Skellig by David Almond (Hodder) Michael moves to a new house, with his mum and dad and his new baby sister. But soon his sister is ill in hospital, and Michael feels helpless. He explores a broken-down garage in the garden and makes a discovery that will change his life: Skellig, a creature covered in dust and cobwebs. Michael is not sure what this creature is. The only person he can confide in is Mina, the girl across the road. Together they move Skellig from the dangerous garage and an astounding story unfolds.
Overall aims of this teaching sequence: . To engage children with a story with which they will empathise . To enjoy an exciting story with memorable characters . To draw inferences about characters’ feelings, thoughts and motives from their actions . To explore themes and issues, and develop and sustain ideas through discussion . To develop creative responses to the text through drama, storytelling and artwork . To write in role in order to explore and develop empathy for characters . To write with confidence for real purposes and audiences
Note to schools and teachers: Teachers should be aware this novel includes references to some difficult issues which include illness, death, grief and identity. Teachers will want to make sure they have read the whole book before they share it with pupils. However, the novel and teaching sequence offer a range of opportunities to cover a diversity of themes in the PSHE programmes of study and cross-curricular work. Understanding would need to be shown when introducing the story to a class in which a pupil may have experienced a family member with a long-term illness or bereavement; although the sessions could provide a safe and supportive context through which they may be able to express their feelings.
This teaching sequence is designed for a Year 5 or Year 6 class
Overview of this teaching sequence
This teaching sequence is approximately 5 weeks long if spread out over 25 sessions. The book supports the study of plot, character development and emotional response to strong themes such as illness, identity and growth in narrative fiction. Teachers are advised to read the book before using it with their children in order to plan a series of PSHE and cross-curricular sessions that complement the sequence and are tailored to support the needs of the class. There are many opportunities to teach grammar in context and for children to gain understanding of the impact of precise language choices on meaning. Teachers can support children to consider author intent and the impact on the reader using a range of teaching approaches, enabling understanding of narrative structure and metalanguage through reader response and later in their own writing conferences. The sessions may also lead to an author study in which David Almond’s writing style, recurrent themes and intertextual links can be explored and appreciated.
©The Centre for Literacy in Primary Education. You may use this teaching sequence freely in your school but it cannot be commercially published or reproduced or used for anything other than educational purposes without the express permission of CLPE.
National Curriculum objectives covered by this sequence.
Reading (Comprehension): Writing (Composition / Vocabulary, Grammar Maintain positive attitudes to reading and and Punctuation): understanding of what they read by: Children should plan their writing by: continuing to read and discuss an identifying the audience for and increasingly wide range of fiction; purpose of the writing, selecting the reading books that are structured in appropriate form and using other different ways and reading for a range of similar writing as models for their own; purposes; noting and developing initial ideas, drawing on reading and research where identifying and discussing themes and necessary; conventions in and across a wide range in writing narratives, considering how of writing; authors have developed characters and making comparisons within and across settings in what pupils have read, books. listened to or seen performed. Understand what they read by: Draft and write by: checking that the book makes sense to selecting appropriate grammar and them, discussing their understanding and vocabulary, understanding how such exploring the meaning of words in choices can change and enhance context; meaning; in narratives, describing settings, asking questions to improve their characters and atmosphere and understanding; integrating dialogue to convey drawing inferences such as inferring character and advance the action; characters’ feelings, thoughts and using a wide range of devices to build motives from their actions, and justifying cohesion within and across paragraphs; inferences with evidence; using further organisational and predicting what might happen from presentational devices to structure text details stated and implied; and to guide the reader identifying how language, structure and Evaluate and edit by: presentation contribute to meaning; assessing the effectiveness of their own discuss and evaluate how authors use and others’ writing; proposing changes to vocabulary, language, including figurative language, grammar and punctuation to enhance considering the impact on the reader; effects and clarify meaning; participate in discussions about books ensuring the consistent and correct use that are read to them and those they can of tense throughout a piece of writing; read for themselves, building on their ensuring correct subject and verb own and others’ ideas and challenging agreement when using singular and views courteously; plural, distinguishing between the explain and discuss their understanding language of speech and writing and of what they have read, including choosing the appropriate register; through formal presentations and
debates, maintaining a focus on the topic proof-read for spelling and punctuation and using notes where necessary; errors. provide reasoned justifications for their views.
Speaking and Listening: Maintain attention and participate actively in collaborative conversations, responding to texts Ask relevant questions to extend their understanding and build vocabulary and knowledge Articulate and justify answers and opinions Use spoken language to develop understanding through speculating, imagining and exploring ideas Participate in discussions, presentations, performances and debates Consider and evaluate different viewpoints, attending to the contributions of others Select and use appropriate registers for effective communication Use spoken language to develop understanding through imagining and exploring ideas in discussion, role-play and drama Consider and evaluate different viewpoints, attending to and building on the contributions of others
Cross Curricular Links:
PSHE, Citizenship and Philosophy: . This sequence presents opportunity for children to explore shifting roles and relationships within their own family and, importantly, how to develop empathy toward another family member and begin to appreciate viewpoint beyond themselves. This, coupled with collecting memories within a shrine box, could form the foundation of a family learning project in which the children are helped to look forward to the changes ahead; in their bodies, their attitudes, their schooling and in their family dynamic throughout this period of transition to young adulthood. . Children could be supported in exploring a range of emotions with which they identify, such as anxiety, grief, anger, frustration and regret. Support the children throughout the novel to broaden their repertoire of emotive language, modelling through discussion and philosophical reflection. Science and Geography: . Within the context of studying this text, children will have opportunity to engage in deepening their knowledge of the natural world and engage in the science curriculum. Geography: . The children could conduct associated geographic and environmental studies of their local area and those further afield; in the UK and across the world, for example map work connected with the natural habitats of the tawny owl. Art and Design: . Children will use artwork to support their observations of wildlife as well as in expressing themselves and responding to the text.
. The study of great artists could take in many who have been fascinated by and painted many famous examples of birds. For example, Picasso, whose works include ‘white pigeon on black background’, ‘boy with dove’, and his famous drawings of doves, and Matisse’s ‘The Iridescence of Birds’.
Teaching Approaches Writing Outcomes . Reading Aloud . Free writing . Book talk . Free verse poetry . Role on the wall . Annotating . Visualisation . Field notes . Hotseating . Shrine boxes and autobiographical . Language exploration writing . Storytelling . Letter writing . Character exploration . Writing in role . Sketching . Bookmaking . Readers theatre . Debate and discussion . Textual analysis . Double Bubble . Freeze Frame and Thought Tracking
Links to other texts and resources:
Related texts: . My Name is Mina, David Almond (Hodder) . The Savage, David Almond, illustrated by Dave McKean (Walker) . Mouse Bird Snake Wolf, David Almond, illustrated by Dave McKean (Walker) . The Tale of Angelino Brown, David Almond, illustrated by Alex T. Smith (Walker) . My Dad’s a Birdman, David Almond, illustrated by Polly Dunbar (Walker) . Harry Miller’s Run, David Almond, illustrated by Salvatore Rubbino (Walker) . Half a Creature from the Sea, David Almond, illustrated by Eleanor Taylor (Walker) . The Dam, David Almond, illustrated by Levi Pinfold (Walker) . The Nest, Kenneth Oppel, illustrated by Jon Klassen (David Fickling Books) . Millions, Frank Cottrell Boyce, illustrated by Steven Lenton (Macmillan)
Intertextual references in the novel: . Songs of Innocence and of Experience, William Blake . Greek myths such as Daedalus and Icarus and Hades and Persephone. . You may also want to reflect on recurring themes and recurring ideas and images in David Almond’s own body of work through conducting an author study.
Books about grief and loss: . Bird, Crystal Chan (Tamarind) . Noah Barleywater Runs Away, John Boyne, illustrated by Oliver Jeffers (Corgi)
. The Pond, Nicola Davies, illustrated by Cathy Fisher (Graffeg)
Non-fiction books about animals featured: . White Owl, Barn Owl, Nicola Davies, illustrated by Michael Foreman (Walker) . RSPB Complete Birds of Britain and Europe, Rob Hume (Dorling Kindersley) . A Nest is Noisy, Diana Hutts Aston, illustrated by Sylvia Long (Chronicle) . Birds and People, Mark Cocker, illustrated by David Tipling (Jonathan Cape) . A filth of starlings, Patrick George (PatrickGeorge) . Birds and their Feathers, illustrated by Britta Teckentrup (Prestel) . RSPB My First Book of Garden Birds, Mike Unwin and Sarah Whittley, illustrated by Rachel Lockwood (A&C Black) . Beautiful Birds, Jean Roussen, illustrated by Emmanuelle Walker (Flying Eye) . Brilliant Birds (QED Publishing) . Atlas of Animal Adventures, Rachel Williams and Emily Hawkins, illustrated by Lucy Letherland (Wide-Eyed Editions) . My Book of Birds by Geraldo Valerio (Wren & Rook) . The Iridescence of Birds: A Book about Henri Matisse, Patricia MacLachlan, illustrated by Hadley Hooper (Roaring Brook Press) . RSPB Children's Guide to Birdwatching, David Chandler and Mike Unwin (Christopher Helm) . The Lost Words, Robert Macfarlane and Jackie Morris (Hamish Hamilton)
Other web links: . https://www.sevenstories.org.uk/collection/collection-highlights/david-almond . https://www.rspb.org.uk/fun-and-learning/for-teachers/ . https://www.woodlandtrust.org.uk/visiting-woods/trees-woods-and- wildlife/animals/birds/tawny-owl/ . http://www.bbc.co.uk/nature/life/Tawny_Owl . https://www.woodlandtrust.org.uk/blog/2016/11/what-do-owls-eat/ . https://www.woodlandtrust.org.uk/visiting-woods/trees-woods-and-wildlife/animals/birds/ . https://www.penguin.co.uk/articles/on-writing/cover-story/2017/jul/designing-the-lost- words/ . http://www.jackiemorris.co.uk/blog/book-list/the-lost-words-a-spell-of-words-by-robert- macfarlane/
Links to other resources on the Power of Reading Website: . For descriptions of the teaching approaches please see the POR website: http://por.clpe.org.uk/teaching-approaches
Teaching Sessions: Before Reading:
Before starting work on the book, create a space in the classroom for a Working Wall to enable you to pin examples of responses, reflections, notes and language generated from each session. If you do not have the space for a working wall you could create a class ‘reading journal’ using large pieces of paper and use the pages of the journal to capture responses. You may also wish to create a display, as part of your class reading environment, of related texts.
It will continue to aid children’s understanding of the ongoing events if they periodically revisit key moments in their own writing. Regular informal opportunities to write in role as either Michael or Mia would support both understanding of plot and character. You may wish pupils to have access to a separate notebook in which, in role as Michael or Mina they write about recent events and make commentary and predictions. Allowing them the choice of which character’s point of view to write from can be engaging.
Throughout your reading, invite the children to record vocabulary with which they are unfamiliar on a word wall as well as language they think has an impact on their understanding or enjoyment as a reader. Provide time for children to talk about and research the new vocabulary, enabling them to use them in their discussions and writing.
There are a number of intertextual references in the novel and such as the poetry of William Blake and the Greek myth of Persephone. Create displays of these and provide time for the children to read them together as well as reading them aloud to the class as this would support the children’s understanding of the characters and themes. You may wish to plan additional group reading sessions to explore these poems and stories.
Seven Stories, the National Centre for Children’s Books www.sevenstories.org.uk in Newcastle upon Tyne has an exhibition Where Your Wings Were … Journeys with David Almond until 30th June 2019. This is likely to go on tour after that date – contact them or visit their website for up to dateinformation.
Session 1: Reading Aloud and Book Talk
In order for the sequence to work effectively you will need to ‘keep back’ the text from the children initially, including the cover of the novel and title. The story will need to unfold slowly and it is best for the children not to know the ending until you are at the culmination of the teaching sessions.
. Without sharing the front cover of the novel or the title of the book, read aloud the first page up until ‘that there’d never been another creature like him in the world.’ . Ask the children to discuss their responses to the text; the class can begin to explore their responses to it with the help of what Aidan Chambers calls 'the four basic questions'. . These questions give children accessible starting points for discussion: Tell me…was there anything you liked about this text? Was there anything that you particularly disliked…? Was
there anything that puzzled you? Were there any patterns…any connections that you noticed…? . The openness of these questions unlike the more interrogative 'Why?' question encourages every child to feel that they have something to say. It allows everyone to take part in arriving at a shared view without the fear of the 'wrong' answer. . As children respond it can be useful to write down what they say under the headings ‘likes’, ‘dislikes’, ‘puzzles’, ‘patterns’. This written record helps to map out the class's view of the important meaning and is a way of holding on to ideas for later. . Draw out through the children’s discussions what impression this first paragraph makes on them as readers. . Ask the children to consider the following: How has the author created a sense of mystery in this opening passage? How did you imagine the events as I read the passage aloud? What helped you to imagine this? Considering for example, the first sentence of the book which immediately draws you into the story by introducing you to the mystery of what it was that was in the garage. The short sentences which build a sense of suspense. The introduction of the ‘creature’ who the narrator clearly holds in affection despite his description. . Ask the children to predict what they think this creature is, focusing on the initial description the reader is given, for example questioning why the narrator refers to the creature as ‘him’ if he is not human. . Read on until the end of chapter one and return to the Tell Me grid the children have begun, adding more of their opinions, questions and connections. Ask them to make predictions about what they think will happen next and what the novel will be about. . Display the children’s ideas and responses on a Working Wall so that you and the children can refer back to this in following sessions.
Session 2: Reading Aloud and Role on the Wall
. Re-read the opening of the novel and read aloud chapter two. Return to the ‘Tell Me’ questions you considered when reading the opening and using a different colour scribe the children’s responses. Considering if they still like or dislike the same aspects of the writing, or if their opinions have changed. Consider if they have answered any questions they posed previously or if they have further questions. Finally reflect on whether they can make any further connections to the text, either to other books they have read, to films, popular culture or to their own life experiences. . Return to the section that describes the garage, considering how the mystery of what Michael found in the garage is built on from the opening paragraph they read in the previous session. Particularly the fact that the reader has to wait to discover what happened and what has been found, which builds curiosity, excitement and intrigue. . Ask the children to reflect upon the central character Michael. Draw around one of the children or have a prepared template cut out, pin this to the learning wall. . Ask the children to write on post-it notes words or phrases they would use to describe Michael’s feelings and personality, which can be stuck on the inside of the outline and what
the children know about his outward appearance or facts and other information about him to be stuck on the outside. For example, they may think he is jealous of his baby sister as he describes her as the ‘flaming baby’. . Support the children to explicitly make links between the external and internal. For example, how does something Michael does, tell us about his personality, or how does his personality make that action seem most likely (i.e. for an action to be ‘in character’ or characteristic). . Continue to return to the Role on the Wall as you read the story, adding information in different colours so that you can track the emotional journey the character takes as the story progresses and how a reader’s perceptions of a character can alter as a story progresses.
It is interesting to note that the name ‘Michael’ is the name given to the archangel in the Bible, this may be something you want to explore with the class upon further reading of the novel or after you have read the book in its entirety, considering why David Almond may have chosen this name. You may also want to explore with the group the origins of the other names in the books to consider if they may have layered meanings that add more to our understanding of the character. For example, the name Mina has the meaning ‘love’ in German and ‘Skellig Michael’ is the name given to an Irish island on which a monastery was founded as early as the sixth century.
Session 3: Book Talk and Visualisation
. Read aloud the start of chapter three up until ‘black suit’. Explain that you are going to read the text again and that, this time, you want them to close their eyes and try to create a picture in their mind’s eye of what the author is communicating to them. They might not see everything from the text, just an overall image. . Re-read the text from ‘Something little and back scuttled across the floor’ until ‘black suit’ several times. . Give the children pieces of paper and appropriate and available art materials and then ask the children to sketch the scene they imagine as you are reading aloud. . After they have completed their drawings the children could annotate the pictures with key vocabulary or phrases which support their understanding or interpretation. For example, ‘dust poured through the torch beam’ or ‘more cobwebs snapped on my clothes and skin’. . Ask the children why these words or phrases in particular stood out to them; what made them so vivid or memorable? What mood or sense of place is created by the author through the descriptions? This is a valuable opportunity to contextualise teaching around effective vocabulary choices and the writing features authors draw on in developing a strong sense of place for the reader. . Give the children time to share their work with one another and to compare and contrast their images. Invite children to comment on what is similar and what is different about the way they have illustrated the scene and why they think this is. . Ask the children to consider how the way in which they have drawn the pictures expresses the atmosphere of the scene they had in mind. Display the children’s artwork on the working wall. . Read aloud to the end of the chapter and ask the children to reflect on the conversation between the creature and Michael. Does this confirm or contradict their initial ideas and suggestions of what the creature is? Now what do they think about what Michael has
discovered in the garage? How did they feel when you read the passage aloud? What do they think will happen next? . At this point, you could to give the children their own journals to record their work through this sequence; the children could have a small book to use as Michael’s diary. In this diary the children can continually write in role reflecting his changing thoughts and opinions. . For example, in the diary or journal they can record a variety of types of writing, such as small ‘secret’ notes describing what he has discovered, poems to illustrate his emotional journey, facts and later on in the novel, the things he has learned at school or in his lessons with Mina and her mother.
Session 4: Reading Aloud and Poetry Exploration
. Re-read the book from the beginning and on until the end of chapter four. Return to the ‘Tell Me’ questions you considered when reading the opening of the novel, and using a different colour scribe the children’s responses. . You may want to pause to reflect on the description of Michael’s baby sister, considering her premature birth and her vulnerability. The children may notice that she is described as being ‘dead white’ and having ‘dead black’ hair, reflect on David Almond’s language choice here and the possible meanings of this word. . Read aloud chapter five, allowing the children to share their responses to the text and further events in the novel. . Return to Michael’s observation that you can never really tell what is happening to a person or how they are feeling just by looking at them and his assertion that ‘if somebody looked at me they’d know nothing about me, either’. (Page 12) Discuss his observation and ask the children if they have ever experienced this themselves. . Go back to the role on the wall you have created for Michael and add further information gleaned about him, such as the name of his friends and his school and inferences about his personality and feelings, such as his worry for his sister. . Consider which feelings may be obvious to someone else and which he has hidden. . Share the following two poems by the poet Rachel Rooney with the children that explore the same theme: - https://clpe.org.uk/poetryline/poems/russian-doll - https://clpe.org.uk/poetryline/poems/mirror
. Allow plenty of time for the class to initially read and discuss the poem ‘Russian Doll’ by Rachel Rooney from The Language of Cat and other poems (Frances Lincoln) - you may want to share images of or provide the children with a Russian doll if the children have not seen one before. The text of this poem can be found on the CLPE Poetryline website: https://clpe.org.uk/poetryline/poems/russian-doll
. Give time for the children to share their initial responses to the poem. What do you think the poem is about? How does the poem make you feel? What makes you feel like this? Why do you think the poet has chosen to write about this topic? . Now read the poem aloud to the children again and ask them to think about the poem again. What words or phrases has the poet used that make an impact on you as a reader; that help evoke emotion?
. Now give the children a copy of the poem as it is laid out on the page and allow them to read it for themselves, ask the children what they notice. What pictures form in your minds as you read? What is it in the poem that makes you visualise this? Allow the children to text mark and annotate the poem, if this is helpful. . Watch Rachel Rooney’s performance of the poem available on the Poetryline website, asking the class to consider how this adds to their experience of the poem. . Consider the poem alongside Michael’s idea that ‘if somebody looked at me they’d know nothing about me, either’ which you have explored together and ask the children to think about what ‘dolls’ reside inside Michael. Reflecting on his outward appearance and the issues that are affecting him and referring to the role on the wall the children have generated. . Allow the children the opportunity to write their own poems in response to these ideas, imitating Rachel Rooney’s poem if this is supportive or writing free verse, the children could either write in role as Michael or as themselves if they feel comfortable. . Following this, provide the means and opportunities for the children to publish these poems. A zig-zag book would work will as the children can shape this into the form of a Russian doll, and each page can reveal a further layer of the character (or themselves) that they have written about in their poems. Instructions on book making can be found here: https://clpe.org.uk/powerofreading/teaching-approaches/bookmaking-journals
Session 5: Intertextual Storytelling
. Create a display of suitable versions of the story of Icarus and Daedalus for the children to browse and read together. Take opportunities to read aloud a selection of favourite and unfamiliar Greek Myths chosen by the children. . Read the story of Icarus and Daedalus aloud to the children. Elicit the children’s immediate responses to the story, using book talk prompts: Anything they liked or disliked and why? Did it remind them of anything in real life or other stories? Did anything puzzle them? . Support the children to identify any connections that they might draw from the story of Icarus to the characters in Skellig. Consider the theme of flight, the wings Daedalus crafts for himself and his son, and the dramatic ending of the story in which Icarus ‘drops like a stone’ from the sky. . Ask the children to relate any parts of the story that they found particularly vivid. Why did they find them so memorable? . Read the story of Icarus and Daedalus again, this time asking pairs of children to map the key events in the story using words or images. Give pairs of children opportunity to share their maps with another pair and then, as a small group, ask the children to take turns to pass the story around from scene to scene. . Have the children listen to the Greek myth again, this time adding details from the story that would enhance their own storytelling such as vivid description and precise language choices like fronted adverbials that create a sense of place or the passing of time. . Give the children opportunity to use their storymaps to refine their oral storytelling. Encourage the children to respond to each other’s storytelling and to reflect on their ‘performance’.
. Following this, read aloud chapter six of the novel Skellig and allow the children time to respond to the text in small groups, noting their ideas and comments in the whole class journal and on the ‘Tell Me’ grid in another colour. . The children will now be able to draw on their storytelling session in order to make connections to Skellig and how he is portrayed in the novel. At this point you may want to start making a note of the various patterns and connections across the novel such as the references to birds in the environment, then the dead birds discovered by Michael’s father behind the chimney that were as ‘as hard as stone’ or fossilised. . As the children keep reading the novel they may want to keep referring to these and adding more connections or patterns and they can then begin to make connections to the creature Skellig itself who is described in similar ways.
Session 6: Hotseating
. Read aloud chapter seven and pause to explore the children’s reactions to the conversation Michael has had with the creature and the introduction of the character Mina. . Explain to the children that some of them are now going to hotseat in role as Michael so that they can explore his viewpoint further. . Give the children time to discuss questions they might ask him beforehand. Ask the children to work in small groups to decide on five questions that they would ask Michael. . Invite several children across the groups to share what they consider to be their most effective questions with the wider group. . In pairs, invite the children to predict the possible answer to this question and how they would answer it. Consider which questions listed provoked the deeper responses. . Look at the structure of the questions. Is there a pattern to the language used to start the open questions (Why…) compared to those that required a single response such as (What…) ask the children to consider if there is a way we could change the closed questions to encourage Michael to say more? Model recasting a closed question to an open question. Display this in written form so that the children can refer to this to support their own compositions. . Now the children have five questions, ask the children to refine these questions together, considering which would elicit the best response from the character. Encourage the children to refer back to the displayed questions to support their thinking. . Then ask the children to choose their three most effective questions to submit to the hotseating. . The children playing the part of Michael will also need time to prepare their story and inhabit the character. Simple props such as a school blazer can be useful to support this process. . Also, encourage the children to return to the Role on the Wall so that they can imagine how he may respond to certain questions or scenarios. . Give them time to play this out with a friend, role-playing him in different scenarios could support the children to ‘step into the shoes’ of the character. . You could record these sessions so that the children can refer to them again prior to any writing they complete. You could also take photographs of the children in role and ask the children to annotate the pictures following the hotseating.
. After this session, revisit the Role on the Wall for Michael and record any additional knowledge the children have gained about the character. . This would also be a good opportunity for the children to write in role as Michael in their small journals or diaries.
Session 7: Character Exploration
. Read aloud chapters eight and nine. Stop at different points, to clarify the children’s understanding and allow for discussion around what the children like, dislike, any patterns that they notice or any questions that it brings up. . In this chapter another central character, Mina is further introduced. Complete a Role on the Wall for this character in the same way as in the previous session, considering the impression given to the reader of this character. . Use the following prompts to support the children’s considerations: - How is the description of Mina similar to or different from the other characters we have met? - Is it a literal description or are you inferring meaning? - What helped you to imagine the character Mina? How do you think the author has helped you to get to know the character in this short introduction? - How has this been achieved by the author? What devices or techniques have they used to help you paint a picture of their character? . Reflect on the different ways in which we are given an impression of a character without being told this directly. For example, you can explore the way in which she is bird like, as she is sitting in the tree when Michael first sees her, the description of her as having hair as ‘black as coal’ and eyes that ‘see right through you’, arguably creating an impression of otherworldliness. . The class could also explore how she and Michael converse and how direct Mina is in her conversation, or why she repeats ‘typical’. Considering what this suggests about her personality, or the impression the reader is supposed to have of her. . You could therefore also explore if the children like Mina on first impressions and how this may differ from their impressions of other characters in the book.
Session 8: Sketching and Annotating
. In the chapter in which the reader meets Mina for the first time, she also shares her sketch book with Michael and she asserts that ‘drawing makes you look at the world more closely. It helps you to see what you’re looking at more clearly’. . Display this statement on the Working Wall or on the interactive whiteboard and ask the children to consider if they agree with this, drawing on their experiences of sketching, drawing and painting. . Following this, give the children time to make observational drawings and sketches or birds in their local environment and also birds that interest them, which could be developed into final pieces of art work for a final display or gallery. (You may want to allow time in cross-curricular lessons in order to complete this.) . Encourage the children to engage in first-hand observation and look for birds in their own gardens, school ground, park or local area. . Provide the children with their own sketchbooks or help the children to create their own field journals in the form of a simple handmade origami or zig-zag book. You can find instructions in Teaching Approaches on the Power of Reading website: https://clpe.org.uk/powerofreading/teaching-approaches/bookmaking-journals . It would also be interesting to see what other kinds of wildlife they can spot in their local environment considering: What would we gain from making first hand observations? What might be difficult about finding some birds? Which other kinds of animals do we think we would find in the school outdoor environment or locally? What about plants? What kind of information would you want to collect when making notes in our field journals? . Support the children’s ideas by looking at a range of examples, books and guides for children, such as: - RSPB Children's Guide to Birdwatching, David Chandler and Mike Unwin (Christopher Helm) . Show the children examples of observational field note guides by organisations like RSPB and renowned artists like Frank Jarvis:
. Reflect on the similarities between the layout and presentation of non-fiction books and what you might find in field journals, which are created live from first-hand observation. . Provide opportunity for regular field visits outside and support the children to record what they are finding out, helping them to record as much detail in their observations as possible so that they will feel confident in feeding back to other children. . Using photographs to make their own drawings will draw the children’s attention to detail, allowing their spoken and annotated descriptions to be more precise. . Encourage children to take their own photographs but also source others for them to look at in case their own do not come out clearly. Ensure when you are out in the field that you are working in your own field journal, modelling the process and introducing descriptive vocabulary when discussing observations alongside children. . Both RSPB and the Woodland Trust have excellent resources that the children can use to support them to identify and label what they observe: - RSPB: https://www.rspb.org.uk/fun-and-learning/for-kids - The Woodland Trust https://www.woodlandtrust.org.uk/naturedetectives/ . Following their fieldwork, support the children to use their journal notes and sketches to feedback as a whole group. What did you observe here? What did you hope to see? What have you found out about local wildlife? Is this what you expected? Why? Why not? . Refer back to the original statement which suggests that drawing makes you look at things more closely. How do you feel about that statement now? Do they think you looked at the world more closely? Why? Why not? What did you observe that you hadn’t notice before? As part of wider cross-curricular or family learning children could research local wildlife further and engage in conservation projects for the plant or animal that interests them most.
Session 9: Exploring Non-Fiction – Broadening Subject Knowledge
When exploring a story that raises wider issues and explores concepts that may be new to some children, in terms of language or themes, it is important to build on and develop children’s interests and understanding and plan investigative work around it.
In order to support the children in understanding the fictional narrative, planning time for the children to learn about owls will enhance the connections they are able to make when reading the novel.
. Return to the children’s observational drawing of birds that they have made and consider if they observed any owls in their local environment, if they did refer back to these observational sketches, if not consider why they might be a more unusual bird to see in their local area and at the time they would have been sketching. . Discuss what the children already know about owls, which feature later in the book, and what they would like to know about owls. You may wish to record the children’s ideas and suggestions on a grid such as the one below:
What we already know What we want to find out How we are going to find What we have found out about owls about owls out about owls about owls
. Gather the class together and compile the children’s notes and ideas. This can support assessment for learning, guiding the following session and any further cross-curricular learning that will take place during the sequence. . Discuss the ways in which the children think they can find out information. Use the responses to talk about reliable sources and where they might find the most accurate information. . Ensure the chart is accessible throughout the sequence so that children can continue to develop their enquiry as the sequence progresses and they find out more. This in turn will often inspire a further cycle of questioning. . In the following session and beyond the session, use texts from your school library, contact the school library service (if you have one available) or a local library to create an information text display in the classroom to support group, paired or individual research. . The following websites also have supportive information: - https://www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a-z/tawny-owl/ - https://www.bto.org/about-birds/nnbw/nesting-birds/tawny-owl - https://www.wildlifetrusts.org/wildlife-explorer/birds/birds-prey/tawny-owl - https://www.wildlondon.org.uk/species/tawny-owl - https://www.bbc.co.uk/programmes/topics/Tawny_owl - https://www.bbc.co.uk/programmes/p003c1v3 - https://www.bbc.co.uk/programmes/p02ks91x/p02kq7bv
. Give the children time to explore owls and to find out about them, recording their notes and information that they find interesting. Particularly consider the diet and feeding habits of owls, how they process their food and produce pellets, their bone structure and wings. . All of this will support the children in understanding the ways in which Skellig is presented to the reader and the wider references in the novel to birds. . Allow the children to choose a format in which they would like to present their research findings for a chosen purpose and audience. The children could work collaboratively to produce this writing.
Session 10: Book Talk and Drawing Characters
. Read aloud chapter ten. Stop at different points, to clarify the children’s understanding and allow for discussion around what the children like, dislike, any patterns that they notice or any questions that it brings up. . Return to certain sections of the text to draw out the patterns in the text. For example, noting the continued reference to birds and that Michael does start to look more closely at the world as Mina suggested, and therefore notices the true colours of the blackbird’s feathers. . Return to the section of text in which Michael visits to Skellig. Provide copies of the section of text, beginning at ‘I switched on the torch’… until ‘I left him’. . Allow the children to have time to re-read and text mark the section of the novel considering what more detail we are given about the creature and how he is presented to the reader. . The children may notice the way in which the character is presented as belching and retching, eating the food with his hands and that the visceral aspects of the character are explored in detail. He is therefore simultaneously repulsive and also intriguing, he is even described as ‘beautiful’ by Mina later in the novel. . Consider how the character has been presented as all these things at once and ask the children to reflect on how this may compare with other main characters that feature in the books that they have read, considering if characters are usually portrayed in a way in which makes you feel disgusted or not. The children may reference characters such as ‘The Twits’ who are portrayed as disgusting but for comedic effect or someone like ‘Mr Stink’ who is described as ‘stinking’ but in order to challenge children’s perceptions of homeless people. . Explore with the class their own reactions to the description of the creature and how the writing made them feel. Were they repulsed? Intrigued? Excited? Why? . Consider also how Skellig is presented as owl like, such as the reference to the pellets next to him that Michael discovers and the intrigue surrounding what is under his jacket. What does this suggest to the class about the nature of the creature and what he may be? How can we link our learning about birds and owls to the connections we are making about Skellig? . Following this, you could allow the children to sketch the garage and particularly Skellig again, reflecting what further details they have found out about him and what he looks like/could be. . These can be displayed alongside the original sketches the children made on the Working Wall.
Session 11: Creating a Shrine Box and Letter Writing
. Read aloud chapters eleven and twelve. Stop at different points, to clarify the children’s understanding and allow for discussion around what the children like, dislike, any patterns that they notice or any questions that it brings up. Again, reflect on the patterns and connections such as the reasons given for having shoulder blades and the further bird imagery featured in the novel. . In chapter 12 Michael’s baby sister is taken into hospital and this creates more anxiety for Michael and his parents. . Explain to the children that they are going to create a shrine box for Michael to take to his baby sister while she is in the hospital to allow her to hear the stories of his family and to keep the family close even when they are physically apart. . Explain to the children that this might include family photographs, notes and cards, a favourite poem or book, travel memorabilia or tickets, special items of clothing and a special toy. They can also decorate the outside of box. . Allow the children to work in partners or small groups and to create these shrine boxes, drawing or making the items that they think Michael may place in the box, for example drawing a family portrait or including a feather to symbolise Skellig. . Following this, ask the different groups to share their shrine boxes with each other, explaining the items that they have included and explaining why they think they would have significance for Michael, his sister and family. . The children can also write a letter to his baby sister in role as Michael, which will accompany the shrine box. In this letter the children can express Michael’s hopes and fears and also share his discovery of Skellig with her.
After this session you may wish to ask the children to consider their own shrine box, and what it might contain asking: If like Michael you could put your memorable objects in a box, what would go in it? Which official documents would tell us something about you? Are there any school documents that should go in the box? End of Year Reports? Certificates? What photographs would go in the box, what memories would they help you to save? Are there any small objects that could also go in the box, to remind you of significant episodes in your life?
You may wish to develop the work on Shrine boxes into biography and autobiography work. For example, the children could create an autobiography to go with the boxes they have made; for this it might be appropriate to break their life into smaller episodes or offer the opportunity for free writing around specific memories or responses to the items they have chosen to include. Or the children may want to interview a member of their own family to create a memory box that illustrates their own story; or they could put themselves in Michael’s shoes as he grows up and goes through life, looking back on what he might share when he himself is older.
Session 12: Readers Theatre
. Read aloud chapter thirteen in which Mina shows Michael the owls for the first time. . Stop at different points, to clarify the children’s understanding and allow for discussion around what the children like, dislike, any patterns that they notice or any questions that it brings up. . Following this, explore the text in groups using Readers Theatre. . Give the children the following sections of text:
Section 1: We were right inside the roof. It was a wide room with a sloping ceiling. The floorboards were split and uneven. Plaster had fallen from the walls. Light came through an arched window that jutted out through the roof. Glass was scattered on the floor below the window. You could see the rooftops and steeples of the town through it, and the clouds, turning red as the day began to close.
Section 2: I held my breath. The room darkened and reddened as the sun went down. ‘What will happen?’ I whispered. ‘Shh. Just watch. Wait and watch’. Then she trembled. ‘Look! Look!’
Section 3: A pale bird rose from some corner of the room and flew silently to the window. It stood there, looking out. Then another came, wheeling once around the room, its wings beating within inches of our faces before it, too, settled before the window.
Section 4: I didn’t breathe. Mina gripped my hand. I watched the birds, the way their broad round faces turned to each other, the way their claws gripped the window frame. Then they went flying silently out into the red dusk.
. Put the children in smaller groups and give the different parts of the text to the groups. Ask the children to complete Readers Theatre. The children can then work together to decide how to perform the text creatively: - Which parts might be read in unison? - Which bits might be read with one voice/two voices? - Which bits might be read loudly/softly/echoed? - Might you include sound effects? . Following their group work the children could now perform the work to the whole class, putting their separate sections together.
. After this, ask the children what language was highlighted during the Readers Theatre activity and consider together author intent and purpose in making the language choices that have been made. . In his extensive work as a renowned linguist and specifically in relation to the findings from The Buckingham Grammar Project, https://bucksgrammar.weebly.com/case-studies.html, David Crystal recommends supporting the children to apply the ‘Grammar Mantra’ when thinking about language and grammatical structures chosen by a writer: - What options were available? - Why was this one chosen? - What impact does it have on the audience? . You might support the children with prompts, such as: - I wonder what the impact of the different sentence structures employed have on you as a reader? - Why is the setting described in the opening paragraph? - How is the sense of the tension and anticipation the children feel, as they wait to watch the owls, built through the language choices? - How are the owls described to the reader? Can you imagine them in your mind’s eye? . This will enable you to explore authorial techniques and will provide valuable opportunity to explore and use meta-language meaningfully through reader response and will allow you to teach grammar in context.
Session 13: Discussion and Debate
. Read aloud chapter fourteen and fifteen, return to the Roles on the Wall that you have created for Michael and Mina and add to the information you know about them, for example ‘Michael has not attended school because he is worried about his sister’. Consider what this reveals about his personality or feelings, for example ‘he cares deeply about his sister and wants her to get better again.’ . Return to Mina’s notion of education and schooling, particularly her opinion that ‘schools inhibit the natural curiosity, creativity and intelligence of children’ or the Blake quote she references, ‘How can a bird that is born for joy/Sit in a cage and sing?’ . Ask the children to discuss why Mina may have this opinion of school and what she might mean when she quotes Blake. . Consider the experiences that Mina may have had which have led her to feel stifled by school and also to choose home schooling over formal education. For example, it is hinted at in the novel that she was bullied at school which may have impacted on her opinions. . Also consider if there are any experiences that the children have had where they have felt that their own creativity and curiosity may have been hindered, many children may be aware for example that over-preparing for examinations has narrowed their own curriculum. . Following this, reflect on Michael’s thoughts about school, such as his friendships and the personalities of the other children, his ‘dashing across the yard’ and ‘Miss Clart’s stories.’ All of which he enjoys and which enhance his experiences of school.
. Allow the children to reflect together on the aspects of school life that they enjoy and the aspects of school life they find more challenging. Consider if they like the same things or different things about school life. . Following this, lead the children in a discussion which considers how they learn best, considering how different people have different ways of working that suit their own needs and personalities. Such as preferring to work in silence, with music, background noise, in groups, with a partner, in the morning, in the afternoon, outside, inside etc. . This discussion should support children in evaluating their own learning, support them in the run up to statutory testing and in reflecting on their transition to secondary school.
Session 14: Making Clay Models
At this point you may want to begin some cross-curricular work focused on William Blake, his poetry and his artwork that would support the children’s understanding of the wider themes and context of the book.
. Read aloud until the end of chapter nineteen. Continue to examine the characters and their relationships and allow the group to return to the ‘Tell Me’ grid and the Roles on the Wall. . Inspired by Michael and Mina’s clay work, the children can explore the same techniques producing their own clay birds. The children can return to their observational sketches and photographs to create these models. . Ask the children to consider what the bird will be doing in the model that they create. For example, will they form the bird in flight, stationary, on a branch, in its nest or searching for food? Will they shape the bird with its wings spread or tucked under, why? What details will they add to create the illusion of feathers? How will they mould the eyes and the beak? Will they be able to add a sense of movement into the model? Allow the children to experiment with different ideas before committing to a final design. . Allow the children to explore the clay and to play with the clay to create different shapes and effects, before beginning to form their own clay model based on their observational sketches and photography. . The children can choose the species of bird that they would like to create and can decorate it once the clay has air dried or has been fired. . They might also be inspired by the works of artists who work with clay such as Phoebe Cummings, Grayson Perry and Rachel Whiteread. . After the children have created their birds they could create captions or short poems to accompany their models. To support this, you may want to refer to the book The Lost Words by Robert Macfarlane and Jackie Morris (Hamish Hamilton). . There has been much debate over the gradual removal of words related to the natural world from children’s dictionaries due to this vocabulary reducing in relevancy to young people’s lives. The book therefore celebrates words linked to the natural world that are in danger of disappearing. The book works beautifully to record the absence of the creature or plant, then the ‘charm’ or poem is written as an acrostic, and then the summoned creature or plant is depicted, set against a gleaming background of gold leaf. The charms are meant to be read aloud. . Once you have explored the book more generally, consider the poems, or charms, that relate to birds such as the heron, the kingfisher, the lark, the magpie, the raven, the starling and the
wren. If you are unable to source a copy of the book, you can access several of the pages for free here: https://www.johnmuirtrust.org/initiatives/the-lost-words . Allow plenty of time for the group to read and discuss the charms. You may want to use these prompts to support their discussion: - Read with the eye: look at the poem laid out on the page. Look at a poem as you would a painting, a photograph, a sculpture. What does it look like? - Read with the ears: read aloud poems that appeal – hear their ‘music’, their sound. - Respond to what is unique: read a poem at least twice – finds its heart, an idea, a feeling. Benton and Benton (1999) . Following this exploration, the children can write their own poems celebrating the birds that they have depicted in clay inspired by The Lost Words. . Allow the children to return to their observational sketches and research to support their writing thinking about what they would like to communicate about this bird to those viewing their art work. . Give the children time to draft, edit and publish these poems and to consider how they might present them alongside the models that they have created.
If you wanted to explore the book further beyond the session an ‘explorer’s guide’ to the The Lost Words containing a wide variety of activities can be found here: https://www.johnmuirtrust.org/assets/000/002/837/LOST_WORDS_Explorers- Guide_original.pdf?1515059070
Session 15: Writing in Role
. Read aloud chapters twenty until the end of chapter twenty-three. Continue to examine the characters and their relationships and allow the group to return to the ‘Tell Me’ grid and the Roles on the Wall. . Reflect on the further considerations that the children can make about the creature and what he is, considering also the children’s response to his name, Skellig. Asking: is this what they expected or imagined? What do they think it could mean? Have they heard this name before? What does this name make them think of? Can they make any connections to it? What do they think of the sound of the name? Do they like it? Why? Why not? Does it suit the character? . Explain that the children will now be writing in role as one of the characters, to reflect their experiences and viewpoint at this moment in the text. . You may want to assign different children the different characters or you could allow the children to choose the character that they would like to inhabit, either writing as Skellig, Mina or Michael. . Before the children write in role, give them time to look over all the different work completed in the sessions, such as the Roles on the Wall to gain a sense of the character that they will be writing in role as. . Also spend time re-reading and text marking these chapters in order to compare and contrast the characters’ different feelings and perspectives.
. For example, Mina is described as having ‘mouth and eyes gaping astonishment’ when she first sees Skellig. She also asks him lots of questions that Michael hasn’t and perhaps ask the questions the reader has themselves. Mina isn’t scared to touch Skellig and tries to make sense of what she is observing, such as drawing on her scientific knowledge of calcification and ossification to explain what she can see. Simultaneously she thinks Skellig is ‘an extraordinary being’ and describes him as ‘beautiful’. Therefore, she shares Michael’s sense of awe and wonder at finding this unexpected creature in the garage. . In contrast, Skellig initially seems quite annoyed by Mina, replying to her questions in a sarcastic manner, such as calling himself ‘Mr had enough of you’ or asking Michael to ‘take her away’. He also sighs and groans at the children’s comments and observations, only resigning himself to being moved as the children plead with him so much. . Michael has much more of an emotional response to Skellig in this section of the novel, initially feeling relief that Mina can also see the creature, as he worries that ‘dreams and truth were just a useless muddle in my mind’. He also shares his fear that Skellig will just sit in the garage and die and cries at the thought of this. As this section progresses, he becomes more resolute in his determination to ‘save’ Skellig. . After you have spent time considering the different characters’ perspectives, ask the children to think about retelling part of the story in role as one of these central characters, considering how their version of the event would start and what details and observations they would include based on the textual analysis you have completed. . Give sustained writing time for the children to plan, draft and write, this may need to be supported in group writing sessions or through shared and modelled writing first. . At the end of the session allow time for the children to read aloud their writing, so that they can hear the different ways in which each person experienced the same event.
Session 16: Book Talk, Textual Analysis and Visual Approaches
. Read aloud chapter twenty-four and allow the children to respond to the revealing of Skellig’s wings, allow the group to return to the ‘Tell Me’ grid, particularly considering if they have answered any questions, if they have any new questions and what further connections they can make across the novel and also with other stories, events or knowledge that they have. . Return to the ways in which Skellig is described to the reader across this section of the novel, particularly the way in which more of what he looks like is revealed slowly to Michael and Mina and therefore the reader. (Use appendix 1 to support this.) . Return to the grammar mantra to support the children’s considerations of Skellig and how David Almond has shaped the character for the reader. Considering: What do you feel the author’s intent was? What was the impact on you as readers? How did he achieve that impact? What grammatical structures and devices has he employed? . Ask the children to compare their initial considerations of Skellig (before they even knew his name) and their initial sketches of him with how they visualise Skellig now. Considering if they visualise something similar or different. Ask the children to reflect on why their impression of him may have changed as the novel has unfolded.
. Ask the children to create a final ‘impression’ of the character Skellig using their text marking to support their visualisation. You may want the children to sketch this as they have done previously, or you may want to encourage the children to work in groups to create a representation of the character. Some children may want to use the same techniques as they did when creating their clay birds or some children may want to explore other artistic media. . Allow the children time to create their versions of Skellig and then to create a display of these, alongside the other artwork you have created throughout this sequence. . Once the children have made their models allow the children to free write in response to the impression that they have created. The children may want to write in role as Mina or Michael again, they may want to write poetry, or a further letter to Michael’s baby sister, or perhaps just a stream of consciousness, ‘seeing into the place where dreams come from’ as David Almond puts it.
Session 17: Double Bubble and Letter Writing
Teachers should be aware that during their conversations at school and on the playground in chapter twenty-seven, the characters Leaky and Michael use the word bollocks.
. Read aloud chapters twenty-five to thirty. Stop at different points, to clarify the children’s understanding and allow for discussion around what the children like, dislike, any patterns that they notice or any questions that it brings up. . Consider with the class the way in which Michael’s time off school and his new friendship with Mina has created tension and jealousy amongst both the friendship groups, causing him to fall out with his old friend Leaky as well as with Mina. Allow the children to respond to this, to make any connections where appropriate to their own experiences and allow them to empathise with Michael. Return to the Roles on the Wall for Michael and Mina and add further information and inferences about their feelings and personalities. . Following this, consider Michael’s longer standing friendship with Leaky and the similarities and differences between Leaky and Mina. . Complete ‘double bubble’ where the group compare the characters. This could be done in small groups or pairs on A3 paper. . Create a Venn diagram and place the characters’ names in the diagram. Then establish in the centre of the diagram the similarities that the characters share and then the group can establish the differences between the characters. This is also opportunity to explore the range of adjectives used, not only the impact of synonyms in creating nuanced meaning but also recognising the role of antonyms when comparing and contrasting characters. . Following this, ask the children to imagine that they are going to write a letter to Michael at this point in the story, either in role as Mina or in role as Leaky. Explaining their feelings and apologising for the falling out that they have had. . You may want to suggest that the letters also advise Michael on how to handle the situation he is faced with, what to do, who to speak to, but also to be sensitive to his feelings and his fears. . Give the children time to discuss this in their groups and the take feedback and responses from the class.
. Allow the children time to write a letter to Michael, considering his worries about the baby and the impact that this must be having on him. Support the children to structure their thinking, develop advisory voice and use metalanguage in context through shared writing and writing conferences. . As a class, read out the letters and respond to them as readers. As an extension of this activity, you could ask a parallel year group or a teacher to reply in role as Michael, considering the children’s advice and apologies.
Session 18: Freeze Frame and Textual Analysis
. Read aloud chapter thirty. Stop at different points, to clarify the children’s understanding and allow for discussion around what the children like, dislike, any patterns that they notice or any questions that it brings up. . Read the opening of chapter thirty-one in which the children look for Skellig, until ‘Listen to the deepest deepest places of the dark’. . Read this section again and ask the children to consider, how does it make you feel? Why? How has David Almond conveyed the character’s emotions and the atmosphere in the house? . Re-read the text and give out copies to the children and ask the class to consider the way it looks on the page. Ask the children to reflect on what they notice and to use the Grammar mantra to support their discussions: what do you feel the author’s intent was? What was the impact on you as readers? How did he achieve that impact? What grammatical structures and devices has he employed? Does it remind you of anything you have experienced before as a reader? . The children may notice that David Almond tends not to use fronted adverbials to set a scene but often starts with noun or pronoun, in this case the repetition of ‘we’ suggesting that Mina and Michael are acting as one person now, which is directly echoed later in the chapter when the children and Skellig fly together. It also suggests their breathless anticipation as they climb the stairs to the top of the house. . The children may also note that the writing is often active in tone and structure, emphasised through the use of short sentences and the pattern of three. . Read on in the text until ‘he touched our heads’. Again, stopping at different points, to clarify the children’s understanding and allow for discussion around what the children like, dislike, any patterns that they notice or any questions that it brings up. . Following this, ask the children to work in groups of three to create freeze frames or tableaux of Mina, Skellig and Michael as they are ‘flying’ together. You may want to re-read the section of the text from ‘He stepped sideways’ until ‘Then it was over’ several times as the children are deciding on their tableaux. . Once the children have decided on their tableaux, complete thought tracking. Invite different members of the class in role to voice their thoughts or feelings aloud using just a few words. This can be done by tapping each person on the shoulder or holding a cardboard 'thought- bubble' above their head. . Reflect on what the class have heard and compare and contrast the different characters’ thoughts and feelings. You may also want to ask the children to imagine and role-play what
the different characters would be saying rather than thinking, asking: would this be the same or different? Why? . Read on until the end of the chapter and allow the children to respond to the events and the things that they have heard.
Session 19: Book Talk
. Read aloud from chapter thirty-two, stopping at the end of chapter thirty-six. In these chapters it is revealed that Michael’s baby sister has to have a heart operation and at the end of chapter thirty-six, his dad arrives home suddenly, suggesting something terrible has happened. Look at this ending with the children and examine the way in which this tension and suspense is built. For example, asking why do you think the word ‘increased’ is repeated several times? What impact does this have on you? . Read to the end of the novel, stop at different points, clarifying their understanding and allow for discussion around what the group like, dislike, any patterns that they notice or any questions that it brings up. . Discuss children’s responses to the ending of the book. . Ask the children to consider the events that have unfolded, how Michael has reacted to them and to infer what this tells us about his character. Return to the Role on the Wall for Michael to reflect on the final events in the novel. . You may also want to use some of Aidan Chambers’ ‘special questions’ to explore the children’s responses to the novel as a whole: - Think of yourself as a spectator. With whose eyes did you see the story? - Did you only see what one character in the story saw, or did you see things sometimes as one character saw them and sometimes as another and so on? - When you were reading the story, did you feel it was happening now? Or did you feel it was happening in the past and being remembered? - Can you tell me anything in the writing that made you feel like that? - Which character interested you the most? - Is that character the most important in the story/ or is it really about someone else? - Which character(s) didn’t you like? - Did any of the characters remind you of people you know? Or remind you of characters in other books?
. Return to page 131 and the passage in which Mina and Michael reflect on who or what Skellig could be:
‘Sometimes we just have to accept there are things we can’t know. Why is your sister ill? Why did my father die? She held my hand. Sometimes we think we should be able to know everything. But we can’t. We have to allow ourselves to see what there is to see, and we have to imagine.’
. Ask the group what they think of this idea. What do you think about the character of Skellig? What does Michael think of him? Is it possible he has been sent to look after the children in their hour of need? What have they seen? What have they imagined or dreamed? . The children may also make connection to the recurring theme of dreaming and sleep walking throughout the novel. Some references you may want to revisit on re-reading are found on pages 59, 71, 79, 81, 133, 149 and 167. . David Almond’s writing often invokes angels such as in Harry Miller’s Run, The Tale of Angelino Brown, and stories from Half a Creature from the Sea, as well as encounters with the dead or other figures that evoke Magic Realism, although David Almond denies that he is a writer of fantasy. Like many other children’s authors, including Marcus Sedgwick and Philip Pullman, he is also influenced by the thinking of William Blake, the poet and painter who had visions of angels. You may want to discuss this with the children in reflecting on their understanding and interpretation of the story. . You may also want to share David Almond’s own reflections on the story and his inspiration: http://davidalmond.com/skellig/
Sessions 20-25: Creating an Illustrated Version of the Text
. Once you have read the novel you may want to support the group to complete writing based on the ideas explored through the text. . Explain that the children are going to write the story but from another character’s perspective, for example in role as Mina, Skellig or perhaps as one of Michael’s parents. . Creating an illustrated version of the story will also allow children to further explore the visualisation and artwork that they have completed during the course of the sequence. . Before beginning this you may want to explore other books by David Almond in which an illustrator has drawn images to accompany his text. For example, Dave McKean, Alex T. Smith or Levi Pinfold. . You may also want to share insights into David Almond’s creative process, which uses notebooks and drawing. Supporting resources can be found on the following websites: - http://davidalmond.com/on-writing/ - http://www.scottishbooktrust.com/learning/learning-resources/resource/david- almond-the-writing-process-from-notebook-to-novel.
. Give the children time to explore ideas and to sketch initial ideas alongside developing their writing. They do not need to write first and then draw the illustrations, as drawing alongside the writing will support their creative writing process. . Ask the children to write a first draft of their story considering: - What authorial tone and voice will you use? - Where will your story sit on the register of formality? - How will this determine the language/ sentence structure you use?
. Once the children have completed a first draft they could work with response partners to edit and refine the work. . The group can then swap partners and work with an editing partner who supports the editing process by giving them time to read their work aloud. Children will now support each other with transcription proof reading, looking at spelling, punctuation and grammar. . The class can then write up final copies and publish them, including taking time to produce final illustrations. Once the class have published their work, it can be placed in the reading area or in the school library.
Ideas for different book making techniques can be found in Get Writing! (Ages 4-7) by Paul Johnson (A&C Black). There are also resources available on the CLPE Power of Pictures website: https://www.clpe.org.uk/powerofpictures/creative-approaches/bookmaking