appropriate.

Photo album scene of the Swimathon party – Chapter 30. Where does the narrator stand? Mark with an X. Developing judgements  Providing provocative statements on Use some of the extracts and preferences cards for discussion/advocacy already suggested: pupils will  Comparison with other texts be familiar with them so less  Asking “How would you change the time will need to be spent first novel?” reading.  Reading journal to compare texts on similar themes /same author Page 73  ‘Sell’ the book to others Page 77 / page 93  ‘Statementaire’ to argue / discuss Page 98 – 100 Pages 123 and 124  Selecting extracts which represent the Page 141 whole text’s qualities Pages 183 – 184 Page 199 onwards

Pupils re-title the novel – one suggestion each and give reasons for their suggestions.

Ask pupils to be an advocate for the book to persuade the teacher that this book should be read by everybody in your year group – or that it should not!

Imagine that a parent has read the book and has written to the school to complain that the book is unsuitable because of:  bad language  use of slang and dialect – not “proper” English  a sensitive subject which might upset some children. Write a detailed reply, justifying the choice of book. Sensing of the writer at  Activities which focus on language - Use Chapters 10 and 35 which work, the artifice of the highlighting/circling/annotating offer contrasting pictures of text sections of texts Jimmy. Each could be used to  Cloze, e.g. remove powerful verbs or delete positive/negative adjectives and compare to the writer’s adjectives or verbs then used as original choice a cloze exercise. Alternatively,  Filling in ‘gaps’ in the story – ask pupils to fill in words alternative endings-sequels-prequels – opposite in meaning to maintaining style, character dialogue demonstrate the effect of a as in the original writer’s word choices.  What would you ask the writer if s/he was here? Reverse cloze:  Planned questioning and DARTS to  insults about Jim’s size move pupils from personal to critical  movement words when response he is fat/unfit  Creative writing that imitates the style  words used to describe of the writer Jim when swimming