Overall Curriculum Map 2020-2021: English

End of year skills & Seminal World Literature Poetry Canonical classic Shakespeare Knowledge Key Knowledge: 1. To begin to understand concepts/ ideas and the

Lord of the Flies Relationships Oliver Twist The Tempest bigger picture of different writers and different time 7 Very Important Points bespoke to the Unit: Very Important Points (building on skills from Unit Very Important Points (building on skills from Units 1 & 2) Very Important Points (Builds on all year group skills) periods. INTRODUCE, BEGIN, APPLY, FORM, IDENTIFY. 1) DEEPEN, REVISIT, BROADEN, MASTER, REVISIT, MASTER, REVISIT. 2. To introduce students to relevant myths and DEVELOP, REVISIT, CONSOLIDATE, UNDERSTAND. legends (Linked to the theme of Conflict) • Aspects of structure only (opening/ ending) • Introduce the 5-minute journey plan for • Introduce Critical viewpoint scenarios by 3. Demonstrate understanding of motifs, symbols • Introduction to Show Not Tell. • Poetic conventions introduced. narrative writing. introducing supporting student and concepts. • Write effective narrative openings. • Develop knowledge of structure through • Develop knowledge of structural features from statements and then: How much do you 4. Apply the spelling patterns and rules set out in • Introduction to ISMELL through Imagine poetry form. different points of a text, not just beginning or agree? questions the English Appendix in the English Programmes of statements only. • Single poem analysis in written form. end. • Introduce dramatic conventions and how Study. • Language analysis. • Comparison of poetry through discussion • Introduce different structural features such as these support meaning and concepts of a • Figurative language through writing. only. perspective shift, time shift, zoom and pivotal text. • Summary skills through discussion only. • Introduce ideas on the shape and simple moment. • Introduce ensemble based drama Reading skills: • Tier 2 Vocabulary linked to text(s) rhyme schemes within the poems: ABAB, • Broaden skills and knowledge of motifs and activities which support learning. 1. Decode explicit meanings from a text. • Identify features of non-fiction texts: letter, AABB, half-rhyme, free verse. extended metaphors through reading texts • Develop regular opportunities for 2. To be able to form an opinion on a wide range of speech and article. • Begin to analyse language through single studied and embeddeding in creative writing. students to rehearse and perform key texts and ideas. 4. Begin to form implicit inferences from a text. • Introduce a variety of myths, legends and word focus and connotations by • Further develop Imagine statements that scenes from the play. 6. Use evidence from all texts to support choices. allusions linked to the text such as The exploding relevant phrases and contrast perfect scenario with worst case • Revisit and master structural features of 5. Develop an appreciation and love of reading Garden of Eden, Adam and Eve. quotations. scenario. a whole text: beginning, middle and end. through a range of challenging texts. • PCD activities will compliment knowledge, • Poety references and Tier 2 Vocabulary • Plan and construct a persuasive speech. • Master final stages of ISMELL non-writing 6. Read a wide range of fiction and non-fiction, skill and context from this unit and previous to inspire creative writing. • PCD activities will compliment knowledge, skill strategy to include cyclical structure and including in particular whole books, short stories, primary learning on SPAG and word types. • Introduce students to experimenting and context from this unit and previous unit. contrasting Imagine statements. poems and plays with a wide coverage of genres, • Answer weekly VIP assessments which with and writing their own poetry. • Answer weekly VIP assessments which • Master the narrative structure by historical periods, forms and authors. rigorously and repeatedly test short, • Introduce motifs and extended rigorously and repeatedly test short, medium polishing cyclical structure, embedded 7. Introduce comparison skills through discussion. medium and long term knowledge and metaphors in creative writing. and long term knowledge and understanding of motifs and extended metaphors, 8. Understand the purpose, audience and context of understanding of key contextual, • Introduce Imagine statements from the key contextual, conceptual, historical, political, figurative language and Show not Tell. all texts studied. conceptual, historical, political, allusional ISMELL non-fiction writing strategy. allusional and social factors of the text but also • Revisit poetry references to use in 9. Learn Tier 2 Vocabulary which is linked to the and social factors of the text but also • Develop new myths, legends and understanding of the writers’ choice of creative writing. range of texts studied and apply to contextual understanding of the writers’ choice of allusions linked to the text. language, vocabulary, spelling and vocabulary • Develop exam stamina nd resilience for understanding. language, vocabulary, spelling and • Plan and construct a formal letter. and questions linked to key characters, themes all students taking their end of Year 10. Idenity some poetic conventions and understand vocabulary and questions linked to key • PCD activities will compliment and plot devices. English exam. how these have been used. characters, themes and plot devices. knowledge, skill and context from this • PCD activities will compliment 11. Begin to read a text critically by understanding unit and previous unit. Knowledge and Context: knowledge, skill and context from this some of the effects of setting, plot and character. Knowledge and Context: Deepen short term and long term recall of key ideas, themes unit and previous unit. • Answer weekly VIP assessments which 12. Begin to understand aspects of structure in the Begin to develop short term and long term recall of key and concepts of Dickens the writer: • Answer weekly VIP assessments which rigorously and repeatedly test short, texts studied. ideas, themes and concepts of Golding the writer: Society and Class, Poverty, Criminality, Child abuse, Nature vs rigorously and repeatedly test short, medium and long term knowledge and 13. Develop short to long-term recall of key ideas and Democracy vs dictatorship; Civilisation vs savagery; The Nurture, Religion, Contrasting Regions, Fate and Free Will medium and long term knowledge and understanding of key contextual, themes in the texts studied. loss of innocence; The consequences of war; Human ,Identity, the failure of charity. understanding of key contextual, conceptual, historical, political, allusional 14. Practice spelling rules and strategies learned in nature; Good vs evil; Class system; Nazi Germany, the loss Revisit knowledge, themes, skills and context from previous conceptual, historical, political, allusional and social factors of the text but also each unit and through regular spelling tests and of the British Empire. units in PCD activities and to support new conceptual and social factors of the text but also understanding of the writers’ choice of interleaved PCD questions. Begin to form explicit inferences and opinions about the learning. understanding of the writers’ choice of language, vocabulary, spelling and texts studied. Develop explicit and implicit inferences about the texts language, vocabulary, spelling and vocabulary and questions linked to key Begin to form implicit inferences about the texts studied. studied. vocabulary and questions linked to key characters, themes and plot devices. Creative Writing skills: Identify symbolism, allegory foreshadowing, motif, tone. characters, themes and plot devices. Knowledge and Context: 1. Create a range of figurative language including Apply knowledge of writers’ methods: simile, metaphor, Supporting non-fiction texts to embed context: Further develop short to long term memory of key similes, metaphors, alliteration and personification. personification, imagery, alliteration, pathetic fallacy, Sketches from Boz, The Charity workers extract from A Knowledge and Context: ideas, themes characters and concepts of the poets: 2. Understand and apply different narrative juxtaposition. Christmas Carol. Begin to develop short term and long term recall of key Identify a range of poetic conventions. perspectives. ideas, themes and concepects of Shakespeare the Develop effects of language and become more forensic 3. Apply understanding of a motif in creative writing. Supporting non-fiction texts to embed context: Reading: writer: in single word analysis. 4. Apply and transfer Tier 2 Vocabulary from A text from the Telling Tales short story anthology. Develop structural features over a whole text or extract, not Jacobean supersitions and the supernatural, freedom Form explicit, and in some cases, implicit inferences and previous reading units into creative and transactional just from a certain point. and Confinement opinions about the texts studied. writing. Reading: Introduce structural methods such as: Empathy, Forgiveness, Justice, Repentance Develop knowledge of writers’ methods: simile, 5. Develop Show not Tell character description. Identify aspects of structure through (openings and metaphor, personification, imagery, alliteration, pathtic Perspective shift, time shift, pivotal moments, exposition, Nature vs Nurture. endings) using film/ media as inspiration. Exposition. fallacy, juxtaposition, extended metaphor and motif. denoument. Gender roles and religion. Homilies of Marriage.

Introduce summary skills focused on a single text. Revisit knowledge, themes, skills and context from Use video clips as examples of interesting structure and link to Stereotypes which exist around gender. 4. Understand how to plan and structure an effective Develop knowledge of key words, phrases and references previous units in PCD activities and to support new cyclical structures from writing. Introduce Shakespeare timeline (life, key dates, narrative using the 5 minute journey plan. from the texts. conceptual learning. Deepen knowledge of poets’ and writers’ methods: simile, information, society, events, works) settings of 16th 5. Understand how to create different character Begin to explain effect of language and connotations of metaphor, personification, imagery, alliteration, pathetic Century England. types and their function in a text. particular words. Poems covered in the Love & Relationships anthology: fallacy, juxtaposition, foreshadowing. Introduce setting, plot and characterisation and the 7. Understand how to create dialogue in creative Select and retrieve important evidence from texts studied. Valentine; Out Out! Nettles; I Wanna Be Yours; Sonnet effects of these. writing. 18; Sonnet 130; This Room; Brothers, Love after Love, Revisit knowledge of The Globe theatre from KS2 8. Understand basic plot structures. Writing: The Door, Grandfather, Jabberwocky, Flag. Writing: education. 9. Edit, proof-read and re-draft examples of writing. Create an effective narrative opening. Introduce the 5 minute plan of a narrative so students begin Students will develop an understanding of how the play Introduce figurative language through descriptive writing Supporting non-fiction texts to embed context: to plan a full narrative journey. is communicated through performance. Non-fiction writing skills: linked to imagery of the island and the weather. Health Fanatic, Great Expectations Chapter 8 extract, Broaden knowledge of different motifs from poetry unit now Alternative staging for different interpretations. 1. To recognise and apply features of a letter, speech Understand different narrative perspectives Against Romance: An Un-Valentine, Social Media: introduced into their own creative writing examples. The use of staging, costume and lighting for effect and and article. Introduce Show Not Tell/ Show Tell 3. Negative influences. Cycical structure. to promote the concepts and ideas of the writer. 3. To identify and apply a range of persuasive Introduce Purpose, Audience and Form. Further develop Imagine statements that contrast perfect Mood, silence and action to add impact. devices. Learn features of a formal letter. Reading: scenario with worst case scenario. Shakesperian insults. 4. Introduce figurative language examples in a Develop opinions. Understand how structure presents meaning- read Build on initial ISMELL strategy from Unit 1 by introducing Introduce dramatic conventions such as soliloquy, stage transactional setting through developing Imagine Introduce Imagine, Imagine, Imagine statements for the different forms of poetry: sonnet, dramatic monologue. further strands on Ecomic, Enviromental. Legal. directions and the importance of costume. (liaise with statements that contrast perfect scenarios with ISMELL strategy. Identify some rhyme sctuctures. Introduce figurative language in a transactional setting. Drama to see when they introduce these ideas) worst-case scenarios. Identify some structural devices:fragmented lines, Learn features of a speech. and perfect long term recall of key ideas, themes and caesura, enjambment. Introduce rhetorcial and stylistic features. concepts of all writers over the full acadmic year. Character and resilience Character and wider development: Construct a persuasive speech 1 Use Standard English in an informal context, Standard English, rehearsing and performing extracts from Writing: Develop Imagine statements in the opening of a persuasive Supporting non-fiction texts to embed context: including structured classroom discussions. the text, using intonation, tone and volume, Experiment with writing poetry with varying rhyme speech. Extracts from Montaigne’s Of the Cannibals. 2. Use a dictionary effectively when learning new Informal debates and structured discussions. structures and conflict-themed. Travel Literature (tempests off Bermuda that wrecked vocabulary. Short speeches and presentations expressing own ideas. Introduce motif and extended metaphor in narrative Character and wider development: British ships travelling from Plymouth) 3. Use a thesaurus effectivey when acquiring a Hot seating as characters from the text. writing. Standard English, rehearsing and performing extracts from Homilies on Marriage, Lisa Jardine ‘Harping on broader vocabulary bank. Plan and deliver short speeches and presentations Introduce vocabulary from the Relationships poems as the text, using intonation, tone and volume, Daughters’ 4. Rehearse and perform extracts from the texts expressing personal ideas and opinions.. stimulus to creative writing. Informal debates and structured discussions. studied. Work collaboratively in a group or team on a particular Further develop figurative language linked to the Short speeches and presentations expressing own ideas. Reading: 5. Participate in a range of drama-focused activities area of research/ context on the text studied. weather and settings. Create examples of pathetic Hot seating as characters from the text. Introduce critical viewpoint. To what extent do you and strategies in realtion to the key themes, fallacy. agree? Questions or scenarios linked to key character characters and ideas from the texts studied. Spelling, Punctuation and grammar: Embed Show Not tell and Show tell 3 when describing Spelling, Punctuation and grammar: actions 6. Collaborate ideas as a team in structured pairngs Revisit all punctuation marks in PCD and low-stakes testing. characters linked to images from the poems and theme Revisit all punctuation marks in PCD and low-stakes testing. Revisit structural features over the opening, ending and and groupings. Learn key Tier 2 vocabulary linked to text studied. of conflict. Learn key Tier 2 vocabulary linked to text studied. whole text. 7. Participate in extended reading and writing Understand the etymology of key vocabulary. Facts and statistics. Understand the etymology of key vocabulary. Develop understanding of new myths, legends and activities in a classroom and exam setting. Revisit the following grammatical terms from KS2: Construct a formal letter. Revisit the following grammatical terms from KS2: allusions linked to the text: Pandora’s Box. 8. Create a short speech or presentation which Vowel, consonant, subject, object. Introduce elements of ISMELL non-fiction writing morphology, possessives, etymology, finite verbs, homonymn, expresses ideas. strategy- individual and society paragraphs. homophone, infinitive, modifier, subjunctive. 9. Answer questions maturely and responsibly in Age appropriate vocabulary Introduce Imagine statements in the opening of a letter. Writing: classroom settings. Dystopian, allegorical novel, Fear, Democracy, Dictatorship Age appropriate Vocabulary Embed motifs and extended metaphors into narrative 10 Experiment with intonation, tone and volume Human nature, Microcosm, Primitive, Violence, Character and wider development: Vulnerable, brutal,corrupt, villain, protagonist, antagonist, and descriptive writing. during drama activities. Innocence,Morality, Satanic Standard English, rehearsing and performing extracts malicious,victim, naïve, society, Victorian, unsanitary, Further developing effective cyclical structure. 11. Drop everyting and read at various points in the Society, Anarchy, savage, immoral. (more to be added) from the text, using intonation, tone and volume, industrial, slum, bleak, society, harsh, workshouse, treachery, Complete ISMELL writing strategy by revisiting opening academic year. Drop everyting and read for 10 Informal debates and structured discussions. deception, parish, culprit, wretched, impregnated, odour, and ending though carefully crafted cyclical structures. mintes at the start of one lesson every fortnight to Short speeches and presentations expressing own ideas. filth, magistrate. Construct an engaging article. further develop a love of reading. Crafting Brilliant Sentences activities and worksheets: Hot seating as characters from the text. Introduce the final cyclical structure contrasting Nouns Plan and deliver short speeches and presentations statements and the focus on Dystopian and Utopian Adjectvies expressing personal ideas and opinions.. Crafting Brilliant Sentences activities and worksheets: ideas. Verbs Work collaboratively in a group or team on a particular Main clauses Deepen student planning skills for both creative and Adjectives area of research/ context on the text studied. Subordinate clauses non-fiction writing. Relative clauses Plan and construct an engaging article. Spelling Rules bespoke to this unit: Spelling, Punctuation and grammar: Coordinating conjunctions Rule 1: Change ‘y’ to ‘i’ and add ‘es.’ (family/ families) Rule 2: -ly words ‘c’ makes/ sounds like ‘s’ (necessary) Interleave Tier 2 Vocabulary from this and previous unit Character and wider development: Rule 3: Commonly misspelled homophones/ half- of learning to deepen understanding of context and Spelling Rules bespoke to this unit: Standard English, rehearsing and performing extracts homophones (there/ their/ they’re) knowledge. Rule 9: Words with the ‘k’ sound spelt ‘ch.’ (character) from the text, using intonation, tone and volume, Rule 4: Drop the ‘e’ add ‘ing.’ (challenge/ challenging) Revisit the following grammatical terms from KS2: Rule 10: Words with the ‘s’ sound spelt ‘sc.’ (science) Informal debates and structured discussions. stressed and unstressed vowels, synonym and Rule 11: Hard and soft ‘c’ sounding words (carrot/ ceiling) Short speeches and presentations expressing own ideas. antonym, auxiliary verbs, pronouns, determinors, Rule 12: Words ending with ‘g’ sound spelt ‘gue.’ (league) As a whole class, participate in Whoosh! Plot-based ellipsis, drama activities. compound words. Revisit Hot seating Prosepro, Miranda and Caliban. Conscience alley for key characters. Age appropriate vocabulary

spite, Cortina, curious, kissogram, lattice, antiseptic, Partake in and practise regular extended reading and elation, parade, windmill, absorb, satin, clang, onion, writing activities in exam-conditoned settings in rueful, weave, wilt, slashed, twinkled, devotion, outcry, prepration for the end of year full assessment which ambled, possessive, fury, threadbare, feast, recruit, tests knowledge, skills and understanding from all units yacht, faithful, platinum, scent, Olympic, regiment, and texts studied. improbable, yarn, calloused, gnarled, honed.

Crafting Brilliant Sentences activities and worksheets: Spelling, Punctuation and grammar: Imperatives Revisit all punctuation marks in PCD and low-stakes Participles testing. The passive voice Learn key Tier 2 vocabulary linked to text studied. Understand the etymology of key vocabulary. Spelling Rules bespoke to this unit: Revisit the following grammatical terms from KS2: Rule 5: Silent ‘k’ words (knight) Participle,preposition, present participle, prefix, suffix, Rule 6: Present tense verbs changed to past with a singular, plural. double consonant (occur/ occurred) Rule 7: ‘i before e’ and ‘i before e except after c.’ Age appropriate vocabulary (believe/ receive) Elizabethan, Jacobean, colonialism, usurp, tempest, Rule 8: ‘ou’ sounding words (couple, young) treason, callous, pathos, tragicomedy, belittle, colonial, native, technology, supernatural, audience.

Crafting Brilliant Sentences activities and worksheets: Semi-colons Colons Dashes Speech

Spelling Rules bespoke to this unit: Rule 13: Words ending with ‘que’ that sound like ‘k.’ (antique) Rule 14: Words which end in the suffix ‘ous.’ (dangerous) Rule 15: Silent ‘t’ ‘c’ and ‘h’ words. Rule 16: Commonly misused words (no one) Revsisit all spelling rules in preparation for end of year assessment. Key Knowledge: 1. To further develop understanding and insights into Of Mice and Men Cultural Identity Animal Farm Romeo & Juliet concepts/ ideas and the bigger picture of different 8 Very Important Points bespoke to the Unit: Very Important Points bespoke to the Unit: Very Important Points bespoke to the Unit: Very Important Points bespoke to the Unit: writers and different time periods. INTRODUCE, BEGIN, APPLY, FORM, IDENTIFY. 2. To introduce students to relevant myths, legends • Gain a knowledge and understanding of • Gain a knowledge and understanding of • Gain a knowledge and understanding of and allusions that link to texts studied and also • Gain a knowledge and understanding of the poets’ big ideas, messages and Orwell’s big ideas, messages and concepts of the Shakespeare’s big ideas, messages develop knowledge of previous ones form Year. Steinbeck’s big ideas, messages and concepts of why they wrote their works why he wrote the novel and his political stance and concepts of why he wrote the play 3. Demonstrate understanding of motifs, symbols concepts of why he wrote the novella and and the contextual and political ideas at the time of its writing. works and the contextual and political and concepts linked to the writers’ ideas and his political stance at the time of its writing. behind their poems. • Answer weekly VIP assessments which ideas behind his work. concepts over the four units. • Answer weekly VIP assessments which • Understanding and appreciating the rigorously and repeatedly test short, medium • Answer weekly VIP assessments which 4. Apply the spelling patterns and rules set out in the rigorously and repeatedly test short, marginalised voices of characters within and long term knowledge and understanding of rigorously and repeatedly test short, English Appendix in the English Programmes of Study. medium and long term knowledge and the poems. key contextual, conceptual, historical, political, medium and long term knowledge and Reading skills: understanding of key contextual, • Answer weekly VIP assessments which allusional and social factors of the text but also understanding of key contextual, 1. Decode explicit meanings from a text. conceptual, historical, political, allusional rigorously and repeatedly test short, understanding of the writers’ choice of conceptual, historical, political, allusional 2. To be able to form an opinion on a wide range of and social factors of the text but also medium and long term knowledge and language, vocabulary, spelling and vocabulary and social factors of the text but also texts and ideas. understanding of the writers’ choice of understanding of key contextual, and questions linked to key characters, themes understanding of the writers’ choice of 4. Begin to form with more confidence implicit language, vocabulary, spelling and conceptual, historical, political, allusional and plot devices. language, vocabulary, spelling and inferences from a text. vocabulary and questions linked to key and social factors of the text but also • Read the text critically by knowing how vocabulary and questions linked to key 6. Use evidence effectively from all texts to support characters, themes and plot devices. understanding of the writers’ choice of language, including figurative language, characters, themes and plot devices. choices. • Begin to read the text critically by knowing language, vocabulary, spelling and vocabulary choice, grammar, text structure and • Explore alternative views about 5. Develop an appreciation and love of reading how language, including figurative language, vocabulary and questions linked to key organisational features, presents meaning. Shakespeare and the conspiracy theories through a range of challenging texts. vocabulary choice, grammar, text structure characters, themes and plot devices. • Develop knowledge of new writers’ methods that suggest he plagiarised from other 6. Read with growing confidence a wide range of and organisational features, presents such as: Anthropormorphism, symbolilsm, contemporary writers. fiction and non-fiction, including in particular whole meaning books, short stories, poems and plays with a wide

• Make critical comparisons across texts: • Recognise and understand a wider range allegory, microcosm, fable, satire, irony, • Understand how the work of coverage of genres, historical periods, forms and OMAM; Invisible Mass of the Back Row, of poetic conventions and how they have omniscient narrator. dramatists is communicated effectively authors. John Steinbeck’s letter to an actress and The been used. • Develop understanding of critical through performance and how 7. Develop comparison skills through discussion. Hate U Give by exploring similar themes in • Further develop knowledge of structure perspectives: Communist, Socialist, Marxist. alternative staging allows for different 8. Understand the purpose, audience and context of each text. through structural methods such as • Make critical comparisons across texts the interpretations of a play. all texts studied. • Begin to understand critical perspectives caesura, enjambment and volta. supporting non-fiction texts by exploring simiar • Develop understanding of new myths, 9. Learn Tier 2 Vocabulary which is linked to the (feminist, new historicist, archetypal) • Further develop knowledge of shape and themes. legends and allusions linked to the text. range of texts studied and apply to contextual developing understanding from Unit 4 of rhyme schemes within the poems: ABAB, • Develop understanding of new myths, legends • Explore new dramatic conventions such understanding. Year 7 when students began to form critical AABB, half-rhyme, free verse. and allusions linked to the text. as: the role of a Chorus, Prologue, 10. Idenity some poetic conventions and understand viewpoints. • Single poem analysis in written form and • PCD activities will compliment knowledge, skills narrator. how these have been used. • Apply and transfer Tier 2 Vocabulary/ presentation form. and context from this unit and previous units, • Revsisit learning of previous dramatic 11. Begin to read a text critically by understanding poetic phrases from previous years/ terms • Construct comparative conceptualised including the Canonical Classic unit from Year conventions such as soliloquy, stage some of the effects of setting, plot and character. reading unit into creative and transactional openings of key poems from the 7. directions, asides, iambi pentameter, 12. Begin to understand aspects of structure in the writing. anthology which analyse concepts and • Apply and transfer Tier 2 Vocabulary from this sonnet. texts studied. • Develop an understanding of setting, plot, big picture messages. unit and previous units for improved ambitious • Develop dramatic conventions from Year 13. Develop short to long-term recall of key ideas and and characterisation, and the effects of • Develop language analysis through single vocabulary choices. 7 and how these support meaning and themes in the texts studied. these. word analysis and connotations/ • Further develop knowledge of writers’ concepts of text. 14. Revisit all spelling rules and strategies learned in Year 7 through regular spelling tests and interleaved • Further explore motifs and extended exploding quotations. methods: simile, metaphor, personification, • Develop ensemble based drama PCD questions. metaphors through the short story Invisible • Poety references and Tier 2 Vocabulary animal imagery, alliteration, pathetic fallacy, activities from Year 7 which support Mass of the Back Row and linked themes from this unit and Year 7 poetry unit to juxtaposition, semantic and lexical fields, learning. and concepts to OMAM. Motifs of slavery- inspire creative writing. onomatopoeia, colour symobolism and the use Creative Writing skills: • Develop regular opportunities for the heat, cane, defiance. • Develop writing of poetry in different of dialect and colloquialisms. 1. Create a range of figurative language including students to rehearse and perform key • Develop knowledge of writers’ methods: forms such as dramatic monologue or • Develop an understanding of setting, plot, and similes, metaphors, alliteration and personification. simile, metaphor, personification, animal sonnet. characterisation, and the effects of these. scenes from the play. 2. Understand and apply different narrative imagery, alliteration, pathetic fallacy, • Apply and develop motifs and extended • Students will develop an understanding perspectives. juxtaposition, semantic and lexical fields, metaphors in creative writing. Knowledge and Context: of how the play is communicated through 3. Apply understanding of a motif in creative writing. 4. Apply and transfer Tier 2 Vocabulary from onomatopoeia, colour symobolism and the • Develop new myths, legends and Introduce and develop short to long term memory of key performance. previous reading units into creative and transactional use of dialect and colloquialisms. allusions linked to the text. ideas, themes characters and concepts of Orwell the writer • Develop ideas on the use of staging, writing. • • PCD activities will compliment and compare and contrast to those of previous writers costume and lighting for effect and to 5. Develop Show not Tell character description. knowledge, skills and context from this studied: promote the concepts and ideas of the 4. Understand how to plan and structure an effective Knowledge and Context: unit and previous unit, including Year 7 Leadership and Corruption; control over the intellectually writer. narrative using the 5 minute journey plan. Begin to develop short term and long term recall of key poetry unit. inferior, propaganda, foolishness and naivety • Further develop a range of dramatic 5. Understand how to create different character ideas, themes and concepts of Streinbeck the writer and ,violence; pride and ceremony; dreams, hopes and future conventions such as soliloquy, stage types and their function in a text. compare and contrast to those of previous writers Knowledge and Context: plans; allegorical writing; Communism and Socialism; directions and the importance of 7. Understand how to create dialogue in creative studied: Further develop short to long term memory of key influences from World War II, corruption of Communist ideals; costume, entrances and exits. writing. The concept of the American Dream and how reality ideas, themes characters and concepts of the poets: how characters represent historical figures; Animalism; Stalin, • 8. Understand basic plot structures. defeats idealism; The Wall Street Crash; the role of migrant Oppression. Embed long term recall of key ideas, 9. Edit, proof-read and re-draft examples of writing. Workers; the Dust Bowl; the role of women in society; the themes and concepts of all writers over treatment of marginlaised characters such as Crooks, Reading: the full acadmic year. Non-fiction writing skills: Candy and Curley’s Wife; the role and treatement of black Identify a wider range of poetic conventions. Develop understanding of links between key extracts within 1. To recognise and apply features of a letter, speech black people in 1930’s America; the predatory nature of Develop effects of language and become more forensic the same text which are critical. Knowledge and Context: and article. mankind; tragedy, companionship and loneliness; fate; in single word analysis and recognition of structural Develop understanding of links over a range of texts that are Begin to develop short term and long term recall of key 3. To identify and apply a range of persuasive Nature v Man; the ecomomic climate and the history of features. thematically-linked. ideas, themes and concepts of Streinbeck the writer devices. slavery. Form more implicit inferences and opinions about the Explore implicit inferences and use appropriate evidence to and compare and contrast to those of previous writers 4. Introduce figurative language examples in a texts studied. support developing ideas. studied: transactional setting through developing Imagine Reading: Develop knowledge of writers’ methods: simile, Apply knowledge of summary skills across different texts. The etymology of Shakespeare’s language, conflict, statements that contrast perfect scenarios with Begin to make links between key extracts within the same metaphor, personification, imagery, alliteration, pathtic Analyse key words, phrases and references from the texts. Familial relationships; gender stereotypes; Patriarchal worst-case scenarios. text which are critical. fallacy, juxtaposition, extended metaphor and motif, Explain effects of language and connotations of particular society; the importance of religion, charatonymns,

Explore implicit inferences and use appropriate evidence foreshadowing, volta, colloquial language, caesura and words. hamartia, the tragic flaws of a character, Catholicism, Character and resilience to support developing ideas. enjambement. Select and retrieve important evidence from texts studied and wet nurses, the age of consent/ marriage, the four 1 Use Standard English in an informal context, Apply knowledge of summary skills across a single text Revisit knowledge, themes, skills and context from know how to use it effectively to support choices. humours, views on gender roles in society. including structured classroom discussions. through key extracts or chapters of the text. (learned in previous Year 7 poetry unit and other units in PCD Apply knowledge of structural features of a text by using key More controversial ideas such as: views on 2. Use a dictionary effectively when learning new Year 7) activities and to support new conceptual learning. extracts from the text studied or media and make appropriate homophobia, transgenderism and racism could be vocabulary from the Vocabulary Challenge wall and Analyse key words, phrases and references from the texts. links structurally. explored further. appl it to your own speaking and writing. Explain effects of language and connotations of particular Poems covered in the Cultural Identity anthology: Half- Understand how writers make structural decisions to make 3. Use a thesaurus effectivey when acquiring a words. Caste; No Problem; Give; Island Man; Search for My the reader interested and intrigued. Reading: broader vocabulary bank. Select and retrieve important evidence from texts studied Tongue; Unrelated Incidents. Begin to make links between key extracts within the 4. Rehearse and perform extracts from the texts and know how to use it effectively to support choices. Writing Skills same text which are critical. studied. Apply knowledge of structural features of a text by using Explore implicit inferences and use appropriate 5. Participate in a range of drama-focused activities key extracts from the text studied or media and make Supporting non-fiction texts to embed context: Develop Purpose, Audience and Form to different types of evidence to support developing ideas. and strategies in realtion to the key themes, appropriate links structurally. KKK article, The Thing Around Your Neck; Katie Hopkins non-fiction texts: letter, speech and article. characters and ideas from the texts studied. article, The Class Game, Born A Crime.

Understand how writers make structural decisions to make Further develop contrasting Imagine, Imagine, Imagine Apply knowledge of summary skills across a single text 6. Collaborate ideas as a team in structured pairngs the reader interested and intrigued. Reading: statements for the ISMELL strategy linked to key themes and through key extracts or chapters of the text. (learned in and groupings. Begin to make links between poems within the same ideas from the text studied. Embed the full ISMELL strategy Year 7) 7. Participate in extended reading and writing Writing: anthology that are critical and link to the poets’ using the ISMELL planning paragraphs. Analyse key words, phrases and references from the activities in a classroom and exam setting. Edit, proof-read and re-draft examples of writing by concepts and big ideas. Create diary entries and informal letters as key characters texts. 8. Create a short speech or presentation which recognising own gaps and misconceptions in performance. Explore implicit inferences and use appropriate from the text. Explain effects of language and connotations of expresses ideas. Create an effective narrative opening and development evidence to support developing ideas. Further develop figurative language through descriptive particular words. 9. Answer questions maturely and responsibly in inspired by images linked to the key themes in the texts Apply knowledge of summary skills across more than writing linked to imagery of the farm and surroundings. Select and retrieve important evidence from texts classroom settings. studied. one poem through writing and discussion. Further develop Show Not Tell/ Show Tell 3. studied and know how to use it effectively to support 10 Experiment with intonation, tone and volume Further develop figurative language through descriptive Analyse key words, phrases and references from the Apply Purpose, Audience and Form to different types of non- choices. during drama activities. writing linked to imagery of the ranch and local settings. texts. fiction texts: letter, speech and article. Apply knowledge of structural features of a text by Further develop Show Not Tell/ Show Tell 3. Explain effects of language and connotations of using key extracts from the text studied or media and Apply Purpose, Audience and Form to different types of particular words. make appropriate links structurally. non-fiction texts: letter, speech and article. Select and retrieve important evidence from texts Character and wider development: Understand how writers make structural decisions to Apply and develop contrasting Imagine, Imagine, Imagine studied and know how to use it effectively to support Work collaboratively in a group or team on a particular area make the reader interested and intrigued. statements for the ISMELL strategy linked to key themes choices. of research/ context on the text. and ideas from the text studied. Embed the full ISMELL Apply knowledge of structural features of a text by Participate in extended reading and writing activities in a Writing: strategy using the ISMELL planning paragraphs. using key moments from the text studied or media and classroom and exam setting to gain more resilience. Edit, proof-read and re-draft examples of writing by make appropriate links structurally. A wider range of drama activities which include hotseating recognising own gaps and misconceptions in Understand how writers make structural decisions to the poets and asking them about their influences and performance. Character and wider development: hasten or reduce the pace of a poem. backgrounds in relation to their motives for writing. Create an effective narrative opening and development Standard English, rehearsing and performing extracts from Understand how caesura and enjambment can reflect Particate in whole class debates and discussions on key inspired by images linked to the key themes in the texts the text, using intonation, tone and volume, the emotions and feelings of the persona/ voice in the themes and ideas explored within the text. studied. Formal debates and structured discussions on poem. Use a dictionary and thesaurus effectively when learning new Further develop figurative language through descriptive controversial and relevant themes linked to the text Recognise a widening range of poetic conventions and vocabulary from the Vocabulary Challenge wall and students writing linked to imagery of the ranch and local settings. studied. understand how these have been used. will apply it to their own speaking and writing. Further develop Show Not Tell/ Show Tell 3. Paired and group presentations expressing own ideas. Apply Purpose, Audience and Form to different types of Hot seating as characters from the text, Whoosh! Whispers Writing: Complete Key piece and end of unit assessments which non-fiction texts: letter, speech and article. in the Dark and Conscience Alley. Construct effective conceptualised opening statements rigorously test knowledge, context, skills on this unit and Apply and develop contrasting Imagine, Imagine, Plan and deliver short speeches and presentations that compare the ideas, concepts and key messages of previous units over the academic year. Imagine statements for the ISMELL strategy linked to expressing personal ideas and opinions. the poets and explore links and connections. key themes and ideas from the text studied. Embed the Work collaboratively in a group or team on a particular Further develop narrative structure by revisiting cyclical full ISMELL strategy using the ISMELL planning area of research/ context on the text studied such as the structure, embedded motifs and extended metaphors, paragraphs. contemporary themes of stop and search in America; the figurative language and Show not Tell and using images Age appropriate vocabulary marginalisation of women in 20th Century society. inspired by the poems to write creatively and Allegory, tyrant, rebellion, harvest, corruption, propaganda, Participate in extended reading and writing activities in a imaginatively through carefully crafted narratives and cult of personality, treacherous, socialam, communism, Character and wider development: classroom and exam setting to gain more resilience. descriptions. capitalism, proletariat, bourgoise, Bolsheviks, Stout Further developing exam resilience and exam stamina. A wider range of drama activities which include Tremendous, Rebellion, Prosperity, Vivacious, Comrade Further developing long-term recall of key characters, hotseating the key characters and re-writing key scenes Edit, proof-read and re-draft examples of writing by Elementary, Tyranny, Consume, Benevolent, Majestic, Control themes and references. from different character perspectives. recognising own gaps and misconceptions in Victorious, Overthrow, Slaughter, Seize, Cruelty, Overwhelm Work collaboratively in a group situation. Recreate key scenes or scenes not directly refered to in the performance. Succession, Unity, Conquer, Resolution Conduct home learning research projects and fact-files. novella: Candy’s dog scene or explore alteranative endings to the novella through script writing. Age appropriate vocabulary Explore key themes and character situations through a Age appropriate vocabulary Crafting Brilliant Sentences activities and worksheets: chat-show style drama activity. Caesura, enjambment, volta, segregation, Revisit: Patriarchal, feud, grudge, mutiny, piteous, unrequited, marginalisation, identity, prejudice, racial stereotype. Main clauses soliloquy, iambic pentameter, prologue, sonnet, Complete Key piece and end of unit assessments which Stump, geographical, mother tongue, Picasso, civil, Subordinate clauses tragedy, Elizabethan, patriarchal, juxtaposition, rigorously test knowledge, context, skills on this unit and accomplished, foreign, surf, soar, canvas, moist, Relative clauses reformation, homophobia, consent, masculinity, previous units over the academic year. permanent, vein, aloof, overcast, curtail, harness, Coordinating conjunctions convention. branded, spiteful, stable, blossom, categorise, defiantly, stable, shadow, defiantly, insufferable, groggily, Crafting Brilliant Sentences activities and worksheets: Spoken Language opportunities: metallic, muffled, Tchaikovsky. Spelling Rules bespoke to this unit: Revisit: Whole class debates and discussions around the Semi-colons treatement of key characters from the novella. Spelling Rules bespoke to this unit: Colons Paired and group presentations linked to critical Character and wider development: Dashes viewpoint scenarios. Plan and deliver short speeches and presentations Revisit: Multi-skill crafting (from Unit 1) expressing personal ideas and opinions. Rule 1: Change ‘y’ to ‘i’ and add ‘es.’ (family/ families) Supporting fiction and non-fiction texts to embed context Work collaboratively in a group or team on a particular Rule 2: -ly words ‘c’ makes/ sounds like ‘s’ (necessary) Spelling Rules bespoke to this unit: and key themes explored through these: area of research/ context on the text. Rule 3: Commonly misspelled homophones/ half- Rule 9: Words with the ‘k’ sound spelt ‘ch.’ (character) Invisible Mass of the Back Row. Participate in extended reading and writing activities in homophones (there/ their/ they’re) Rule 10: Words with the ‘s’ sound spelt ‘sc.’ (science) John Steinbeck’s letter to the actress, Cliare Duce. a classroom and exam setting to gain more resilience. Rule 4: Drop the ‘e’ add ‘ing.’ (challenge/ challenging) Rule 11: Hard and soft ‘c’ sounding words (carrot/ Extracts from The Hate U Give (racially motivated ‘Stop and A wider range of drama activities which include ceiling) Search’ policies in London and America) hotseating the poets and asking them about their

Views on sexism through the role of Curley’s Wife; race influences and backgrounds in relation to their motives Rule 12: Words ending with ‘g’ sound spelt ‘gue.’ and sexism linked to discussions of Meghan Markle’s for writing. (league) representation in the media; Kate Middleton been referred to as ‘Prince William’s wife.’ Views on racism through the character of Crooks and his mistreatment by the other men Crafting Brilliant Sentences activities and worksheets: on the ranch. Revisit: Imperatives Adverbs pronouns Age appropriate vocabulary Isolation, racism, segregation, migrant, cyclical, hierarchy, Spelling Rules bespoke to this unit: loneliness, American Dream, Great Depression, The Dustbowl, marginalisation, inevitability, empathy, idealism, Spelling Rules bespoke to this unit: realism, lonliness, indictment, fate, fragility, dispossessed’ Rule 13: Words ending with ‘que’ that sound like ‘k.’ prejudice, sexism, empathy, suspicious, implication, (antique) hierarchy, femme-fatale, seductress, novella, emulate, Rule 14: Words which end in the suffix ‘ous.’ whore, jailbait, colloquial, dialect. (dangerous) Rule 15: Silent ‘t’ ‘c’ and ‘h’ words. Crafting Brilliant Sentences activities and worksheets: Rule 16: Commonly misused words (no one) Multi-skill crafting Revsisit all spelling rules in preparation for end of year Fragments assessment. Revisit: verbs Adjectives Participles

Spelling Rules bespoke to this unit:

Rule 5: Silent ‘k’ words (knight) Rule 6: Present tense verbs changed to past with a double consonant (occur/ occurred) Rule 7: ‘i before e’ and ‘i before e except after c.’ (believe/ receive) Rule 8: ‘ou’ sounding words (couple, young)

Key Knowledge: 1. To further develop understanding and insights into A View from the Bridge Very Important Points bespoke to the Unit: Power Great Expectations Othello concepts/ ideas and the bigger picture of different 9 Very Important Points bespoke to the Unit: Very Important Points bespoke to the Unit: Very Important Points bespoke to the Unit: writers and different time periods. • Gain a knowledge and understanding of 2. To introduce students to relevant myths, legends Miller’s big ideas, messages and concepts of • Gain a knowledge and understanding of • Gain a knowledge and understanding of the • Gain a knowledge and understanding of and allusions that link to texts studied and also why he wrote his works and the contextual the poets’ big ideas, messages and writers’ big ideas, messages and concepts of Shakespeare’s big ideas, messages and develop knowledge of previous ones form Year. and political ideas behind his play such as: concepts of why they wrote their works why they wrote their works and the contextual concepts of why he wrote the novel and 3. Demonstrate understanding of motifs, symbols didactic purpose, social context, and the contextual and political ideas and political ideas behind their writing. his political stance at the time of its and concepts linked to the writers’ ideas and immigration, conflict, justice, law, love, behind their poems. • Answer weekly VIP assessments which writing. concepts over the four units. • 3. Carefully check understanding by responding dreams and hopes, Romantic love, Answer weekly VIP assessments which rigorously and repeatedly test short, medium • Answer weekly VIP assessments which positively to teacher feedback; peer assessment and forbidden love. New world and old world, rigorously and repeatedly test short, and long term knowledge and understanding of rigorously and repeatedly test short, Whole Class Feedback targets. The unwritten Mafia code of silence medium and long term knowledge and key contextual, conceptual, historical, political, medium and long term knowledge and 4. Understand how the work of dramatists is – omertà – is an important theme which understanding of key contextual, allusional and social factors of the text but also understanding of key contextual, communicated effectively through performance and casts its shadow over events in the play. conceptual, historical, political, allusional understanding of the writers’ choice of conceptual, historical, political, allusional how alternative staging allows for different • Answer weekly VIP assessments which and social factors of the text but also language, vocabulary, spelling and vocabulary and social factors of the text but also interpretations of a play. rigorously and repeatedly test short, understanding of the writers’ choice of and questions linked to key characters, themes understanding of the writers’ choice of 5. Apply the spelling patterns and rules set out in the medium and long term knowledge and language, vocabulary, spelling and and plot devices. language, vocabulary, spelling and English Appendix in the English Programmes of Study. understanding of key contextual, vocabulary and questions linked to key • Develop knowledge of writers’ methods: vocabulary and questions linked to key

conceptual, historical, political, allusional characters, themes and plot devices. simile, metaphor, personification, animal characters, themes and plot devices. • Reading skills: and social factors of the text but also Construct comparative conceptualised imagery, alliteration, pathetic fallacy, • Further explore motifs and extended 1. Decode explicit meanings from a text. understanding of the writers’ choice of openings of key poems from the juxtaposition, semantic and lexical fields, metaphors within the play such as the 2. To be able to form an opinion on a wide range of language, vocabulary, spelling and anthology which analyse concepts and onomatopoeia, colour symobolism and the use handkerchief, wine. texts and ideas. vocabulary and questions linked to key big picture messages and further develop of dialect and colloquialisms. • Further develop dramatic conventions 4. Begin to form with more confidence implicit characters, themes and plot devices. sequenced paragraphs which • Develop knowledge of writer’s use of from Year 8 and how these support inferences from a text. • Read the text critically by knowing how forensically analyse language and charactonymns and the symbolism of certain meaning and concepts of a text. language, including motifs, symbols, props structure over both poems.

and costumes, dramatic conventions and characters’ names: Estella, Pip, Magwitch, • Further develop and deepen 6. Use evidence effectively from all texts to support blocking and staging and plot devices affect • Regularly revise and learn key words, Miss Havisham, Mr Wopsle, Mr Jaggers. understanding of ensemble based drama choices. meaning. phrases and references from the • Develop understanding of links between key activities from Year 8 which support 5. Develop an appreciation and love of reading • Deepen knowledge of the playwright’s Relationships poetry anthology to use as extracts within the same text which are critical. learning. through a range of challenging texts. influences and stagecrafting and dramatic stimulus for creative writing. • Deepen understanding of critical perspectives • Develop regular opportunities for 6. Read with growing confidence a wide range of conventions of the time such as the use of a fiction and non-fiction, including in particular whole ( archetypal, satirical, political) developing students to rehearse and perform key narrator, foreshadowing, dramatic irony • Develop language analysis through single understanding to form critical viewpoints. books, short stories, poems and plays with a wide scenes from the play. such as when Eddie insists on Beatrice and word analysis and connotations/ • Apply and transfer Tier 2 Vocabulary/ poetic coverage of genres, historical periods, forms and • Students will develop an understanding Catherine honouring the code, yet he exploding quotations. phrases from previous years/ terms reading authors. himself breaks it. • Develop understanding of new myths, unit into creative and transactional writing. of how the play is communicated through 7. Develop comparison skills through discussion. • Analysis of language linked to imagery and legends and allusions linked to the text • Develop an understanding of setting, plot, and performance. 8. Understand the purpose, audience and context of structure. such as the story of Medusa and Athena. characterisation, and the effects of these. • Develop ideas on the use of staging, all texts studied. • The all consuming power of envy and • Poety references and Tier 2 Vocabulary costume and lighting for effect and to 9. Learn Tier 2 Vocabulary which is linked to the jealousy and how this can corrupt and from this unit and the Year 8 poetry unit Knowledge and Context: promote the concepts and ideas of the range of texts studied and apply to contextual ultimately destroy. to inspire creative writing. Deepen short to long term memory of key ideas, themes writer. understanding. • The study of a supporting anthology of non- • Develop writing of poetry in different characters and concepts of Dickens the writer and his social, • Further develop a range of dramatic 10. Idenity some poetic conventions and understand fiction extracts linked to key themes and forms such as dramatic monologue or political and cultural stance at the time of writing: conventions such as soliloquy, stage how these have been used. 11. Begin to read a text critically by understanding ideas studied in the play. sonnet. 19th Century industrial revolution, Victorian institutes of directions and the importance of some of the effects of setting, plot and character. • Improvisation of key scenes and the use of • Apply and develop motifs and extended workhouses and prisons; the plight of the working classes in costume, entrances and exits. ensemble-lead drama activities such as metaphors in creative writing. Victorian England; the role of women in society, the 12. Begin to understand aspects of structure in the • Embed long term recall of key ideas, teacher-in-role, hotseating, Whoosh!, • Develop new myths, legends and importance of religion in society, the Poor Law Act of 1834, texts studied. themes and concepts of all writers over Whispers in the Dark and Conscience Alley. allusions linked to the text. the use of working treadmills as punishment; the role and 13. Develop short to long-term recall of key ideas and the full acadmic year. • Use the Imagine ISMELL transactional • PCD activities will compliment importance of education in society; the treatment and themes in the texts studied. writing strategy fully when constructing knowledge, skills and context from this differences in social class. • Develop knowledge of writers’ methods: 14. Develop evaluative comparison skills between letters, speeches and articles that focuc on unit and previous unit, including the simile, metaphor, personification, animal texts. key themes and ideas from the play in a Year 8 poetry unit. Reading: imagery, alliteration, pathetic fallacy, 15. Revisit all spelling rules and strategies learned in modern day scenario. • Deepen knowledge of shape and rhyme Begin to make links between key extracts within the same juxtaposition, Year 7 through regular spelling tests and interleaved schemes within the poems: ABAB, AABB, text which are critical. • Develop understanding of new myths, PCD questions. Knowledge and Context: half-rhyme, free verse and their effect Explore implicit inferences and use appropriate evidence to legends and allusions linked to the text: Creative Writing skills: Further develop short to long term memory of key and meaning on the reader. support developing ideas. Prometheus. ideas,themes characters and concepts of the writer at the Apply knowledge of summary skills across a single text 1. Create a range of figurative language including through key extracts or chapters of the text. similes, metaphors, alliteration and personification. time the play was written in 1955: Poems covered in the Power anthology: Ballad of a Knowledge and Context: Analyse key words, phrases and references from the texts. 2. Understand and apply different narrative The Sicilian Mafia; Immigration rules and protocols; social Hero; Out of the Blue; Manhunt; My Boy Jack; Not My Introduce and develop short to long term memory of Explain effects of language and connotations of particular perspectives. mobiloity, views and prejudices towards homosexuality Business; The Mower; The Soldier; The Hero; What key ideas, themes characters and concepts of words when writers use language to describe different 3. Apply understanding of a motif in creative writing. and masculinity; HUAC (House UnAmerican Activities Were They Like? Shakespeare the writer and compare and contrast to characters, events or scenarios. 4. Apply and transfer Tier 2 Vocabulary from Committee) links to Communism, Omerta, Italian Mafia those of previous writers studied: Select and retrieve important evidence from texts studied and previous reading units into creative and transactional figures such as Al Capone and Frankie Yale, hamartia. Supporting non-fiction texts to embed context: The evil within man; jealousy and envy; misogyny, the know how to use it effectively to support choices. writing. The Soldier’s Dog, Anne Frank extract, A frontline Nurse role of women; abuse of power; racist language; the Apply knowledge of structural features of a text by using key 5. Develop Show not Tell character description. Reading: for the Vietcong, David Lim Police Officer Case Study, duplicity of man (sequenced to Macbeth and J & H in extracts from the text studied or media and make appropriate 4. Understand how to plan and structure an effective Further develop knowledge of dramatic conventions such Sometimes the Hating has to stop article, This isn’t a gig, KS4) hamartia, the tragic flaws of a character, links structurally. narrative using the 5 minute journey plan. as tragic hero, Greek tragedy, chorus, narrator, it’s a reckoning Kate Tempest review. mysognistic views in society, Understand how writers make structural decisions to make 5. Understand how to create different character foreshadowing, dramatic irony. the reader interested and intrigued. types and their function in a text. Knowledge and Context: Apply and transfer Tier 2 Vocabulary from this unit and 7. Understand how to create dialogue in creative Apply knowledge of structural features of a play such as Further develop short to long term memory of key previous units for improved ambitious vocabulary Writing: writing. the importance and symbolism of planned entrances and ideas, themes characters and concepts of the poets: choices. Edit, proof-read and re-draft examples of writing by 8. Understand basic plot structures. exits, blocking and stage directions. Different types of love: obsessive, unrequited, recognising own gaps and misconceptions in performance. 9. Edit, proof-read and re-draft examples of writing. destructive. The way relationships change and develop Reading: Create an effective narrative opening and development Apply and transfer Tier 2 Vocabulary from this unit and over time; motifs and extended metaphors within the Further develop links between key extracts within the inspired by images linked to the key themes in the texts Non-fiction writing skills: previous units for improved ambitious vocabulary choices. poems. same text which are critical both through writing and studied. 1. To recognise and apply features of a letter, speech discussion. Further develop figurative language through descriptive and article. Age appropriate vocabulary: Identify a wider range of poetic conventions. Explore and further deepen implicit inferences and use writing linked to imagery of the ranch and local settings. 3. To identify and apply a range of persuasive longshoreman, niece, honour, careless, tragic, cousin, Develop effects of language and become more forensic appropriate evidence to support developing ideas. Further develop Show Not Tell/ Show Tell 3. devices. betrayal, immigrant, Brooklyn, illegally, baritone, forestage, in single word analysis and recognition of structural Apply knowledge of summary skills across more than 4. Introduce figurative language examples in a bureau, mockingly, dubiously, tenor, permission, taboo, features. one text through key extracts or chapters of the text. Apply Purpose, Audience and Form to different types of non- transactional setting through developing Imagine pugnacious, solidified, neighbourhood, phonograph, Form more implicit inferences and opinions about the (learned in Year 8) fiction texts: letter, speech and article. statements that contrast perfect scenarios with texts studied. Analyse key words, phrases and references from the Apply and develop contrasting Imagine, Imagine, Imagine worst-case scenarios. Develop knowledge of writers’ methods: simile, texts. statements for the ISMELL strategy linked to key themes and 5. Consider how their writing reflects the audiences metaphor, personification, imagery, alliteration, pathtic Explain with confidence effects of language and ideas from the text studied. Embed the full ISMELL strategy and purposes for which it was intended. fallacy, juxtaposition, extended metaphor and motif, connotations of particular words. using the ISMELL planning paragraphs. foreshadowing, volta, colloquial language, caesura and Select and retrieve important evidence from texts Character and resilience enjambement. studied and know how to use it effectively to support 1 Use Standard English in an informal context, choices. including structured classroom discussions.

Revisit knowledge, themes, skills and context from Supporting non-fiction texts to embed context and key Apply knowledge of structural features of a text by 2. Use a dictionary effectively when learning new previous Year 8 poetry unit and other units in PCD themes explored through these: using key extracts from the text studied or media and vocabulary. activities and to support new conceptual learning. make appropriate links structurally. 3. Use a thesaurus effectivey when acquiring a Understand how writers make structural decisions to broader vocabulary bank. Reading: Spoken Language opportunities: make the reader interested and intrigued. 4. Rehearse and perform extracts from the texts Develop and deepen understanding between poems Whole class debates and discussions around the treatement studied. within the same anthology that are critical and link to of Miss Havisham to her dopted daughter Estella and Pip. Writing: 5. Participate in a range of drama-focused activities the poets’ concepts and big ideas. Paired and group presentations linked to critical viewpoint Edit, proof-read and re-draft examples of writing by and strategies in realtion to the key themes, Explore implicit inferences and use appropriate scenarios. recognising own gaps and misconceptions in characters and ideas from the texts studied. evidence to support developing ideas. performance. 6. Collaborate ideas as a team in structured pairngs Apply knowledge of summary skills across more than Plan and deliver short speeches and presentations expressing Create an effective whole narrative inspired by images and groupings. one poem through writing and discussion. personal ideas and opinions. linked to the key themes in the texts studied and using 7. Participate in extended reading and writing Analyse key words, phrases and references from the Work collaboratively in a group or team on a particular area the full non-negotiable narrative writing PAT strategy. activities in a classroom and exam setting. texts. of research/ context on the text studied such as the prison Further develop figurative language through descriptive 8. Create a short speech or presentation which Explain effects of language and connotations of system or the use of the Victorian workhouse. (revisit writing linked to imagery of the ranch and local settings. expresses ideas. particular words. contextual knowledge from Year 7 Oliver Twist unit) Further develop Show Not Tell/ Show Tell 3. 9. Answer questions maturely and responsibly in Confidently recall key words, phrases and references Participate in extended reading and writing activities in a Apply Purpose, Audience and Form to different types of classroom settings. from poems within the anthology and make clear links classroom and exam setting to gain more resilience. non-fiction texts: letter, speech and article. 10 Experiment with intonation, tone and volume and connections between themes and conceptual ideas A wider range of drama activities which include hotseating Apply and develop contrasting Imagine, Imagine, during drama activities. of the poets. the key characters and re-writing key scenes from different Imagine statements for the ISMELL strategy linked to Select and retrieve important evidence from texts character perspectives. key themes and ideas from the text studied. studied and know how to use it effectively to support Further embed the full ISMELL strategy using the ISMELL choices. Character and wider development: planning paragraphs. Apply knowledge of structural features of a text by Work collaboratively in a group or team on a particular area Confidently plan a 5-minute narrative for a wide variety using key moments from the text studied or media and of research/ context on the text. of images, characters and settings inspired by the text. make appropriate links structurally. Participate in extended reading and writing activities in a Understand how writers make structural decisions to classroom and exam setting to gain more resilience. Character and wider development: hasten or reduce the pace of a poem. A wider range of drama activities which include hotseating Standard English, rehearsing and performing extracts Understand how caesura and enjambment can reflect the poets and asking them about their influences and from the text, using intonation, tone and volume, the emotions and feelings of the persona/ voice in the backgrounds in relation to their motives for writing. Informal debates and structured discussions. poem. Particate in whole class debates and discussions on key Short speeches and presentations expressing own ideas. Recognise a widening range of poetic conventions and themes and ideas explored within the text. As a whole class, participate in Whoosh! Plot-based understand how these have been used. Use a dictionary and thesaurus effectively when learning new drama activities. vocabulary from the Vocabulary Challenge wall and students Revisit Hot seating Othello, Iago, Cassio, Roderigo, Age appropriate vocabulary will apply it to their own speaking and writing. Brabantio and Desdemona. . Conflict, PTSD, ally, enemy, apartheid, Vietnam, internal, Complete Key piece and end of unit assessments which Conscience alley for key characters. psychological, physical, trauma. rigorously test knowledge, context, skills on this unit and Partake in and practise regular extended reading and previous units over the academic year. writing activities in exam-conditoned settings in Character and wider development: Age appropriate vocabulary prepration for the end of year full assessment which Complete Key piece and end of unit assessments which Unkempt, wittles, beacon, gibbet, gallows, kneaded, tests knowledge, skills and understanding from all units rigorously test knowledge, context, skills on this unit contemptuous, sham, charactonymn, confounded, eluding, and texts studied. and previous units over the academic year. despised, insolent, transfixed, treadmill, workshouse, bedraggled, conciliatory. Complete Key piece and end of unit assessments which rigorously test knowledge, context, skills on this unit and previous units over the academic year.

Age appropriate Vocabulary

Moor, innuendo, envy, deceit, squadron, spinster, lieutenant, mock, ancient, monstrous, obsequious, lascivious, mountebank, usurp, insolent, duplicitous, visage, villain, loyalty, venom, prejudice, rationality, betrayal, façade, scheming, devotion, manipulation.

Key knowledge: 1. To fully embed understanding and insights into An Inspector Calls Power & Conflict Jekyll and Hyde Macbeth concepts/ ideas and the bigger picture of different 10 * This unit will simultaneously interleave Creative * This unit will simultaneously interleave Writers’ * This unit will simultaneously interleave Creative Reading *This unit will simultaneously interleave Creative writers and different time periods. Reading & Writing( Language Paper 1) through the study Viewpoints and Perspectives (Langage Paper 2) and Writing and Writers’ Viewpoints and Perspectives Reading and Writing and Writers’ Viewpoints and 2. To fully embed and deepen student understanding of the play. through the study of the poems. through the study of the novella. (Both Language Paper 1 Perspectives through the study of the play. (Both of relevant myths, legends and allusions that link to and Language Paper 2) Language Paper 1 and Language Paper 2) texts previously studied thereby deepening Very Important Points bespoke to the Unit: Very Important Points bespoke to the Unit: conceptual knowledge. Very Important Points bespoke to the Unit: Very Important Points bespoke to the Unit: 3. Demonstrate a secure understanding of motifs, • Gain a knowledge and understanding of • Gain a knowledge and understanding of symbols and concepts linked to the writers’ ideas and Miller’s big ideas, messages and concepts of the poets’ big ideas, messages and • Gain a knowledge and understanding of the • Gain a knowledge and understanding of concepts throught the four canonical texts studied. why he wrote his works and the contextual concepts of why they wrote their works writers’ big ideas, messages and concepts of Shakespeare’s big ideas, messages and and political ideas behind his play such as: and the contextual and political ideas why they wrote their works and the contextual concepts of why he wrote the novel and Reading skills: Social responsibility and the prejudice of the behind their poems. and political ideas behind their writing. his political stance at the time of its 1.Read in different ways for different purposes, social classes; the ignorance of the rich • Answer weekly VIP assessments which • Answer weekly VIP assessments which writing, such as: The Divine Right of summarising and synthesising ideas and information, towards the Working class; Socialism v and evaluating their usefulness for particular rigorously and repeatedly test short, rigorously and repeatedly test short, medium Kings, Machavellianism, the subversion of Capitalism; Greed, Wealth, Power, the medium and long term knowledge and and long term knowledge and understanding of purposes. stereotypes, the supernatural, witchcraft, treatment of women; individualism. AO1 understanding of key contextual, key contextual, conceptual, historical, political, 2. Understand and critically evaluate texts. regicide. • Read confidently a wide range of literature conceptual, historical, political, allusional allusional and social factors of the text but also 3. Draw on knowledge of the purpose, audience for fiction critically in order to consider how and social factors of the text but also understanding of the writers’ choice of • Answer weekly VIP assessments which and context of the writing, including its social, established writers narrative and understanding of the writers’ choice of language, vocabulary, spelling and vocabulary rigorously and repeatedly test short, historical and cultural context and the literary descriptive techniques to capture the language, vocabulary, spelling and and questions linked to key characters, themes medium and long term knowledge and tradition to which it belongs, to inform evaluation. interest of the reader. (Section A Language vocabulary and questions linked to key and plot devices. understanding of key contextual, 4. Identify and interpret themes, ideas and Paper 1) characters, themes and plot devices. • Further develop links between key extracts conceptual, historical, political, allusional information from the texts studied. • Develop narrative and descriptive writing by • Construct both conceptualised opening within the same text which are critical both and social factors of the text but also 5.Explore aspects of plot, characterisation, events incorporating all non-negotiable ingredients statements and full comparative poetry through writing and discussion. understanding of the writers’ choice of and settings, the relationships between them and language, vocabulary, spelling and from the PAT creative writing strategy essays on two named or unseen poems • Develop knowledge of writers’ methods: their effects. vocabulary and questions linked to key including cyclical structure, motif, figurative that compare aideas, concepts and key simile, metaphor, personification, animal 6. Seek evidence in the text to support a point of characters, themes and plot devices. language, show not tell, flashback and the 5- messages of the poets and explore links imagery, alliteration, pathetic fallacy, view, including justifying inferences with evidence. • minute journey plan. and connections. juxtaposition, semantic and lexical fields, Develop understanding of, and revisit 7. Distinguish between statements that are • Answer weekly VIP assessments which • Practise and further develop using the onomatopoeia, colour symobolism and the use previous, myths, legends and allusions supported by evidence and those that are not, and rigorously and repeatedly test short, PAT unseen poetry writing framework of dialogue and motifs. linked to the text such as the story of the identifying bias and misuse of evidence. Garden of Eden, the Gateway to Hell, medium and long term knowledge and containing the 8 non-negotiable rules of • Develop understanding of previous and new 8. Analyse a writer’s choice of vocabulary, form, Hecate. understanding of key contextual, analysing an unseen poem. myths, legends and allusions linked to the text grammatical and structural features, and evaluating • conceptual, historical, political, allusional • Revisit cyclical structure, embedded such as: Cain and Abel; Damon and Pythias, Read the text critically by knowing how their effectiveness and impact. language, including motifs, symbols, and social factors of the text but also motifs and extended metaphors, troglodyte, Captives of Phillippi and The 9. Make critical comparisons, referring to the understanding of the writers’ choice of figurative language and Show not Tell Babylonian finger on the wall. props and costumes, dramatic contexts, themes, characterisation, style and literary language, vocabulary, spelling and conventions and blocking and staging and and using images to write creatively and • Develop a secure understanding of setting, quality of texts, and drawing on knowledge and skills vocabulary and questions linked to key plot devices affect meaning. AO1/ AO3 imaginatively through carefully crafted plot, and characterisation, and the effects of from wider reading. • characters, themes and plot devices. narratives and descriptions. these. Deepen knowledge of the playwright’s 10. Make an informed personal response, recognising • Read the text critically by knowing how • Develop and deepen understanding • Understand and appreciate how different influences and stagecrafting and that other responses to a text are possible and language, including motifs, symbols, props between poems within the same settings and descriptions of the City of London dramatic conventions of the time such as evaluating these. and costumes, dramatic conventions and anthology that are critical and link to the create mood and atrmosphere: Soho, the door, soliloquy, stage directions, blocking, Writing skills: blocking and staging and plot devices affect poets’ concepts and big ideas. the laboratory, the alleyway. costume, foreshadowing and dramatic Write accurately, fluently, effectively and at length meaning. AO1/ AO3 • Explore and develop implicit inferences • Read the text ctricially and be aware of the irony. for pleasure and information through: • Deepen knowledge of the playwright’s and use appropriate evidence to support personal, social, cultural ,historical and • Improvisation of key scenes and the use influences and stagecrafting and dramatic developing ideas in relation to the contextual settings and influenes on Stevenson. of ensemble-lead drama activities such as 1. Adapt writing for a wide range of purposes and conventions of the time such as the use of language, form, structure and shape of • Develop an appreciation for Stevenson’s teacher-in-role, hotseating, Whoosh! audiences: to describe, narrate, explain, instruct, give the Inspector as an authorial voice and the poems studied. strategic use of plot devices and symbols such • Develop an appreciation for the and respond to information, and argue. omniscient narrator, foreshadowing of key • Consolidate and strengthen knowledge as: the mystery of the will; the comparison playwrights’ strategic use of plot devices 2. Select and organise ideas, facts and key points, and moments, dramatic irony, strategically of writers’ methods: simile, metaphor, between the letter and the note of Jekyll’s such as citing evidence, details and quotation effectively and placed entrances and exits of characters;, pertinently for support and emphasis. personification, imagery, alliteration, handwriting; the broken cane, description of • Understand the use of contrast and the use of stage directions, costume and key 3. Select, and use judiciously, vocabulary, grammar, pathtic fallacy, juxtaposition, extended hands, the windows, the door, the moon, the juxtaposition in the play. For example: props, lighting choices and colour form, and structural and organisational features, metaphor and motif, foreshadowing, sealed letter from Lanyon. the symbolism of how both Lady connotations. AO1 including rhetorical devices, to reflect audience, volta, colloquial language, caesura and • Develop a knowledge and understanding of the Macbeth and Lady Macduff represent • Improvisation of key scenes and the use of purpose and context, and using Standard English enjambement. key characters in the novella and appreciate completely contrasting viewpoints of ensemble-lead drama activities such as where appropriate. • Consolidaye and strengthen knowledge their roles, character functions and how they masculinity and motherhood. teacher-in-role, hotseating, Whoosh! 4. Make notes, draft and write, including using of shape and rhyme schemes within the develop as characters as the novella • Develop a knowledge and understanding • Further develop knowledge and information provided by others. poems: ABAB, AABB, half-rhyme, free progresses:Mr Utterson, Dr Henry Jekyll, Mr of the key characters in the play and

understanding of writers’ language and verse and their effect and meaning on the Edward Hyde. Doctor Lanyon, Poole, Danvers appreciate their roles, character Revise, edit and proof-read through: structural methods: simile, metaphor, reader. Carew, the girl. functions and how they develop as

personification, animal imagery, alliteration, • The use of charactonymns such as Hyde/ Hide. characters as the play progresses: King

pathetic fallacy, juxtaposition. Examples: the • Summarise clearly through paired and • Stevenson’s use of embedded narratives and Duncan, the witches, Macbeth, Lady 1.Reflect on whether the draft achieves the intended metaphor of the rope, the chain of events, group discussion the main themes, AO1 different use of dialogues to reflect the class Macbeth, Banquo, Macduff, Fleance, impact. ‘blood, fire and angusih’ the adverns used in ideas and concepts of the poems within and characteristics of both major and minor Lennox, Rosse, Lady Macduff, Malcolm, 2.Restructure writing, and amending its grammar and the stage directions, repetition in the the unseen anthology and the poems characters in the novella. Donalbain, the Porter. vocabulary to improve coherence, consistency, clarity Inpsector’s monologue, charactonymns of stueied in the Power & Conflict • Stevenson’s use of pathetic fallacy (the fog and • Further evelop understanding of links and overall effectiveness. Eva Smith/ Daisy Renton, the symbolism of anthology. the moon) to isolate certain characters in the between key extracts within the same 3.Pay attention to the accuracy and effectiveness of text which are critical. (AO3) grammar, punctuation and spelling. the homophone ‘Ghoul/ Goole’ the clever novella at key moments and reflect their Knowledge and Context: feelings and emotions. • Understand the importance and role of us of dialogue to create and build tension, Strengthen and further develop short to long term • minor chatracters in the play such as the Grammar and vocabulary: euphemisms in the play such as ‘women of memory of key ideas, themes characters and concepts • Porter and how these are contrasted with the town’ and the timeline of events. (AO2) of the poets and compare and contrast to those of the major characters. Consolidate and build on knowledge of grammar • Develop an appreciation for the playwrights’ previous writers studied: Knowledge and Context: • Develop an appreciation for the and vocabulary through: strategic use of plot devices such as: the PTSD and its effects, honour and dishonour of the Strengthen and further develop short to long term memory playwrights’ strategic use of plot devices ringing of the telephone (x3), the use of the Japanese army, Kamilaze suicide pilots, the abuse of of key ideas, themes, characters and concepts of Stevenson such as: The two separate entrances of 1.Study their effectiveness and impact in the texts photograph at different times in the play; power, misogyny, women in a patriarchal society, the and compare and contrast to those of previous writers Banquo’s ghost; the appearance of they read. the foreshadowing of Eric being the father power of nature, the sublime, poverty, The Troubles, studied: The duality of man, the evil within man, deception, Hecate; the witches initgial prophecies in 2.Draw on new vocabulary and grammatical of Daisy Renton’s unborn child; the use of terrorism, loss of identity, immigration, refugees, the riddles and red herrings in a mystery. Act 1 and the intentional fracturing of constructions from reading and listening, and using Edna, the break up of the engagement futility of war, the horrors of war, propaganda, Macbeth and Banquo’s relationship, the these consciously in writing and speech to achieve between Sheila and Gerald, references to unrequited love, childhood memories, Imperialism, Reading Skills: use of the raven’s cries and the tolling of particular effects. passages from Eva Smith’s diary. (AO1) institutionakl racism. the bell to foreshadow death. 3.Analyse some of the differences between spoken • Further evelop understanding of links Read a wide range of literature fiction. • Understand Shakespeare’s referemcesd and written language, including differences between key extracts within the same text Reading Skills: to a ramge of different birds in the play associated with formal and informal registers, and which are critical. (AO3) Apply knowledge of structural features of a text by using key as symbols for character traits and between Standard English and other varieties of • Understand the use of contrast and Read a wide range of 19th, 20th and 21st century non- extracts from the text studied or media and make appropriate mannerisms: Lasy Macbeth (raven) Lady English. juxtaposition in the play. For example: the fiction texts such as articles, essays, travel writing, links structurally. (AO2) Q3 Macduff (wren) symbolism of how the rich drank alcohol accounts, sketches, letters, diaries, autobiographies Spoken English: (whisky, port, champagne) contasted with and biographies. Understand how writers make structural decisions to make Knowledge and Context: Speak confidently, audibly and effectively, including how Eva Smith drinks disinfectant. the reader interested and intrigued. (AO2) Q3 Strengthen and further develop short to long term through: • Appreciate how the playwright conveys Develop insights into how writers’ have particular memory of key ideas, themes, characters and concepts different settings on stage, both past and viewpoints and perspectives on issues and themes that Consider how established writers use narrative and of Shakespeare and compare and contrast to those of 1.Use Standard English when the context and present, through the use of stagecraft, stage are important to the way we think and live our lives. descriptive techniques to capture the interest of readers. previous writers studied:. audience require it. diesign and references to the past through Supports understanding of Q5 2. Work effectively in groups of different sizes and dialogue: Milwards, the factory, The Palace Read two linked sources from different time periods Reading Skills: taking on required roles, including leading and Theatre bar, the dining room. and genres and consider how each presents a Understand and explain effects of language and structure managing discussions, involving others productively, • Develop a knowledge and understanding of perspective or viewpoint to influence the reader. and connotations of particular words when writers use Read a wide range of literature fiction. reviewing and summarising, and contributing to the key characters in the play and language to describe different characters, events or scenarios. meeting goals/deadlines appreciate their roles, character functions Summarise the main points of non-ficiton texts and Q2 Apply knowledge of structural features of a text by 3.Listen to and build on the contributions of others, and how they develop as characters as the make inferences. using key extracts from the text studied or media and asking questions to clarify and inform, and play progresses: Inspector Goole, Arthur Select and retrieve important evidence from texts studied and make appropriate links structurally. (AO2) Q3 challenging courteously when necessary. Birling, Sybil Birling, Sheila Birling, Eric Understand and explain effects of language and know how to use it effectively to support choices. Q1 Understand how writers make structural decisions to 4. plan for different purposes and audiences, Birling, Gerald Croft, Edna, Eva Smith/ Daisy structure and connotations of particular words when make the reader interested and intrigued. (AO2) Q3 including selecting and organising information and Renton. writers use language to describe different characters, Read a wide range of 19th, 20th and 21st century non-fiction ideas effectively and persuasively for formal spoken • Develop understanding of, and revisit events or scenarios. texts such as articles, essays, travel writing, accounts, Consider how established writers use narrative and presentations and debates. previous, myths, legends and allusions such sketches, letters, diaries, autobiographies and biographies. descriptive techniques to capture the interest of 5. Listen and respond in a variety of different as The Seven Deadly Sins. Writing Skills readers. Supports understanding of Q5 contexts, both formal and informal, and evaluating • Make informed personal responses, Edit, proof-read and re-draft examples of writing by Develop insights into how writers’ have particular viewpoints content, viewpoints, evidence and aspects of recognising that other responses to a text recognising own gaps and misconceptions in and perspectives on issues and themes that are important to Understand and explain effects of language and presentation. 6.improvise, rehearse and perform play are possible and evaluating these whether performance. the way we think and live our lives. structure and connotations of particular words when scripts and poetry in order to generate language and in a language or literature focused scenario. writers use language to describe different characters, discuss language use and meaning, using role, Apply Purpose, Audience and Form to different types of Read two linked sources from different time periods and events or scenarios. Q2 intonation, tone, volume, mood, silence, stillness and Knowledge and Context: non-fiction texts: letter, speech and article. genres and consider how each presents a perspective or action to add impact. viewpoint to influence the reader. Select and retrieve important evidence from texts Further develop short to long term memory of key Apply and develop contrasting Imagine, Imagine, studied and know how to use it effectively to support Language Paper 1 and Paper 2 skills bespoke to ideas,themes characters and concepts of the writer at the Imagine statements for the ISMELL strategy linked to Summarise the main points of non-ficiton texts and make choices. Q1 reading of fiction and non-fiction exam texts and time the play was written in 1945 but being conscious of key themes and ideas from the text studied. Embed the inferences. extracts: the fact the play was set in 1910: full ISMELL strategy using the ISMELL planning Read a wide range of 19th, 20th and 21st century non- paragraphs. Writing Skills fiction texts such as articles, essays, travel writing, 1.Decode explicit and implicit meanings from a text. The sinking of the Titanic in 1912; the onset of the First accounts, sketches, letters, diaries, autobiographies and 2. To be able to form an opinion on a wide range of World War in 1914; labour costs in factories; the treatment Select, and use judiciously, vocabulary, grammar, form, Create an effective narrative opening, development and biographies. texts and ideas. of workers; rights of workers during an industrial strike; the and structural and organisational features, including ending in response to a written prompt, scenario or visual 4. Begin to form with more confidence implicit Labour Party and political influences; Priestely’s own rhetorical devices, to reflect audience, purpose and image linked to the key themes in the texts studied. inferences from a text. context, and using Standard English where appropriate. 6. Use evidence effectively from all texts to support choices.

political and personal views on Socialism and Capitalism. Reflect on whether the draft achieves the intended Further develop figurative language through descriptive Develop insights into how writers’ have particular 5. Develop an appreciation and love of reading AO1 impact. writing linked to imagery ispired by the themes of the play. viewpoints and perspectives on issues and themes that through a range of challenging texts. are important to the way we think and live our lives. Reading Skills: Restructure writing, and amending its grammar and Further develop Show Not Tell/ Show Tell 3 and demonstrate vocabulary to improve coherence, consistency, clarity narrative and descriptive skills in response to a written Read two linked sources from different time periods Read a wide range of literature fiction. and overall effectiveness. prompt, scenario or visual image. and genres and consider how each presents a perspective or viewpoint to influence the reader. Apply knowledge of structural features of a text by using Pay attention to the accuracy and effectiveness of Edit, proof-read and re-draft examples of writing by key extracts from the text studied or media and make grammar, punctuation and spelling. recognising own gaps and misconceptions in performance. Summarise the main points of non-ficiton texts and appropriate links structurally. (AO2) Q3 make inferences. Understand how writers make structural decisions to make Apply Purpose, Audience and Form to different types of non- the reader interested and intrigued. (AO2) Q3 Age appropriate Vocabulary fiction texts: letter, speech and article. Writing Skills translucent, orchard, savage,carving, volta, furrow, Create an effective narrative opening, development Consider how established writers use narrative and khaki, ornamental, patriotic, lugged, bombarded, Apply and develop contrasting Imagine, Imagine, Imagine and ending in response to a written prompt, scenario or descriptive techniques to capture the interest of readers. bayonet, dynamite, hag, intoxicated, bandage, statements for the ISMELL strategy linked to key themes and visual image linked to the key themes in the texts Supports understanding of Q5 reinforcement, eskimo, memorial, darkroom, poignant, ideas from the text studied. Embed the full ISMELL strategy studied. sublime, merciless, nonchalance, sabre, blunder, using the ISMELL planning paragraphs. Understand and explain effects of language and structure shudder, salient, chartered, colossal, boundless, Further develop figurative language through descriptive and connotations of particular words when writers use manacle, forged, harlot, hearse, plague, visage, stealth, Select, and use judiciously, vocabulary, grammar, form, and writing linked to imagery ispired by the themes of the language to describe different characters, events or cove, incessantly. structural and organisational features, including rhetorical play. scenarios. Q2 devices, to reflect audience, purpose and context, and using Character and wider development: Standard English where appropriate. Further develop Show Not Tell/ Show Tell 3 and Select and retrieve important evidence from texts studied demonstrate narrative and descriptive skills in response and know how to use it effectively to support choices. Q1 Complete PCD,VIP weekly tests, Key Piece assessments Reflect on whether the draft achieves the intended impact. to a written prompt, scenario or visual image. and twoce yearly formal assessments which rigorously test knowledge, context, skills on this unit and previous Restructure writing, and amending its grammar and Edit, proof-read and re-draft examples of writing by Writing Skills units over the academic year. vocabulary to improve coherence, consistency, clarity and recognising own gaps and misconceptions in overall effectiveness. performance. Edit, proof-read and re-draft examples of writing by Partake in and practise regular extended reading and recognising own gaps and misconceptions in performance. writing activities in exam-conditoned settings in Pay attention to the accuracy and effectiveness of grammar, Apply Purpose, Audience and Form to different types of prepration for the end of year full assessment which punctuation and spelling. non-fiction texts: letter, speech and article. Create an effective narrative opening, development and tests knowledge, skills and understanding from all units ending in response to a written prompt, scenario or visual and texts studied. Age appropriate Vocabulary Apply and develop contrasting Imagine, Imagine, image linked to the key themes in the texts studied. rugged, countenance, nocturnal, austere, balderdash, beacon, Imagine statements for the ISMELL strategy linked to vintage, reproach, juggernaut, reprove, demeanour, mangled, key themes and ideas from the text studied. Embed the Further develop figurative language through descriptive stature, hitherto, besieged, haggard, benefactor, obnoxious, full ISMELL strategy using the ISMELL planning writing linked to imagery ispired by the themes of the play. exclaimed, vapour, sombre, clause, stealthily, theatrical, paragraphs. bachelor, protégé, transparent, accursed, callous, startled, Further develop Show Not Tell/ Show Tell 3 and carbuncle, abominable, blotted, abject, repulsive, laboratory, Select, and use judiciously, vocabulary, grammar, form, demonstrate narrative and descriptive skills in response to thriving, ramble, coquetry, melancholy, eminent, apocryptal, and structural and organisational features, including a written prompt, scenario or visual image. forgery, apothecary, scandal, sneer, harpie, fiend, dingy, rhetorical devices, to reflect audience, purpose and accosted, nausea, labyrinth, hellish, affirmative, uncivilised, context, and using Standard English where appropriate. Select, and use judiciously, vocabulary, grammar, form, trifle, damnable, detestable. and structural and organisational features, including Reflect on whether the draft achieves the intended rhetorical devices, to reflect audience, purpose and Character and wider development: impact. context, and using Standard English where appropriate. Complete PCD,VIP weekly tests, Key Piece assessments and Restructure writing, and amending its grammar and Reflect on whether the draft achieves the intended impact. twoce yearly formal assessments which rigorously test vocabulary to improve coherence, consistency, clarity knowledge, context, skills on this unit and previous units over and overall effectiveness. Restructure writing, and amending its grammar and the academic year. vocabulary to improve coherence, consistency, clarity and Pay attention to the accuracy and effectiveness of overall effectiveness. Partake in and practise regular extended reading and writing grammar, punctuation and spelling. activities in exam-conditoned settings in prepration for the Pay attention to the accuracy and effectiveness of end of year full assessment which tests knowledge, skills and Age appropriate Vocabulary: grammar, punctuation and spelling. understanding from all units and texts studied. heroic, prose,iambic pentameter, tragedy, capital offence, regicide, treason, hamartia, contemporary, Age appropriate Vocabulary ambition, modern, attribute, prophecy, assassination, mortuary, mayor, climax, alderman, criticism, tyrannous, suspicion, futility, unravel, downfall, dumbfounded, business, prejudice, knighthood, superior, confrontation, machevellian, subvert, stereotype, prosperity, phantom, moral, unperturbed, dismissal, demonic, neutral, deceptive, manipulation, throne, disinfectant, ignorance, privilege, mistreat, reputation, reclaim, kinsman, calculating, warrior, honour, thane, impressionable, downfall, Edwardian, omniscient, suicide, offspring, apparition, valor, reign, loyal, hostess, alibi, champagne, alcohol, mystified, cigar, port, whisky,

generation, reproach, reserved, dignity, scandal, invoke, psychological, psychopathic, parallel, magistrate, prostitution, hypocrisy, unwitting, juxtaposition. unsympathetic, remorse, idler, misuse, catalyst, Brumley. Character and wider development: Character and wider development: Complete PCD,VIP weekly tests, Key Piece assessments Complete PCD,VIP weekly tests, Key Piece assessments and and twoce yearly formal assessments which rigorously twoce yearly formal assessments which rigorously test test knowledge, context, skills on this unit and previous knowledge, context, skills on this unit and previous units units over the academic year. over the academic year. Partake in and practise regular extended reading and Partake in and practise regular extended reading and writing activities in exam-conditoned settings in writing activities in exam-conditoned settings in prepration prepration for the end of year full assessment which for the end of year full assessment which tests knowledge, tests knowledge, skills and understanding from all units skills and understanding from all units and texts studied. and texts studied.

Partake in a whole class Whoosh! And other plot-based and theme driven drama activities such as the hotseating and teacher-in-role of Eddie, Marco, Catherine

Key knowledge: 1. To fully embed understanding and insights into An Inspector Calls Power & Conflict Jekyll and Hyde/ Macbeth concepts/ ideas and the bigger picture of different 11 * this unit will simultaneously interleave Creative * This unit will simultaneously interleave Creative * This unit will simultaneously interleave Creative writers and different time periods. Reading and Writing and Writers’ Viewpoints and Reading and Writing and Writers’ Viewpoints and Reading and Writing and Writers’ Viewpoints and 2. To fully embed and deepen student understanding Perspectives through the study of the novella. Perspectives through the study of the novella. A Christmas Carol Perspectives through the study of the novella. of relevant myths, legends and allusions that link to * This unit will simultaneously interleave Creative Reading texts previously studied thereby deepening *This will be the Second Teach of the play and will *Any of the 15 anthology poems previously not and Writing and Writers’ Viewpoints and Perspectives * This will be the Second Teach of the play and will conceptual knowledge. therefore focus on more challenging and rigorous sections covered in Year 10 will be prioritised in this unit and through the study of the novella. therefore focus on more challenging and rigorous 3. Demonstrate a secure understanding of motifs, and focused extracts for study. other covered poems will be revisited. This will be the *Groups 11X1- 11Y1 are studying Jekyll and Hyde and groups sections and focused extracts for study. symbols and concepts linked to the writers’ ideas and Second Teach of many of the poems and will therefore 11Y2- 11Y4 are studying A Christmas Carol. concepts throught the four canonical texts studied. Very Important Points bespoke to the Unit: focus on more challenging and rigorous sections and focused extracts for study. Very Important Points bespoke to the Unit: Reading skills:

• To revisit the key extracts, sections, * This will be the Second Teach of the novella and will • To revisit the key extracts, sections, 1.Read in different ways for different purposes, monologues, soliloquies, sections of Very Important Points bespoke to the Unit: therefore focus on more challenging and rigorous sections monologues, soliloquies, sections of summarising and synthesising ideas and information, dialogue, key referenes and pivotal plot and focused extracts for study. dialogue, key referenes and pivotal plot and evaluating their usefulness for particular moments for strategic revision and recall. • To revisit the key extracts, sections, NB: A Christmas Carol will be phased out of the curriculum moments for strategic revision and recall. purposes. • To deep-read and read for purpose more monologues, soliloquies, sections of after exam series 2021. • Answer weekly VIP assessments which 2. Understand and critically evaluate texts. challenging and lesser-known sections of dialogue, key referenes and pivotal plot rigorously and repeatedly test short, 3. Draw on knowledge of the purpose, audience for the text. For example, each characters’ moments for strategic revision and recall. Very Important Points bespoke to the Unit: medium and long term knowledge and and context of the writing, including its social, rraction following the exit of the inspector in • To deep-read and read for purpose more understanding of key contextual, historical and cultural context and the literary Act 3; Eric’s involvement with Daisy Renton, challenging and lesser-known sections or • To revisit the key extracts, sections, conceptual, historical, political, allusional tradition to which it belongs, to inform evaluation. Eric’s fragile relationship with his father, the contextual knowledge of the poems that monologues, soliloquies, sections of dialogue, and social factors of the text but also 4. Identify and interpret themes, ideas and broken engagement; Gerald as a selfish or is not necessarily learned on the first key referenes and pivotal plot moments for understanding of the writers’ choice of information from the texts studied. sympathetic character. teach. For example, Imtiaz Dharker’s strategic revision and recall. language, vocabulary, spelling and 5.Explore aspects of plot, characterisation, events • Answer weekly VIP assessments which focus on identity and a need for change • To further develop a knowledge and vocabulary and questions linked to key and settings, the relationships between them and rigorously and repeatedly test short, in Tissue; abuse of power and the understanding of the key characters in the characters, themes and plot devices. their effects. medium and long term knowledge and treatment of women in Browning’s My novella and appreciate their roles, character • To deep-read and read for purpose more 6. Seek evidence in the text to support a point of understanding of key contextual, Last Duchess, functions and how they develop as characters challenging and lesser-known sections of view, including justifying inferences with evidence. conceptual, historical, political, allusional • Answer weekly VIP assessments which as the novella progresses:Mr Utterson, Dr the text. For example, the introduction 7. Distinguish between statements that are and social factors of the text but also rigorously and repeatedly test short, Henry Jekyll, Mr Edward Hyde. Doctor Lanyon, of Hecate in Act 3 Scene 5, the supported by evidence and those that are not, and understanding of the writers’ choice of medium and long term knowledge and Poole, Danvers Carew, the girl in Jekyll and importance of the Porter in Act 2 Scene identifying bias and misuse of evidence. language, vocabulary, spelling and understanding of key contextual, Hyde and Ebeneezer Scrooge, Bob Cratchit, 3. 8. Analyse a writer’s choice of vocabulary, form, vocabulary and questions linked to key conceptual, historical, political, allusional Fred, Tiny Tim, The Ghost of Christmas Past, • To revise more deeply and thoughtfully grammatical and structural features, and evaluating characters, themes and plot devices. and social factors of the text but also The Ghost of Christmas Future, Belle, Fezziwig. the contextual, social, historical, political their effectiveness and impact. • To revise more deeply and thoughtfully the understanding of the writers’ choice of • Answer weekly VIP assessments which and personal viewpoints and scenarios 9. Make critical comparisons, referring to the contextual, social, historical, political and language, vocabulary, spelling and rigorously and repeatedly test short, medium of the text and link these more contexts, themes, characterisation, style and literary personal viewpoints and scenarios of the vocabulary and questions linked to key and long term knowledge and understanding of independently to the author’s own voice quality of texts, and drawing on knowledge and skills text and link these more independently to characters, themes and plot devices. key contextual, conceptual, historical, political, in the text. from wider reading. the author’s own voice in the text. • To revise more deeply and thoughtfully allusional and social factors of the text but also • Begin to develop, form and shape a more 10. Make an informed personal response, recognising the contextual, social, historical, political understanding of the writers’ choice of implicit, personalised and unique that other responses to a text are possible and • Begin to develop, form and shape a more and personal viewpoints and scenarios language, vocabulary, spelling and vocabulary viewpoint and understanding of the evaluating these. implicit, personalised and unique viewpoint of the text and link these more and questions linked to key characters, themes writer’s intentions and aims for the text Writing skills: and understanding of the writer’s intentions independently to the author’s own voice and plot devices. without relying solely on other Write accurately, fluently, effectively and at length and aims for the text without relying solely in the text. • Deepen knowledge and understanding of professionals ideas. for pleasure and information through: on other professionals ideas. deliberate authorial crafting of charactonymns Knowledge and Context: • Explore a wider and more challenging and linked connotations of the names of key Knowledge and Context: 1. Adapt writing for a wide range of purposes and range of unseen poems which explore a characters: Edward Hyde, Utterson, Cratchit, Revisit, strengthen and further develop short to long audiences: to describe, narrate, explain, instruct, give Revisit and strengthen short to long term memory of key variety of both contemporary and Belle, The Phantom. term memory of key ideas, themes, characters and and respond to information, and argue. ideas,themes characters and concepts of the writer at the modern-day themes and writer’s ideas. concepts of Shakespeare and compare and contrast to 2. Select and organise ideas, facts and key points, and time the play was written in 1945 but being conscious of • To deep-read and read for purpose more those of previous writers studied:. citing evidence, details and quotation effectively and the fact the play was set in 1910: • Begin to develop, form and shape a more challenging and lesser-known sections of the Reading Skills: pertinently for support and emphasis. implicit, personalised and unique text. For example in Jekyll and Hyde the 3. Select, and use judiciously, vocabulary, grammar, The sinking of the Titanic in 1912; the onset of the First viewpoint and understanding of the breaking in of the door to Jekyll’s laboratory; Read a wide range of literature fiction. form, and structural and organisational features, World War in 1914; labour costs in factories; the treatment writer’s intentions and aims for the the collective fear and respect of Jekyll’s including rhetorical devices, to reflect audience, of workers; rights of workers during an industrial strike; the poems without relying solely on other servants, Apply knowledge of structural features of a text by purpose and context, and using Standard English Labour Party and political influences; Priestely’s own professionals ideas. using key extracts from the text studied or media and where appropriate. political and personal views on Socialism and Capitalism. • To revise more deeply and thoughtfully the make appropriate links structurally. (AO2) Q3 4. Make notes, draft and write, including using AO1 • Deepen and fully embed regular contextual, social, historical, political and Understand how writers make structural decisions to information provided by others. practise of using the PAT unseen poetry personal viewpoints and scenarios of the text make the reader interested and intrigued. (AO2) Q3 Reading Skills: writing framework containing the 8 non- and link these more independently to the Revise, edit and proof-read through: negotiable rules of analysing an unseen author’s own voice in the text. Consider how established writers use narrative and Read a wide range of literature fiction. poem. • Begin to develop, form and shape a more descriptive techniques to capture the interest of 1.Reflect on whether the draft achieves the intended implicit, personalised and unique viewpoint readers. Supports understanding of Q5 impact. Apply knowledge of structural features of a text by using Knowledge and Context: and understanding of the writer’s intentions 2.Restructure writing, and amending its grammar and key extracts from the text studied or media and make Strengthen and further develop short to long term and aims for the text without relying solely on Understand and explain effects of language and vocabulary to improve coherence, consistency, clarity appropriate links structurally. (AO2) Q3 memory of key ideas, themes characters and concepts other professionals ideas. structure and connotations of particular words when and overall effectiveness. Understand how writers make structural decisions to make of the poets and compare and contrast to those of writers use language to describe different characters, 3.Pay attention to the accuracy and effectiveness of the reader interested and intrigued. (AO2) Q3 previous writers studied: events or scenarios. Q2 grammar, punctuation and spelling. PTSD and its effects, honour and dishonour of the Knowledge and Context: Consider how established writers use narrative and Japanese army, Kamilaze suicide pilots, the abuse of Select and retrieve important evidence from texts Grammar and vocabulary: descriptive techniques to capture the interest of readers. power, misogyny, women in a patriarchal society, the Further develop short to long term memory of key studied and know how to use it effectively to support Supports understanding of Q5 power of nature, the sublime, poverty, The Troubles, ideas,themes characters and concepts of the writer at the choices. Q1 Consolidate and build on knowledge of grammar terrorism, loss of identity, immigration, refugees, the time both Stevenson wrote Jekyll and Hyde (1185) and and vocabulary through: futility of war, the horrors of war, propaganda, Dickens wrote A Christmas Carol (1843): The duality of man,

Understand and explain effects of language and structure unrequited love, childhood memories, Imperialism, the evil within man, deception, riddles and red herrings in a Read a wide range of 19th, 20th and 21st century non- 1.Study their effectiveness and impact in the texts and connotations of particular words when writers use institutionakl racism. mystery. (J and H) fiction texts such as articles, essays, travel writing, they read. language to describe different characters, events or Thre mistreatment of the poor by the rich, Education, the accounts, sketches, letters, diaries, autobiographies and 2.Draw on new vocabulary and grammatical scenarios. Q2 Reading Skills: Poor Law Amendement Act of 1834, forms of institutional biographies. constructions from reading and listening, and using oppression such as The Treademill, Prisons and Union these consciously in writing and speech to achieve Select and retrieve important evidence from texts studied Read a wide range of 19th, 20th and 21st century non- Workhouses. Develop insights into how writers’ have particular particular effects. and know how to use it effectively to support choices. Q1 fiction texts such as articles, essays, travel writing, viewpoints and perspectives on issues and themes that 3.Analyse some of the differences between spoken accounts, sketches, letters, diaries, autobiographies and Reading Skills: are important to the way we think and live our lives. and written language, including differences biographies. associated with formal and informal registers, and Writing Skills Read a wide range of literature fiction. Read two linked sources from different time periods between Standard English and other varieties of Develop insights into how writers’ have particular and genres and consider how each presents a English. Edit, proof-read and re-draft examples of writing by viewpoints and perspectives on issues and themes that Apply knowledge of structural features of a text by using key perspective or viewpoint to influence the reader. recognising own gaps and misconceptions in performance. are important to the way we think and live our lives. extracts from the text studied or media and make appropriate Spoken English: links structurally. (AO2) Q3 Summarise the main points of non-ficiton texts and Speak confidently, audibly and effectively, including Create an effective narrative opening, development and Read two linked sources from different time periods make inferences. through: ending in response to a written prompt, scenario or visual and genres and consider how each presents a Understand how writers make structural decisions to make image linked to the key themes in the texts studied. perspective or viewpoint to influence the reader. the reader interested and intrigued. (AO2) Q3 Writing Skills 1.Use Standard English when the context and Create an effective narrative opening, development audience require it. Further develop figurative language through descriptive Summarise the main points of non-ficiton texts and Consider how established writers use narrative and and ending in response to a written prompt, scenario or 2. Work effectively in groups of different sizes and writing linked to imagery ispired by the themes of the play. make inferences. descriptive techniques to capture the interest of readers. visual image linked to the key themes in the texts taking on required roles, including leading and Supports understanding of Q5 studied. managing discussions, involving others productively, Further develop Show Not Tell/ Show Tell 3 and Understand and explain effects of language and reviewing and summarising, and contributing to demonstrate narrative and descriptive skills in response to structure and connotations of particular words when Understand and explain effects of language and structure Further develop figurative language through descriptive meeting goals/deadlines a written prompt, scenario or visual image. writers use language to describe different characters, and connotations of particular words when writers use writing linked to imagery ispired by the themes of the 3.Listen to and build on the contributions of others, events or scenarios. language to describe different characters, events or scenarios. play. asking questions to clarify and inform, and Select, and use judiciously, vocabulary, grammar, form, Q2 challenging courteously when necessary. and structural and organisational features, including Writing Skills Further develop Show Not Tell/ Show Tell 3 and 4. plan for different purposes and audiences, rhetorical devices, to reflect audience, purpose and Edit, proof-read and re-draft examples of writing by Select and retrieve important evidence from texts studied and demonstrate narrative and descriptive skills in response including selecting and organising information and context, and using Standard English where appropriate. recognising own gaps and misconceptions in know how to use it effectively to support choices. Q1 to a written prompt, scenario or visual image. ideas effectively and persuasively for formal spoken performance. presentations and debates. Reflect on whether the draft achieves the intended impact. Read a wide range of 19th, 20th and 21st century non-fiction Edit, proof-read and re-draft examples of writing by 5. Listen and respond in a variety of different Apply Purpose, Audience and Form to different types of texts such as articles, essays, travel writing, accounts, recognising own gaps and misconceptions in contexts, both formal and informal, and evaluating Restructure writing, and amending its grammar and non-fiction texts: letter, speech and article. sketches, letters, diaries, autobiographies and biographies. performance. content, viewpoints, evidence and aspects of vocabulary to improve coherence, consistency, clarity and presentation. 6.improvise, rehearse and perform play overall effectiveness. Apply and develop contrasting Imagine, Imagine, Develop insights into how writers’ have particular viewpoints Apply Purpose, Audience and Form to different types of scripts and poetry in order to generate language and Imagine statements for the ISMELL strategy linked to and perspectives on issues and themes that are important to non-fiction texts: letter, speech and article. discuss language use and meaning, using role, Pay attention to the accuracy and effectiveness of key themes and ideas from the text studied. Embed the the way we think and live our lives. intonation, tone, volume, mood, silence, stillness and grammar, punctuation and spelling. full ISMELL strategy using the ISMELL planning Apply and develop contrasting Imagine, Imagine, action to add impact. paragraphs. Read two linked sources from different time periods and Imagine statements for the ISMELL strategy linked to Age appropriate Vocabulary genres and consider how each presents a perspective or key themes and ideas from the text studied. Embed the Language Paper 1 and Paper 2 skills bespoke to mortuary, mayor, climax, alderman, criticism, Select, and use judiciously, vocabulary, grammar, form, viewpoint to influence the reader. full ISMELL strategy using the ISMELL planning reading of fiction and non-fiction exam texts and dumbfounded, business, prejudice, knighthood, superior, and structural and organisational features, including paragraphs. extracts: prosperity, phantom, moral, unperturbed, dismissal, rhetorical devices, to reflect audience, purpose and Summarise the main points of non-ficiton texts and make disinfectant, ignorance, privilege, mistreat, reputation, context, and using Standard English where appropriate. inferences. Select, and use judiciously, vocabulary, grammar, form, 1.Decode explicit and implicit meanings from a text. impressionable, downfall, Edwardian, omniscient, suicide, and structural and organisational features, including 2. To be able to form an opinion on a wide range of champagne, alcohol, mystified, cigar, port, whisky, Reflect on whether the draft achieves the intended Writing Skills rhetorical devices, to reflect audience, purpose and texts and ideas. generation, reproach, reserved, dignity, scandal, impact. context, and using Standard English where appropriate. 4. Begin to form with more confidence implicit magistrate, prostitution, hypocrisy, unwitting, Create an effective narrative opening, development and inferences from a text. unsympathetic, remorse, idler, misuse, catalyst, Brumley. Restructure writing, and amending its grammar and ending in response to a written prompt, scenario or visual Reflect on whether the draft achieves the intended 6. Use evidence effectively from all texts to support vocabulary to improve coherence, consistency, clarity image linked to the key themes in the texts studied. impact. choices. Character and wider development: and overall effectiveness. 5. Develop an appreciation and love of reading Further develop figurative language through descriptive Restructure writing, and amending its grammar and through a range of challenging texts. Complete PCD,VIP weekly tests, Key Piece assessments and Pay attention to the accuracy and effectiveness of writing linked to imagery ispired by the themes of the play. vocabulary to improve coherence, consistency, clarity twoce yearly formal assessments which rigorously test grammar, punctuation and spelling. and overall effectiveness. knowledge, context, skills on this unit and previous units Further develop Show Not Tell/ Show Tell 3 and demonstrate over the academic year. narrative and descriptive skills in response to a written Pay attention to the accuracy and effectiveness of Age appropriate Vocabulary prompt, scenario or visual image. grammar, punctuation and spelling. Partake in and practise regular extended reading and translucent, orchard, savage,carving, volta, furrow, writing activities in exam-conditoned settings in prepration khaki, ornamental, patriotic, lugged, bombarded, Edit, proof-read and re-draft examples of writing by Age appropriate Vocabulary: for the end of year full assessment which tests knowledge, bayonet, dynamite, hag, intoxicated, bandage, recognising own gaps and misconceptions in performance. heroic, prose,iambic pentameter, tragedy, capital skills and understanding from all units and texts studied. reinforcement, eskimo, memorial, darkroom, poignant, offence, regicide, treason, hamartia, contemporary, sublime, merciless, nonchalance, sabre, blunder, Apply Purpose, Audience and Form to different types of non- ambition, modern, attribute, prophecy, assassination, shudder, salient, chartered, colossal, boundless, fiction texts: letter, speech and article. tyrannous, suspicion, futility, unravel, downfall,

Prepare for the Literature Paper 2 (2 hour 15 minute manacle, forged, harlot, hearse, plague, visage, stealth, confrontation, machevellian, subvert, stereotype, exam) by creating regular home learning opportunities to cove, incessantly. Apply and develop contrasting Imagine, Imagine, Imagine demonic, neutral, deceptive, manipulation, throne, write extensively and in great detail. statements for the ISMELL strategy linked to key themes and reclaim, kinsman, calculating, warrior, honour, thane, Character and wider development: ideas from the text studied. Embed the full ISMELL strategy offspring, apparition, valor, reign, loyal, hostess, alibi, using the ISMELL planning paragraphs. invoke, psychological, psychopathic, parallel, Complete PCD,VIP weekly tests, Key Piece assessments juxtaposition. and twoce yearly formal assessments which rigorously Select, and use judiciously, vocabulary, grammar, form, and test knowledge, context, skills on this unit and previous structural and organisational features, including rhetorical Character and wider development: units over the academic year. devices, to reflect audience, purpose and context, and using Standard English where appropriate. Complete PCD,VIP weekly tests, Key Piece assessments Partake in and practise regular extended reading and and twoce yearly formal assessments which rigorously writing activities in exam-conditoned settings in Reflect on whether the draft achieves the intended impact. test knowledge, context, skills on this unit and previous prepration for the end of year full assessment which units over the academic year. tests knowledge, skills and understanding from all units Restructure writing, and amending its grammar and and texts studied. vocabulary to improve coherence, consistency, clarity and Partake in and practise regular extended reading and overall effectiveness. writing activities in exam-conditoned settings in Prepare for the Literature Paper 2 (2 hour 15 minute prepration for the end of year full assessment which exam) by creating regular home learning opportunities Pay attention to the accuracy and effectiveness of grammar, tests knowledge, skills and understanding from all units to write extensively and in great detail. punctuation and spelling. and texts studied.

Age appropriate Vocabulary for Jekyll and Hyde rugged, countenance, nocturnal, austere, balderdash, beacon, vintage, reproach, juggernaut, reprove, demeanour, mangled, stature, hitherto, besieged, haggard, benefactor, obnoxious, exclaimed, vapour, sombre, clause, stealthily, theatrical, bachelor, protégé, transparent, accursed, callous, startled, carbuncle, abominable, blotted, abject, repulsive, laboratory, thriving, ramble, coquetry, melancholy, eminent, apocryptal, forgery, apothecary, scandal, sneer, harpie, fiend, dingy, accosted, nausea, labyrinth, hellish, affirmative, uncivilised, trifle, damnable, detestable, novella.

Age appropriate Vocabulary for A Christmas Carol Workhouse, treadmill, prison, pity, fear, nostalgia, misanthropic, novella, ignorance, apprenticed, festivity, beetling shop, salary, pledge, donation, intimation, Victorian, surplus, Poor Law, portly, exploited, indolent, fate, forbearance, purgatory, benevolence, universal, seasonal, isolation, capacious, bigotry, facetious, phenomenon, redemption.

Complete PCD,VIP weekly tests, Key Piece assessments and twoce yearly formal assessments which rigorously test knowledge, context, skills on this unit and previous units over the academic year.

Partake in and practise regular extended reading and writing activities in exam-conditoned settings in prepration for the end of year full assessment which tests knowledge, skills and understanding from all units and texts studied.