TEACHER’S BOOKLET - Pearson Education€¦ · · 2017-07-13bridge between their reading and writing. These materials support the teaching of both reading and thinking skills

9 780582 848610

ISBN 0-582-84861-X

TEACHER’S BOOKLET

Pearson Education Limited, Edinburgh Gate, Harlow, Essex, CM20 2JEEngland and Associated Companies throughout the World

© Pearson Education Limited 2005

The right of Emma Lee to be identified as the author of this work has been asserted by herin accordance with the Copyright, Designs and Patents Act of 1988.

Extracts from No Angels © 2003 Robert Swindells

The original edition of No Angels is published by Puffin Books

All rights reserved. No part of this publication may be reproduced, stored in a retrievalsystem, or transmitted in any form or by any means, electronic, mechanical, photocopying,recording, or otherwise without the prior written permission of the Publishers or a licence

permitting restricted copying in the United Kingdom issued by the Copyright LicensingAgency, 90 Tottenham Court Road, London, W1T 4LP

ISBN 0582 84861X

First published 2005

Introduction

2

AimThis resource provides materials to support the teachingof framework objectives through the reading of NoAngels. Reading can be a shared, social activity and it isimportant that pupils are given the opportunity to talkand write about their reading. Emphasis is placed onthe promotion and development of independentreading, as pupils are asked to reflect on the readingstrategies they use and encouraged to try out newones. Many of the activities encourage pupils to build abridge between their reading and writing.

These materials support the teaching of both readingand thinking skills. The key thinking skills explored are:

• reasoning skills, which require pupils to give reasonsfor their opinions and thoughts

• drawing inferences, making deductions and beingprecise when giving explanations

• enquiry skills, which enable pupils to ask relevantquestions and explore problems

• creative thinking skills, which require pupils to makepredictions, speculate and hypothesise.

These skills are explored in detail in the Leading inLearning Handbook for Teachers and Exemplification inEnglish (DfES, 2005). It is expected that the teacher willbe able to extend pupils’ metacognition about the waythat good readers think about texts so that they aresupported in their move towards independence and inself-assessment.

By bringing thinking skills to the centre of the learning,pupils will be able to extend their reading skills beyondbasic processing skills. They will be able to do this bydeveloping imaginative skills, such as visualisation,prediction and speculation. They are also offeredopportunities through the thinking skills activities todevelop literary skills, such as interpreting the text andsensing the writer at work, which will help pupils makebridges to GCSE, where these skills are paramount. Inforegrounding the thinking skills, pupils are encouragedto secure the transfer of these approaches when theyexplore other texts independently. If the thinking skillsbeing taught are made explicit, pupils will be able tobuild up their metacognitive understanding of the waythey think, enabling them to develop the ability to selectappropriate strategies when encountering new texts.

In this way, teachers will find that the content andconstruction of the text are explored using a variety ofthinking approaches. These will need to be madeexplicit during the setting of objectives so that pupilsare able to consider the approach they are taking.Teachers should also take care to ensure that pupilsunderstand exactly what the skill involves and how theycan relate it to other areas of their reading. Subjectcontent is enhanced simultaneously alongsidemetacognition. If pupils are expected to think on adeep level about what they are reading, thinking skillsneed to be taught explicitly, modelled, practised and

reflected upon. It is to this end that this resource for No Angels uses metacognitive activities as a vehicle toexplore the text. Whilst the key thinking skillsmentioned above are included in the lesson outline, theactivities also link to the ten Leading in Learningteaching strategies. Examples of these strategies used inthis resource are:

• Classifying: a thinking skill used to organiseinformation, requiring pupils to process informationand make judgements. Card sort and ranking activitiesare examples of activities that use classification.

• Living graphs and fortune lines: activities that enablepupils to see how a text, character or situationdevelops over time. Graphical representation is usedto bring themes or characters’ situations to life, alsoenabling effective and easy comparison.

• Mysteries: activities that involve pupils in looking at ascenario and working out solutions, then explainingand justifying their answer. These activities encouragepupils to consider possible solutions and addressissues that have a range of possible outcomes.

The lesson outlineThe lesson outline at the beginning of this resourceprovides a structure for teaching ‘at a glance’. It isintended to provide a framework and can be adjustedto suit your circumstances. The structure enables you tocover a longer text while maintaining pace. Assessmentfocuses are addressed and framework objectives aretaught explicitly and clearly placed within the context ofthe book and the lesson structure. Year 8 objectivesconcerned with language analysis and thematic analysisare the main focus, and match the needs of pupilsaiming to consolidate and secure Level 4As into Level5Cs, Level 5Cs into Level 5Bs and Level 5Bs into Level5As. The objectives have been selected to match theskills of Year 9 pupils who are within these levels.Relevant Year 9 objectives, including some key readingobjectives, are also covered. It is worth rememberingthat the skills covered in this resource are often a focusof the Year 9 National Curriculum tests.

There will be issues about coverage, but it is moreimportant that pupils are able to explore their readingthrough talk and other interactive approaches, ratherthan sitting passively as the whole book is read to them,or worse, being asked to ‘read around the class’. It isalso important to allow pupils to control their ownreading. If they want to read on, let them; re-readingchapters and revisiting prior reading may highlightthings that were missed before.

Overview of objectivesThe notion of literacy being embedded in objectives involves much more than thebasic acquisition of skills. The objectives selected here focus on enabling pupils toread as readers in order to deepen their understanding and appreciation, and to readas writers so that they can identify typical features and explore how writers gainimpact. This is the point at which the bridge between reading and writing is made –when the pupil has the ability to step outside the body of a text and look at it as awriter. The objectives listed below encompass the ability to recognise, understandand manipulate the conventions of language and develop the pupils’ ability to uselanguage imaginatively and flexibly in the narrative context. Objectives (and pupils)benefit from being explicitly taught and from being identified and deployed incontext. Other objectives can also be taught (through starter activities), but it is upto the teacher to decide where the priority lies and to adapt the resource materialsaccording to the needs of the pupils.

While Years 8 and 9 are the focus of this resource, the novel could also be used withYear 7. With this in mind, the Year 7 objectives listed below could underpin the unit.

3

W15 Dictionary and thesaurusW16 Unfamiliar words

Sentence

Sn15 Vary formalitySn16 Speech and writing

Reading R6 Active readingR7 Identify main ideasR8 Infer and deduceR12 Character, setting andmood

Writing

Wr19 Reflective writing

Speaking and listening

S&L1 Clarify through talkS&L15 Explore in roleS&L16 Collaborate on scriptsS&L18 Exploratory drama

Word

Year 7

W7 c) Words in contextW12 Formality and word choice

Sentence

Sn11 Standard English anddialect

Reading R4 Versatile readingR5 Trace developmentsR10 Development of key ideas

WritingWr18 Critical review


S&L5 Questions to clarify orrefineS&L10 Hypothesis andspeculationS&L14 Dramatic techniquesS&L15 Work in roleS&L16 Collaborativepresentation

Year 8

W6 Terminology for analysis

SentenceSn10 Attitudes to standardEnglishSn11 Trends over time

Reading R2 Synthesise informationR7 Compare texts

Writing

Wr16 Balanced analysisWr17 Cite textual evidence


S&L9 Considered viewpointS&L10 Group organisationS&L12 Drama techniques

Year 9

Word Word

4

Less

on

1 2

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3•

8R4

Vers

atile

rea

ding

•8R

5 Tr

ace

dev

elo

pm

ents

•9R

7 C

om

par

e te

xts

•8S

&L1

0 H

ypo

thes

isan

d s

pec

ula

tio

n

Rea

din

g A

F5•

8W12

For

mal

ity a

ndw

ord

choi

ce•

8Sn

11 S

tan

dar

dEn

glis

h a

nd

dia

lect

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n11

Tren

ds o

ver

time

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7 C

om

par

e te

xts

•8S

&L5

Que

stio

ns t

ocl

arify

or

refin

e

Less

on

fo

cus

Pag

es 1

–15

•In

fer

and

dedu

ce•

Pred

ict

Pag

es 2

–18

•En

gage

with

mea

ning

•Se

nse

the

writ

erat

wor

k

Star

ter/

Intr

od

uct

ion

Rea

son

ing

: in

fere

nce

an

dd

edu

ctio

n

•In

trod

uce

No

Ang

els

and

ask

pupi

ls,

in p

airs

, to

use

the

fro

ntco

ver

to d

educ

e w

hat

the

nove

lm

ay b

e ab

out.

Giv

e pa

irs t

wo

min

utes

to

prep

are

an a

nsw

er,

then

tak

e fe

edba

ck.

Enq

uir

y: e

xplo

rin

g la

ng

uag

e •

Expl

ain

that

the

lang

uage

of

No

Ang

els

is o

ften

info

rmal

, bu

tth

at t

here

are

var

ying

deg

rees

of

info

rmal

ity.

•Pu

pils

exp

lore

for

mal

and

info

rmal

lang

uage

in t

he n

ovel

.Pu

pil

wo

rksh

eet

2.1

Dev

elo

pm

ent

•D

iscu

ss t

he d

iffer

ence

s be

twee

n in

ferr

ing

and

dedu

cing

. (S

ee K

ey O

bjec

tives

Ban

k:Ye

ar 7

, pa

ge 3

3, D

fES

0207

/200

2, f

orad

ditio

nal a

ppro

ache

s).

•U

se m

odel

led

read

ing

to e

xplo

rein

fere

nces

and

ded

uctio

ns a

bout

Nik

kifr

om p

age

1. R

ecor

d th

ese

in a

tw

o-co

lum

n ta

ble

with

hea

ding

s ‘In

fere

nces

’an

d ‘D

educ

tions

’. Te

ach

er p

lan

ner

•

In g

roup

s, p

upils

exp

lore

pag

e 2

in t

hesa

me

way

, id

entif

ying

infe

renc

es a

ndde

duct

ions

abo

ut N

ick.

Tak

e fe

edba

ckfr

om p

upils

.

•U

sing

the

firs

t tw

o pa

ragr

aphs

of

page

10

and

the

first

tw

o pa

ragr

aphs

of

page

14,

dem

onst

rate

to

the

clas

s th

e pr

oces

s of

iden

tifyi

ng a

nd c

omm

entin

g on

lang

uage

choi

ces.

Pic

k ou

t an

d co

mm

ent

onex

ampl

es o

f sl

ang

and

collo

quia

l Eng

lish.

•Pu

pils

exp

lore

fur

ther

exa

mpl

es o

f sl

ang

and

collo

quia

l lan

guag

e. P

up

ilw

ork

shee

t•

Exte

nsio

n. A

sk p

upils

to

expl

ore

the

idea

s,va

lues

and

em

otio

ns in

No

Ang

els

(wor

king

tow

ards

9R7

as

a ke

y ob

ject

ive

for

pupi

ls a

imin

g to

ach

ieve

Lev

el 6

).Te

ach

er p

lan

ner

2.

3

2.2

1.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•In

divi

dual

ly, p

upils

rec

ord

thei

r pr

edic

tions

abo

utw

hat

they

thi

nk w

illha

ppen

to

Nic

k an

dN

ikki

in t

he r

est

of t

heno

vel.

NB

Kee

p th

epr

edic

tions

for

use

inLe

sson

12.

Ho

mew

ork

•

Read

pag

es 3

–15

and

add

note

s ab

out

Nik

kian

d N

ick

to t

hein

fere

nces

and

dedu

ctio

ns t

able

.

Plen

ary

•A

sk p

upils

, in

pai

rs,

tow

rite

a st

atem

ent

that

sum

mar

ises

the

diff

eren

ce b

etw

een

collo

quia

l lan

guag

e an

dsl

ang.

Ho

mew

ork

•Re

ad p

ages

16–

18.

From

Ster

n’s

part

s of

the

conv

ersa

tion,

pic

k ou

tte

n w

ords

or

phra

ses

that

are

exa

mpl

es o

ffo

rmal

lang

uage

.

Less

on

ou

tlin

e

5

Less

on

3 4

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F5•

8W7

c) W

ords

in c

onte

xt•

8W12

For

mal

ity a

ndw

ord

choi

ce•

9W6

Term

inol

ogy

for

anal

ysis

•8S

n11

Sta

nd

ard

Eng

lish

an

d d

iale

ct•

9Sn1

0 A

ttitu

des

tost

anda

rd E

nglis

h•

9Sn1

1 Tr

ends

ove

r tim

e

Rea

din

g A

F3•

8R4

Vers

atile

rea

ding

•8R

5 Tr

ace

dev

elo

pm

ents

•9R

7 C

om

par

e te

xts

Less

on

fo

cus

Pag

es 1

9–40

•En

gage

with

mea

ning

•

Skim

and

sca

n•

Cat

egor

ise

Pag

es 3

4–50

•Es

tabl

ish

are

latio

nshi

p w

ithth

e na

rrat

or•

Inte

rpre

tpa

tter

ns

Star

ter/

Intr

od

uct

ion

Enq

uir

y: m

akin

g s

ense

of

un

fam

iliar

lan

gu

age

•U

sing

dic

tiona

ries,

pup

ils lo

ok u

pan

d w

rite

defin

ition

s of

unfa

mili

ar w

ords

. Pu

pil

wo

rksh

eet

•A

nsw

ers:

cov

e: a

fel

low

; ni

pper

:a

boy

or g

irl w

ho w

orks

for

aco

ster

mon

ger;

Pee

ler:

pol

ice

offic

er;

shav

er:

child

; in

chan

cery

: in

cou

rt o

r a

slan

gte

rm f

or ‘

in a

hea

dloc

k’;

swel

lm

ob:

mob

of

pick

pock

ets;

ski

lly:

a th

in p

orrid

ge o

r so

up;

pick

oaku

m:

unpi

ck r

ope

stra

nds

tom

ake

them

into

new

rop

e;w

ittle

s: f

ood;

wag

: jo

ker;

priv

vy:

toile

t;ra

gged

sch

ool:

a fr

eesc

hool

whe

re p

oor

child

ren

wou

ld b

e ta

ught

and

fed

.

Rea

son

ing

: in

fere

nce

an

dd

edu

ctio

n•

Pupi

ls e

xplo

re c

hara

cter

isat

ion

thro

ugh

infe

renc

e an

dde

duct

ion.

Pu

pil

wo

rksh

eet

4.1

3.1

Dev

elo

pm

ent

•U

se s

hare

d re

adin

g of

pag

es 1

9–27

to

dem

onst

rate

to

the

clas

s ho

w r

eade

rsm

ake

sens

e of

unf

amili

ar w

ords

in a

tex

tby

:–

look

ing

at t

he c

onte

xt–

deci

ding

whe

ther

the

wor

d is

ass

ocia

ted

with

spo

ken

rath

er t

han

writ

ten

lang

uage

–re

adin

g on

to

find

the

mea

ning

.•

Reco

rd a

ny u

nfam

iliar

wor

ds in

a

char

t, n

otin

g th

eir

mea

ning

and

the

le

vel o

f fo

rmal

ity.

•In

gro

ups

of f

our,

pupi

ls e

ach

take

adi

ffer

ent

sect

ion

of p

ages

27–

40.

Indi

vidu

ally,

pup

ils s

can

thei

r se

ctio

n,id

entif

ying

any

unf

amili

ar w

ords

and

findi

ng a

def

initi

on f

or e

ach

one.

The

sesh

ould

the

n be

sha

red

with

the

who

lecl

ass.

•U

se s

hare

d re

adin

g to

exp

lore

pag

es41

–42

and

46–4

8 w

ith t

he c

lass

,id

entif

ying

Nic

k’s

leve

l of

hope

at

thes

epo

ints

in t

he n

ovel

.•

Focu

sing

on

hope

as

a th

eme,

ask

pup

ilsto

plo

t N

ick’

s ‘h

ope’

on

a fo

rtun

e lin

e.Pu

pil

wo

rksh

eet

•In

sm

all g

roup

s, a

sk p

upils

to

scan

the

prev

ious

sec

tions

invo

lvin

g N

ick

and

crea

tea

fort

une

line

for

the

nove

l so

far.

4.2

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk p

upils

whi

ch t

ypes

of w

ords

the

y fo

und

prob

lem

atic

to

unde

rsta

nd a

nd w

hat

met

hods

the

y us

ed t

ofin

d de

finiti

ons.

Ho

mew

ork

•Re

-rea

d pa

ges

28–4

0.W

rite

two

20-w

ord

stat

emen

ts,

one

sum

mar

isin

g N

ick’

spr

oble

ms

and

the

othe

rN

ikki

’s pr

oble

ms.

Wha

tso

lutio

ns c

ould

you

sugg

est

to t

hem

?

Plen

ary

•A

sk p

upils

to

expl

ain

the

fort

une

lines

the

y ha

vepr

oduc

ed a

nd t

here

ason

s fo

r th

e w

ay t

hey

look

.

Ho

mew

ork

•C

ompl

ete

a fo

rtun

e lin

efo

r N

ikki

by

scan

ning

her

sect

ions

of

the

nove

l up

to p

age

50.

6

Less

on

5 6

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3•

8R4

Ver

sati

le r

ead

ing

•8R

5 Tr

ace

dev

elo

pm

ents

•8S

&L1

0 H

ypo

thes

isan

d s

pec

ula

tio

n•

8S&

L16

Co

llab

ora

tive

pre

sen

tati

on

•9S

&L9

Co

nsi

der

edvi

ewp

oin

t•

9S&

L10

Gro

upor

gani

satio

n

Rea

din

g A

F3•

8W12

For

mal

ity a

ndw

ord

choi

ce•

8R5

Trac

ed

evel

op

men

ts•

8S&

L10

Hyp

oth

esis

and

sp

ecu

lati

on

•9S

&L9

Co

nsi

der

edvi

ewp

oin

t•

9S&

L10

Gro

upor

gani

satio

n

Less

on

fo

cus

Pag

es 5

0–80

•V

isua

lise

•Em

path

ise

•Tr

ack

them

es

Pag

es 8

1–89

•Em

path

ise

•V

isua

lise

•Pr

edic

t

Star

ter/

Intr

od

uct

ion

Eval

uat

ion

: sp

ecu

lati

ng

an

dm

akin

g ju

dg

emen

ts

•G

roup

tas

k. A

sk p

upils

, in

gro

ups

of f

our,

to a

sses

s so

me

poss

ible

solu

tions

to

Nik

ki’s

prob

lem

s.Pu

pil

wo

rksh

eet

•W

hen

the

activ

ity is

com

plet

e,al

loca

te a

lett

er (

i.e.

A,

B, C

or

D)

to e

ach

pupi

l to

allo

w f

or t

here

form

ing

of g

roup

s in

the

nex

tle

sson

.

Cre

ativ

e th

inki

ng

: im

agin

e an

dlo

ok

for

ou

tco

mes

•A

sk p

upils

to

read

pag

es 8

1–89

indi

vidu

ally.

•

Dis

cuss

the

plo

t de

velo

pmen

ts in

thes

e pa

ges

and

cont

inue

the

fort

une

lines

of

Nic

k an

d N

ikki

.

5.1

Dev

elo

pm

ent

•D

ivid

e th

e cl

ass

into

tw

o: o

ne h

alf

will

read

pag

es 4

9–50

, 54

–56

and

59–6

1; t

heot

her

half

will

rea

d pa

ges

51–5

3, 5

7–58

and

62–6

3. A

sk p

upils

to

wor

k in

pai

rs t

om

ake

note

s ab

out

wha

t ha

ppen

s to

Nik

kior

Nic

k in

the

ir se

ctio

n.

•D

ivid

e ea

ch o

f th

e ha

lves

of

the

clas

s in

toth

ree

grou

ps.

Ask

eac

h gr

oup

to p

repa

rean

d pr

esen

t a

free

ze-f

ram

e of

the

mai

nac

tion

in o

ne o

f th

e se

ctio

ns t

hey

have

just

rea

d.

•Re

fer

back

to

Pup

il w

ork

shee

tan

d, a

s a

who

le c

lass

, ex

plor

eN

ikki

’s pr

oble

ms

and

sugg

este

d so

lutio

ns.

•Re

form

pup

ils in

to n

ew g

roup

s of

fou

r, fo

rex

ampl

e, a

ll th

e pu

pils

fro

m G

roup

A in

Less

on 5

now

for

m o

ne g

roup

, th

e Bs

form

ano

ther

gro

up,

etc.

Thi

s w

ill a

llow

pupi

ls t

o ex

chan

ge a

nd e

valu

ate

idea

s,ev

iden

ce a

nd c

hoic

es (

see

Uni

t 10

of

Peda

gogy

and

Pra

ctic

e, D

fES

0423

-200

4,fo

r m

ore

on t

his

and

othe

r ap

proa

ches

to

grou

p w

ork)

.•

Gro

up t

ask.

Pup

ils e

xplo

re N

ikki

’s pr

oble

ms

and

solu

tions

fur

ther

. Pu

pil

wo

rksh

eet

6.1

5.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•D

iscu

ss h

ow N

ikki

and

Nic

k’s

situ

atio

ns h

ave

now

cha

nged

. C

ontin

ueth

eir

fort

une

lines

.

Ho

mew

ork

•Re

ad p

ages

64–

80.

Find

evid

ence

fro

m t

he t

ext

to s

how

wha

tdi

ffer

ence

s th

ere

now

are

betw

een

how

hope

ful N

ikki

and

Nic

kar

e.

Plen

ary

•A

sk g

roup

s to

sha

re t

heir

sugg

este

d so

lutio

ns a

ndex

plan

atio

ns f

or N

ikki

’sac

tions

.

Ho

mew

ork

•In

ten

tex

t m

essa

ges,

of

up t

o 16

0 ch

arac

ters

each

, in

clud

ing

spac

es,

writ

e a

conv

ersa

tion

betw

een

Nik

ki a

nd h

erm

um.

7

Less

on

7 8

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F5•

8W12

For

mal

ity a

ndw

ord

choi

ce•

9W6

Term

inol

ogy

for

anal

ysis

•8S

n11

Sta

nd

ard

Eng

lish

an

d d

iale

ct•

9Sn1

0 A

ttitu

des

tost

anda

rd E

nglis

h•

9Sn1

1 Tr

ends

ove

r tim

e

Rea

din

g A

F3 &

AF5

•8W

12 F

orm

ality

and

wor

d ch

oice

•9W

6 Te

rmin

olog

y fo

ran

alys

is•

8Sn

11 S

tan

dar

dEn

glis

h a

nd

dia

lect

•8R

4 Ve

rsat

ile r

eadi

ng•

8R5

Trac

ed

evel

op

men

ts•

8S&

L5 Q

uest

ions

to

clar

ify o

r re

fine

•8S

&L1

0 H

ypo

thes

isan

d s

pec

ula

tio

n•

9S&

L9 C

on

sid

ered

view

po

int

Less

on

fo

cus

Pag

es 9

0–11

2•

Ana

lyse

lang

uage

•Ex

plor

ech

arac

ter’s

voi

ce

Pag

es 1

12–1

26•

Und

erst

and

the

writ

er a

t w

ork

•A

naly

sela

ngua

gech

oice

s

Star

ter/

Intr

od

uct

ion

Eval

uat

ion

: mak

e ju

dg

emen

tsan

d a

nal

yse

lan

gu

age

•N

BTh

is a

ctiv

ity s

houl

d be

com

plet

ed b

efor

e re

adin

g pa

ge 9

0.•

Ask

pup

ils t

o ex

plor

e th

edi

ffer

ence

s be

twee

n st

anda

rdan

d no

n-st

anda

rd E

nglis

h. P

up

ilw

ork

shee

t •

Take

fee

dbac

k on

the

sty

le o

fN

ikki

’s na

rrat

ive

voic

e.

Rea

son

ing

: giv

e re

aso

ns

for

op

inio

ns,

dra

w in

fere

nce

s•

Paire

d ta

sk.

Usi

ng t

wo

thou

ght-

bubb

les

(one

to

repr

esen

t th

ere

ader

, an

d on

e to

rep

rese

ntN

ikki

), pa

irs lo

ok b

ack

over

pag

es11

3–11

4 an

d 11

9–12

0 an

d w

rite

in t

he b

ubbl

es in

fere

ntia

lst

atem

ents

abo

ut D

emi,

first

from

the

rea

der’s

per

spec

tive

and

then

fro

m N

ikki

’s pe

rspe

ctiv

e.A

sk p

upils

: W

hat

wou

ld N

ikki

thin

k of

Dem

i? W

hat

do w

e?H

ow a

re t

hese

diff

eren

t?

7.1

Dev

elo

pm

ent

•A

s a

clas

s, d

iscu

ss t

he d

iffer

ence

s be

twee

nst

anda

rd E

nglis

h an

d re

gion

aldi

alec

ts/in

form

al la

ngua

ge.

Agr

ee a

defin

ition

of

the

diff

eren

ce.

•In

sm

all g

roup

s, a

sk p

upils

to

read

pag

es90

–97

and

to c

reat

e lis

ts o

f ex

ampl

es o

fno

n-st

anda

rd E

nglis

h us

ed b

y N

ikki

and

Nic

k, c

ateg

oris

ing

the

diff

eren

ces.

•U

se s

hare

d re

adin

g to

exp

lore

the

use

of

slan

g an

d in

form

al la

ngua

ge in

Nic

k’s

narr

ativ

e. T

each

er p

lan

ner

•

Intr

oduc

e th

e qu

estio

n: W

hy d

oes

the

auth

or u

se d

iale

ct/in

form

al E

nglis

h?

•G

ive

grou

ps o

f pu

pils

a s

peec

h bu

bble

draw

n on

flip

char

t pa

per.

Pupi

ls w

ork

ingr

oups

to

spec

ulat

e on

and

hyp

othe

sise

abou

t th

e au

thor

’s re

ason

s fo

r us

ing

non-

stan

dard

Eng

lish,

thi

nkin

g ba

ck t

o th

epl

enar

y in

Les

son

7. T

hey

shou

ld m

ake

note

s on

the

aut

hor’s

vie

wpo

int

in t

heir

spee

ch b

ubbl

e. Y

ou m

ay w

ish

to g

ive

pupi

ls s

pecu

lativ

e ad

verb

ials

to

help

the

mco

nstr

uct

thei

r ta

lk,

e.g.

pos

sibl

y,pr

obab

ly,

perh

aps,

etc

. (S

ee p

age

74,

Key

Obj

ectiv

es B

ank:

Yea

r 8,

DfE

S 02

06/2

002,

for

addi

tiona

l app

roac

hes.

)

8.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk p

upils

whe

ther

the

way

we

spea

k re

flect

sou

r ch

arac

ter.

Giv

e th

emtw

o m

inut

es’

resp

onse

time

and

then

ask

the

mto

pla

ce t

hem

selv

es o

n a

cont

inuu

m f

rom

‘ye

s’ t

o‘n

o’ a

nd ju

stify

the

irpo

sitio

n.

Ho

mew

ork

•Re

ad p

ages

98–

112.

Add

to

lists

of

exam

ples

of n

on-s

tand

ard

Engl

ish

wor

ds a

nd p

hras

es.

Plen

ary

•A

sk g

roup

s to

fee

d ba

ckto

the

cla

ss.

Cre

ate

aw

hole

-cla

ss s

peec

hbu

bble

of

the

auth

or’s

view

poin

t.

Ho

mew

ork

•Pu

pils

iden

tify

clue

sw

hich

hel

p th

em t

opr

edic

t w

hat

will

hap

pen

in t

he n

ovel

. Pu

pil

wo

rksh

eet

8.2

8

Less

on

9 10

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3 &

AF5

•8W

12 F

orm

ality

and

wor

d ch

oice

•8S

n11

Sta

nd

ard

Eng

lish

an

d d

iale

ct•

9Sn1

0 A

ttitu

des

tost

anda

rd E

nglis

h•

9Sn1

1 Tr

ends

ove

r tim

e•

8R5

Trac

ed

evel

op

men

ts

Rea

din

g A

F3 &

AF5

•8W

12 F

orm

ality

and

wor

d ch

oice

•8S

n11

Stan

dard

Eng

lish

and

dial

ect

•9S

n10

Att

itude

s to

stan

dard

Eng

lish

•9S

n11

Tren

ds o

ver

time

•8R

4 Ve

rsat

ile r

eadi

ng•

8R5

Trac

ed

evel

op

men

ts

Less

on

fo

cus

Pag

es 1

27–1

42•

Pred

ict

•A

naly

sela

ngua

gech

oice

s•

Und

erst

and

the

writ

er a

t w

ork

Pag

es 1

43–1

75•

Use

writ

ers’

tech

niqu

es•

Expl

ore

lang

uage

Star

ter/

Intr

od

uct

ion

Info

rmat

ion

pro

cess

ing

:id

enti

fyin

g a

nd

cla

ssif

yin

gev

iden

ce f

rom

th

e te

xt•

Read

pag

es 1

30–1

32.

•Re

vers

e pr

edic

tions

. A

sk p

upils

wha

t cl

ues

the

auth

or h

as g

iven

us t

hrou

gh t

he c

hara

cter

of

Solo

mon

Ste

rn t

hat

Nic

k w

ould

end

up g

oing

bac

k to

pris

on.

Pupi

ls lo

ok b

ack

at p

ages

16–

18,

71–7

2 an

d 11

5 to

pic

k ou

tev

iden

ce.

Cre

ativ

e th

inki

ng

: ap

ply

imag

inat

ion

•A

sk p

upils

to

read

inde

pend

ently

the

follo

win

g se

ctio

ns o

f N

ick’

sna

rrat

ive:

pag

es 1

55–1

56,

160–

161,

164

–165

, 16

9–17

1an

d 17

4–17

5.•

Ask

pup

ils t

o ad

d to

the

ir fo

rtun

elin

e fo

r N

ick.

Dev

elo

pm

ent

•U

se s

hare

d re

adin

g to

exp

lore

pag

es13

3–13

4 an

d 13

8–13

9, e

xplo

ring

how

the

auth

or r

ecre

ates

Nik

ki t

hrou

gh h

er s

peec

h.N

ote

all t

he d

ecis

ions

mad

e at

wor

d an

dse

nten

ce le

vel.

Reco

rd n

otes

on

a fli

pcha

rtfo

r us

e in

the

nex

t le

sson

.•

Gro

up t

ask.

Ask

pup

ils t

o re

ad p

ages

144–

146

and

150–

152

in t

he s

ame

way

,ex

plor

ing

how

Nic

k is

cre

ated

thr

ough

his

spee

ch. R

emin

d pu

pils

tha

t th

is li

nks

back

to t

he s

hare

d se

ssio

n in

the

pre

viou

sle

sson

.

•Re

view

how

spe

ech

is u

sed

in t

his

nove

l,dr

awin

g on

the

wor

k do

ne in

Les

son

9.

•D

ivid

e th

e cl

ass

into

tw

o: o

ne h

alf

will

writ

e ab

out

Nic

k an

d th

e ot

her

will

writ

eab

out

Nik

ki. A

sk p

upils

to

wor

k in

divi

dual

lyto

writ

e a

sect

ion

of t

he s

tory

abo

ut t

heir

assi

gned

cha

ract

er. P

up

il w

ork

shee

t10

.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk g

roup

s to

fee

d ba

ckon

the

ir di

scus

sion

abo

utth

e ch

arac

ter

of N

ick.

Ho

mew

ork

•Re

ad p

ages

133

–142

.C

ompl

ete

a re

latio

nal

diag

ram

sho

win

g th

esi

mila

ritie

s an

ddi

ffer

ence

s be

twee

n N

ick

and

Nik

ki.

Pup

ilw

ork

shee

t

Plen

ary

•A

sk s

elec

ted

pupi

ls t

ore

ad o

ut t

heir

writ

ing.

Alte

rnat

ivel

y, t

hese

cou

ldbe

dis

play

ed a

nddi

scus

sed

or u

sed

for

peer

-ass

essm

ent.

Ho

mew

ork

•Re

ad t

he f

ollo

win

gse

ctio

ns o

f N

ikki

’sna

rrat

ive:

pag

es14

2–14

3, 1

47–1

49,

153–

154,

157

–159

,16

2–16

3 an

d 16

6–16

8.Pi

ck o

ut t

en q

uota

tions

that

impl

y th

e pe

ople

inth

e sq

uat

are

not

wha

tN

ikki

thi

nks

they

are

.A

dd t

o th

e fo

rtun

e lin

efo

r N

ikki

.

9.1

9

Less

on

11 12

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3•

8R5

Trac

ed

evel

op

men

ts•

9R2

Syn

thes

ise

info

rmat

ion

•8S

&L1

4 D

ram

atic

tech

niqu

es•

8S&

L15

Wor

k in

rol

e•

9S&

L12

Dra

ma

tech

niqu

es

Rea

din

g A

F3 &

W

riti

ng

AF3

•8R

10 D

evel

op

men

t o

fke

y id

eas

•8W

r18

Crit

ical

rev

iew

•9W

r16

Bal

ance

dan

alys

is•

9Wr1

7 C

ite t

extu

alev

iden

ce

Less

on

fo

cus

Pag

es 1

76–2

13•

Empa

this

e•

Ratio

nalis

e•

Wor

k in

rol

e

Pag

es 1

91–2

30•

Eval

uate

•

Refle

ct o

n a

text

Star

ter/

Intr

od

uct

ion

Cre

ativ

e th

inki

ng

: ext

end

idea

san

d w

ork

in r

ole

•D

r Sn

ow’s

wor

k is

abo

ut c

hole

ra.

Ask

pup

ils t

o w

ork

in p

airs

to

expl

ore

the

cont

ext

of t

he s

tory

,cr

eatin

g a

QU

AD

S (Q

uest

ion,

Ans

wer

, D

etai

l, So

urce

) gr

idab

out

chol

era.

Thi

s w

ill b

eco

mpl

eted

for

hom

ewor

k. (

For

mor

e in

form

atio

n on

QU

AD

Sgr

ids,

see

the

Lea

ding

inLe

arni

ng:

Exem

plifi

catio

n in

Engl

ish

sect

ion

on t

he D

fES

Stan

dard

s w

ebsi

te.)

•Ex

tens

ion.

Pup

ils a

imin

g fo

r Le

vel

6 co

uld

com

plet

e a

rese

arch

proj

ect

on V

icto

rian

Lond

on.

Pup

il w

ork

shee

t

Eval

uat

ion

: exp

lore

au

die

nce

and

pu

rpo

se a

nd

jud

ge

the

valu

e o

f te

xts

•Re

turn

to

the

pred

ictio

ns p

upils

mad

e in

Les

son

1. W

hich

wer

eac

cura

te?

Ask

pup

ils t

o ex

plor

eth

e re

ason

s fo

r th

eir

accu

racy

,th

inki

ng a

bout

how

the

y w

orke

dou

t th

eir

pred

ictio

ns.11

.1

Dev

elo

pm

ent

•In

gro

ups,

pup

ils r

ead

page

s 17

9–18

0 an

d18

7–19

0.•

Pupi

ls u

se a

con

scie

nce

corr

idor

to

expl

ore

Nic

k’s

thou

ghts

and

fee

lings

. Te

ach

erp

lan

ner

(F

or f

urth

erex

empl

ifica

tion,

see

the

NA

TE D

ram

a Pa

ckfo

r En

glis

h, R

ef.

No.

N16

3.)

•Pu

pils

exp

lore

aud

ienc

e, p

urpo

se,

form

alan

d in

form

al la

ngua

ge in

rev

iew

s of

No

Ang

els.

Pu

pil

wo

rksh

eet

•U

se s

hare

d re

adin

g to

exp

lore

the

fea

ture

sof

a b

ook

revi

ew.

Pup

il w

ork

shee

tTe

ach

er p

lan

ner

12

.312

.2

12.1

11.2

Plen

ary

and

Ho

mew

ork

Plen

ary

•Re

ad t

he r

emai

ning

sect

ions

of

Nic

k’s

narr

ativ

e: p

ages

194–

195,

198

–200

,20

3–20

4, 2

08–2

09 a

nd21

2–21

3.

Ho

mew

ork

•C

ompl

ete

the

QU

AD

Sgr

id.

Plen

ary

•In

pai

rs,

ask

pupi

ls t

osu

mm

aris

e th

e m

ain

writ

ing

feat

ures

of

abo

ok r

evie

w.

Ho

mew

ork

•Pu

pils

fin

ish

read

ing

the

nove

l and

writ

e a

book

revi

ew o

f N

o A

ngel

sai

med

at

a te

enag

ere

ader

.

10

Teacher planner 1.1Lesson 1

Nikki: page 1

The day I decide to split, Kirsty sends this: WASSU?ItsYaLif but RUsureNowIsTRItTIm? CUatSCL?I don’t know about right time. When your mum’sboyfriend’s trying to get in your pants and your mumwon’t believe you it’s time, that’s all. And no, Kirsty, youwon’t see me at school. I answer: GOdblBadTImsMOvnOn II KIT.Moving on. Sounds easy, right? Romantic even. I feelpretty cool too, standing on the corner with my bagbetween my feet, phone in hand, texting. I picture myselftonight, in a room of my own with a lock on the doorsomewhere north of the river where Ronnie can’t find me.That’s his name by the way: Ronnie. Call me Dad he says,like I would. Anyway, he’s history as far as I’m concerned;a fragment of the past as somebody once said.I haven’t thought it through. You don’t at fourteen with athirty-something perv breathing down your neck.

Deduction: Nikkiis leaving home.

Inference: shedoesn’t like theway he tries tomake her call himDad.

Inference: Nikkitreats the readerlike a confidante.

Inference: Nikki isnot serious whenshe talks aboutthe problem,even though it ismaking her leave.She seems quiteunemotional.

Inference: Nikki isprobably ateenager becauseof the languageshe uses.

Inference: Nikki isprobably still achild. She lives athome.

Inference: sheexpects Ronnie tocome looking forher.

Deduction: thecharacter is fromour times.

Inference: sheseemsdetermined tomove on.

Inference: sheknows she’s notmaking a gooddecision.

Deduction: Nikkiis leaving becauseof her mum’sboyfriend.

Modelled reading

Inference: shedoesn’t feel safeat home.

Inference: Nikkiseems quiteexcited aboutleaving, as if it isa grown-up thingto do.

Deduction: she isfourteen.

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Definitions

Formal language: language that is correct and accurate, often seen in writing.

Informal language: language that is more conversational and chatty, usually heard in speech.

Paired task1 Look at the phrases from No Angels in the grid below. Write a number from 1 to 12 beside

each one to order them from the most formal (1) to the least formal (12).

2 Highlight the word or words in each phrase that make it formal or informal. Discuss withyour partner why these words make each phrase more or less formal.

Pupil worksheet 2.1Lesson 2

11

Phrases from No Angels Number

wiv fings so tite

I bin his boy from twelve and I’m two year older now

The day I decide to split

I looks in his eyes

ther’s none to be had

I ride the tube to King’s X and tramp the streets

Well, it isn’t as easy as that

Man, was I green

Bestist I can do

He was rite, that wag

Yeah right

I’ve got dosh


Definitions

Colloquial language: informal words and phrases found in spoken English.

Slang: very informal words and phrases that are not part of standard English. Slang words areoften associated with particular groups, such as teenagers. Slang is a type of colloquiallanguage.

In No Angels, the author uses slang and colloquial language to make it seem as if the text wasactually written by the central characters, Nikki and Nick.

1 Working with a partner, decide whether the words in italics in each of the sentences in thegrid below are examples of slang or colloquial English. Make sure you can explain yourdecision about each one.

2 What differences are there between the words you decided were slang and those youdecided were colloquial English?


Context

As a group we have:

• explored formal and informal language choices.

Now you are going to explore slang and colloquial language.

12

Sentence Slang or colloquial English?

He said he was going to split.

It’s not like it was my fault, you know.

Whatever!

Jamie said the car had been twocked.

The wedding reception was a massive family do.

Anyway, you could always go by yourself.

Get over it!

It’s like really complicated, you know what I mean?

Actually it’s not like it’s important.

I’m outta here!

Teaching objective• 9R7 Compare the presentation of ideas, values or emotions in related or

contrasting texts.

Focus• Emotions, ideas and values

Give each pair of pupils one of the quotations below, taken from pages 1 to 7. Give pairs one minute to discusstheir quotation and decide:

• What do they think about the character as a result of the quotation, and why?

• Which are the key words in the quotation? What were the writer’s intentions when he used these particularwords?

13


I feel pretty cool too, standing on thecorner with my bag between my feet,phone in hand, texting.

I haven’t thought it through. You don’tat fourteen with a thirty-somethingperv breathing down your neck.

It’s my age, see? They look at me andtheir brain goes, runaway. Nobody’sgoing to let to someone dodgy.

I understood all right, but I couldn’t sayanything.

He stretches out a hand and startsstroking my hair.

I don’t want him touching me but Ican’t move. I’m paralysed.

A part of my mind wonders if this iswhat it’s like for girls who turn upstrangled.

Then he closes in and his hands are allover and I know why I changed intojeans.

It com so cold middle of December Jacksez, wiv fings so tite I gotta let you go.

How to liv til spring, that’s the trick.How to fill Ma’s belly, and the littlegels.

We always was ’spectable, us Webleys.Never bin on the parish.

Then he falls off of a roof owt Marybonway and killt, and the fambly comdown too, only slower.

We sells up, moves to this court calltSharp’s Rents which it’s dark and smellyand full of thieves and beggars.

Father’d weep, see what his fambly comto.

Four in won room and lucky at that.Ovver rooms got seven eight peeple,ten even.

Down but never owt, that’s us. Thencom the cold.

✁

14

Example

Speaking scaffolds

Teacher planner 2.3 (continued)Lesson 2Pairs then work with another pair and explain to them the emotions, ideas and values raised about the character inthe quotation they were given.

Pupils could use the Point, Evidence, Explanation (PEE) method to explore their quotation. The following exampleand bank of speaking scaffolds may be useful to get students started.

it makes it sound like because possibly

the writer makes it seem like which it might be

it is as if it makes us feel maybe

it is almost as if perhaps

P

E

E

The writer tries to make us feel that Nikki is in an impossible situation whenhe writes: ‘When your mum’s boyfriend’s trying to get into your pants andyour mum won’t believe you it’s time ...’. This makes us hear the story fromNikki’s point of view, because it uses a character narrator, which makes itmore convincing because it sounds as if she is speaking. It also sounds likeshe is speaking directly to us, because it says ‘you’ and ‘your’, which putsus in her situation. The long sentence makes all this information come outin one go as well, which makes it sound as if someone is saying it aloudand it is almost as if they are breathless as they say it. Since this is the firsttime we get this piece of information, it makes it more dramatic. Because itis written using modern English, it makes it sound like Nikki is speaking it,which again makes readers feel involved – as if it is a conversation.


1 Work in teams of three. Your teacher will give your team one word from the list below.

2 Find out the meaning of your word. Using an advanced dictionary, look at all of thedefinitions to make sure you choose the meaning that Nick would be likely to use. Forinstance, a cove can mean ‘a bay or inlet’, but this is not what Nick means when he uses thisword.

3 As a team, write a definition of your word, using your own words, and record this in the gridbelow.

4 Next, make up two ‘false’ definitions of your word and add these to the grid below. Youraim is to convince the other teams that a false definition is the right one. Each team will readout their three definitions to the rest of the class, who will then vote to say whether theythink a, b or c is correct. The winning team will be the one which convinces the most otherteams that a false definition is the real one.

Example


Context

As a group we have:

• explored formal and informal language choices

• identified examples of slang and colloquial language.

Now you are going to play a quiz game to explore some of Nick’svocabulary.

15

a cove a nipper a Peeler a shaver

in chancery a swell-mob skilly to pick oakum

wittles a wag a privvy ragged school

Your word

Real definition

False definition 1

False definition 2

Is the definition of a ‘coster’:

a) a fishmonger who sells things from a cart filled with ice?b) a greengrocer who sells things from a cart?c) someone who collects rubbish from the streets of London?

The correct answer is b).


Good readers use inference and deduction to pick out clues from the writer about thecharacters in a novel. These clues give us information about the characters beyond the words ofthe text.

1 Look at the statements about Nick and Nikki in the grid below. These are based on theevents in pages 34–40 of No Angels. For each one, decide whether it is true or false, usinginference to find evidence in the text for your answer.

2 For each statement that you think is true, find a quotation in the text that supports thestatement.

3 Compare your answers with a partner and discuss the evidence you have found to supportyour decisions.

4a With your partner, devise a ‘True or False’ quiz based on pages 41–50 of No Angels. Useinference from the text to write ten statements about what Nick or Nikki thinks or feels.Remember to include some statements that are false.

b Swap your quiz with another pair.


Context

As a group we have:


• identified examples of slang and colloquial language

• considered the meanings of unfamiliar words.

Now you are going to explore characterisation using inference anddeduction.

16

Statement True or false?

Nikki thinks Steve might be suspicious because he has his own flat but his only job is selling The Big Issue.

Nikki liked spending the evening chatting with Steve.

Nikki is worried that Steve might try to come into her bedroom late at night.

Nikki feels safe with Steve.

Nick feels protective of his family.

Nick is hopeful that some work will turn up.

Nick wants his father to be proud of him.

Nick is embarrassed about being poor.

Nikki doesn’t like using the stolen packets of butter.

Nikki really appreciates what Steve has done for her.


Hope

A fortune line is a visual diagram that represents a character’s emotions, situations or thoughtsat different points in a narrative. Creating a fortune line can help you to imagine what acharacter is experiencing.

1 You are going to plot a fortune line for ‘hope’, thinking about how Nick feels about thefuture. Working individually, copy out the chart below, using a full page so that there isspace to include evidence from the text. The horizontal axis shows the time in the narrativeand the vertical axis shows how hopeful Nick feels.

2 Pick out a range of points from pages 41–42 and 46–48 at which Nick’s hope changes. Plotthese onto your diagram, deciding how hopeful Nick feels at each point you have chosen.Find a quotation to support each point and add this to the diagram. The first one has beendone for you: the point has been plotted near the bottom because Nick is wonderingwhether things could get any worse. Although he is cold and wet, he is still hopeful thatthings will improve, so he is not quite at the bottom.

3 Now you are going to extend the fortune line to include everything that has happened toNick in the novel so far. Skim read the sections of Nick’s narrative that you have already readand select ten points where you can identify how hopeful Nick feels about the future. Plotthese on a fortune line.

4 Compare your fortune line with a partner and discuss the shape that your fortune lines havetaken.


Context

As a group we have:



• considered the meanings of unfamiliar words

• explored characterisation through inference and deduction.

Now you are going to plot a fortune line about Nick’s thoughts andfeelings.

17

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Time

☺

�

�

x

Jus wot a cove don’t wantwho popt his jacket.

Nick’s levelof hope


In groups of four, discuss each of the problems below and the possible solutions to them.Explain which solution you think is the most reasonable and why.


Context

As a group we have:




• explored characterisation through inference and deduction

• plotted a fortune line about a theme in the novel.

Now you are going to discuss Nikki’s problems and possible solutions.

18

1 Your mum’s new boyfriend has beenmaking moves on you. You can’t tellyour mum because she won’t believeyou. You’re worried that she’ll just takehis side.

Do you:

a) Tell her and see what she does?

b) Talk to a friend and see what shethinks you should do?

c) Run away?

d) Talk to another adult, like a teacher?

3 You’ve got nowhere to stay tonight. Youcan’t go home because your mum’sboyfriend will be there. You can’t stay atyour friend’s house because she’ll tellyour mum.

Do you:

a) Go home and face the music?

b) Go to your friend’s home and riskyour mum finding out?

c) Go to a hostel and risk theminforming a social worker or thepolice?

d) Sleep rough?

4 Your mum’s been looking for you andyour friend says your mum misses you.However, your mum’s dodgy boyfriend isstill on the scene. You’ve nowhere to goand you’ve been sleeping rough.

Do you:

a) Keep sleeping rough?

b) Go home?

c) Talk to your mum on the phone andtry to convince her that her boyfriendis no good?

d) Tell your friend you’ll never speak toyour mum unless she loses theboyfriend?

2 You meet a guy who offers to put youup for the night. It seems better thansleeping rough, but you aren’t sure youcan trust him. You’ve just met him.

Do you:

a) Go with him, but let someone knowwhere you are?

b) Go with him as he seems normal andyou haven’t got another plan?

c) Say no and sleep on the streets?

d) Say no and look for a hostel?


Group task1 Discuss each of the problems in the grid below, deciding what your solution to each one

would be and why. Complete the ‘Your solution’ column of the grid, explaining yourreasons.

2 Find out what Nikki’s solution to each problem is by skim reading No Angels up to page 87.Discuss why you think she makes her choice in each case. Complete the ‘Nikki’s solution’column of the grid, explaining her reasons.


Context

As a group we have:





• plotted a fortune line about a theme in the novel

• considered some problems in the novel and possible solutions.

Now you are going to explore further problems and solutions in thenovel.

19

Problem Your solution Nikki’s solution and explanation and explanation

Your mum’s boyfriend has been trying it on with you and your mum won’t listen.

You meet a guy who offers to put you up for the night, but you don’t know whether to go with him or not.

You have nowhere to stay for the night. You can’t go home, or go to a friend’s.

You miss your mum and you know she misses you, but she still won’t kick her boyfriend out.


Paired task1 The passage below has been written in standard English in the past tense. Rewrite the text in

the style of language that Nikki uses by using:

• the present tense

• colloquial language

• slang words and phrases

• shorter sentences

• a more precise style.

2 Compare your rewritten version with the text on page 90 of No Angels.

a Which words and phrases are the same in the version below and on page 90?

b What did you notice about the way Nikki’s narration is written by the author?


Context

As a group we have:






• considered some problems in the novel and possible solutions.

Now you are going to explore a character’s voice by analysing theauthor’s language choices.

20

It was icy and cold yet there were people sitting on the steps under the statue. ThreeJapanese tourists were standing underneath, draped in expensive camera equipment.There was also a relaxed, casually dressed couple, clothed in bright, loose garments.On the steps, a woman was sitting surrounded by hundreds of bags. It was clear shehad no home to go to. I couldn’t decide whether ‘Dunkin Donuts’ or ‘McDonald’s’was the superior choice so I drifted across towards the statue and put my bag on thesteps. Then I sat down, wondering how long it would take before cold stone wouldgive you haemorrhoids.

I didn’t know what to do. I was despondent at the thought of having to sleep in adoorway again, yet I knew I couldn’t return home. What I would have liked to havedone is to have crossed back over the Thames and returned to Steve Patten, as I hadchanged my mind about his offer of accommodation. It was very tempting, but Iknew I mustn’t. It wouldn’t be acceptable to impose on him in that way, because Iknew I’d never want to leave.

21

Teaching objectives• 8W12 Recognise how the degree of formality influences word choice.

• 8Sn11 Understand the main differences between standard English anddialectal variations, e.g. subject–verb agreement, formation of past tense,adverbs and negatives, use of pronouns and prepositions.

• 8R4 Review their developing skills as active, critical readers who search for meaningusing a range of reading strategies.

• 8R5 Trace the development of themes, values or ideas in texts

• 8S&L5 Ask questions to clarify understanding and refine ideas.

• 8S&L10 Use talk to question, hypothesise, speculate, evaluate, solveproblems and develop thinking about complex issues and ideas.

• 9S&L9 Discuss and evaluate conflicting evidence to arrive at a consideredviewpoint.

Focus• Give reasons for opinions

• Draw inferences

Shared readingUse shared reading of the extract below to identify the use of slang and informal language. Focus on the followingaspects of language use, and explore others that pupils may identify:

• how spelling reveals Nick’s accent

• Nick’s use of idiom and slang

• Nick’s use of verb formations

• Nick’s use of pronouns.


Fings lookin up wiv us. Won day I walks by Jack’s cart,firs time since he giv me them four happles. Hallo Jack Isez, I owes you for fruit.He looks at me. Nick, he sez, I seen you comin along, dint reckernize you. Fort it were some toff lost his way.You growd fat my son, prosprous. Where’s the gold-mine?He’s herd some scholard reed from the paper, how fousandcoves findin gold in Australia, comin milliners overnite.No goldmine Jack, I sez, an I tels him all wot happens tome, Doctor Snow and evryfing and he sez, my hat Nick,but you’ve fallen on yor feet and no mistake.He won’t take my money tho.

Colloquial verbforms.

Idiomatic use oflanguage.

The spellingsreflect the accentof the speaker.This also makes itsound as if thewords are beingread aloud to usby the characternarrator.

The spellingsreflect the accentof the speaker.This also makes itsound as if thewords are beingread aloud to usby the characternarrator.

Nick’s speechmatches that ofJack, rather thanthat of DoctorSnow, whichreveals where hefeels he is insociety.

Use of slang.

Colloquialpronoun use.

Nick continues touse the languageand speechpatterns that heused with Jack.What does thistell us about him?

Is Jack joking?What tells us heis serious? Hewaits for Nick tospeak first – whatdoes this tell us?

Colloquial verbendings.

Nick deliberatelyuses languagelike Jack whenspeaking. Whatdoes this revealabout hischaracter?


When reading, it is important to pick out the clues the writer gives in the text to help us predictwhat is going to happen. On pages 121–122 and 125–126, Nick’s narrative gives us clues thatthe past is about to catch up with him and that his life is going to change.

We are given these clues in two ways:

• Nick tells us in a direct way that things are going to change.

• Nick’s narrative makes it seem as if everything in his life is going well, so we can predictthat things are going to change.

1 Find an example of a direct clue given on pages 121–122 and another example on pages125–126.

2 Find three examples of points where Nick tells us that everything is going well on pages121–122 and another three examples on pages 125–126.

3 Re-read these pages and record in the grid below any details that might be important againtowards the end of the story, explaining each one. One example has been completed foryou.


Context

As a group we have:






• considered some problems in the novel and possible solutions

• explored a character’s voice by analysing language choices.

Now you are going to identify clues in the story which help you topredict what happens.

22

Detail Explanation

‘wants I should himprove my readin’ I picked this out because Nick might grow up to become a ‘scholard’, as he keeps mentioning it.


A relational diagram is a visual way of showing the connections between things. This sort ofdiagram will help you to consider why the author has written this story so that the narratives ofNick and Nikki are interwoven.

1 What are the connections between the two narratives? Think about:

• who the characters are: their ages, backgrounds, personalities and families

• what happens to them: look at the fortune lines you have made for the characters.

a Pick out the similarities between Nick and Nikki and add them to the grid below.

b Now pick out the differences between the characters and add these to the grid.


Context

As a group we have:







• explored a character’s voice by analysing language choices

• identified clues in the story which help us to predict what willhappen.

Now you are going to explore the similarities and differences betweenNick and Nikki.

23

Similarities

Differences

Nick NikkiNick is a young teenager who is forced to Nikki is a young teenager who is forced togrow up quickly. grow up quickly.

Nick NikkiNick has to grow up to support his family Nikki has to grow up because she doesn’tand look after them. feel her family are looking after her.


1 You are going to write an extra part of the story about either Nick or Nikki. In this extra partof the story:

• Nick is released from prison, where Dr Snow is waiting for him. He takes Nick back to hishouse where he explains that his mother and sisters died of cholera while he was in prison.

• Nikki speaks to Kirsty on the phone and is convinced by her to call her mum. When shedoes, she realises that everything is still the same and her mum is unlikely ever to believeher about Ronnie.

2 Your writing will be assessed to see if you can match the style of the narrative voice theauthor has created for your character. As you write, you will need to think about the wayyour character speaks, for example:

• the kind of language they use

• the colloquial language they use, for example pronouns

• their slang

• the verb endings they use

• the way they spell words.

Look back at all the language work you have done about this novel. Try to include as manyfeatures as possible to ensure that your writing matches that of the author.

3 When you have completed your piece of writing, compare it to the parts of the novel wherethese events actually happen: Nick’s narrative on pages 179–180 and Nikki’s narrative onpages 157–159. Use the checklist below to help you identify whether you have matched thecharacter’s narrative style:

Have I used:

❒ the same kind of sentences as the character?

❒ words that match the time the character lives in?

❒ verbs that match the colloquial language they use?

❒ pronouns the character might choose?

❒ spelling that matches their accent?

❒ the present tense throughout?


24


Research project on Victorian London

You are going to work independently on a research project about Victorian London. You willproduce materials to explain this period to Year 6 pupils.

You will need to produce:

• a plan to show what you are going to research

• information from four different sources, including websites, if appropriate

• facts about Victorian London that Year 6 pupils would find interesting.

1 When planning a research project, you need to think about what your reader would want toknow or would find interesting. A QUADS grid is useful for this. Create your own QUADSgrid, using an A3 sheet of paper, using the following headings.

a Write down between ten and twenty questions about Victorian London that you wouldwant to know the answers to if you were a Year 6 pupil. You could write each questionon a ‘Post-it’ note.

b Arrange your questions in order of importance and think about how they might fittogether to help you to organise your ideas before you start to write. For instance, youmight have three or four questions about the houses that people lived in and these couldbe grouped together.

2 Make a list of five sources of information that you are going to use. Think about which ofthese sources will be the most useful and relevant. Start your research with the one that youthink will give you the most answers to your questions.

3 When you have found an answer to one of your questions, start to complete the grid. Writethe answers to your questions in your own words. In the ‘Details’ column, note down aquotation from your source. You should also record where you found the information in the‘Source’ column.

4 When you have found the answers to your questions, you can write up your project.Remember to use vocabulary and sentences that are appropriate for your reader, and makeit entertaining. Think about how you could use illustrations, short paragraphs, funny stories,gruesome details and an informal style.

Questions Answers Details Sources


25


Pupil worksheet 11.1 (continued)Lesson 11

26

5 Your teacher will assess your notes and your project. The skills you will need to demonstrateare listed below. Use the grid to remind you what you need to do to complete the projectsuccessfully.

Usually Sometimes Never

Can use a plan to structure research

Can find specific information in a range of texts

Can select information that is relevant to the reader

Understands how some sources are more useful than others

Can combine information from at least three sources into a project

Can use presentational features to help the reader make sense of the text

Can write in a tone that is appropriate for the reader

27

Teaching objectives• 8S&L14 Develop the dramatic techniques that enable them to create and sustain a

variety of roles.

• 8S&L15 Explore and develop ideas, issues and relationships through work in role.

• 9S&L12 Use a range of drama techniques, including work in role, to explore issues,ideas and meanings, e.g. by playing out hypotheses, by changing perspectives.

Focus• Empathy with characters

A conscience corridor is a way of understanding what is going on in a character’s thoughts and feelings when theyare faced with a critical event.

Re-read pages 187–190 as a class before you begin this activity, to provide pupils with ideas for the role play. Askthem to think about what questions, doubts and thoughts will be going through Nick’s mind.

In a conscience corridor, one pupil represents the key character – in this case, Nick. Another pupil representsanother character – in this case, Dr Snow. All the other pupils form a ‘corridor’ which Nick must walk down. Thefollowing diagram shows how this looks:

The conscience corridor begins with the pupil playing Dr Snow saying these words (from pages 189–190):

The pupil playing Nick then begins to walk from one end of the ‘corridor’ to the other, stopping at each personalong the way, who speaks a thought from Nick’s perspective about the situation, as shown in the followingdiagram:

Nick should stop for a short time at each ‘thought’ as if he is thinking about it. The pupils voicing Nick’s thoughtsshould try not to repeat each other. Re-reading this section of the novel prior to beginning the activity should helppupils to do this. When pupils voice a thought, they can make a statement or ask a question. Remind them thatthey can alter what they were going to say in response to an earlier thought.


Here, your past will haunt you, hold you back. But suppose you were in a place where nobody knowsabout Sharp’s Rents, Millbank, the baked potato man. A place where people would look at you and seeonly a strong, bright lad, willing and able to turn his hand to anything?If you want me to I’ll speak with a lady of my acquaintance who is able to arrange passages for youngpersons like you … to New South Wales.

Nick Dr Snow


1 Read the extracts below taken from book reviews of No Angels. In pairs, look at thelanguage used in these reviews and speculate about the writers and their intendedaudiences. Annotate the extracts with your ideas. Use your understanding of formal andinformal language to help you decide:

• what kind of review you think it is • who it was written for.

2 With your partner, discuss which review you think is the most formal and which one you thinkis the least formal. Rank each review on a scale from 1 (very formal) to 10 (very informal).

3 Join with another pair and compare how you have ranked the reviews. Discuss the reasonsfor the similarities and differences.


Context

As a group we have:







• explored a character’s voice by analysing language choices

• identified clues in the story which help us to predict what will happen

• completed a relational diagram about similarities and differences

• used a conscience corridor to explore a character’s thoughts andfeelings.

Now you are going to explore language choices in book reviews.

28

Extract 1

Extract 2

Extract 3

Through the way No Angelsuses the parallel stories of Nikki and Nick, Robert Swindells shows thatalthough a century and a half apart, nothing has changed in the way that authority deals with crime,without thinking of the causes of crime. The whole novel is written with a strong sense of compassionfor the characters, and an original style that enables the readers to engage with them.

No Angelsis capable of bringing tears to the eye. The main characters are realistic and interesting and itmade me really want to know what happened to them.

Get hold of a copy of No Angelstoday. You’ll be hooked!

Extract 4

No Angelsis a skilful and well-constructed addition to Robert Swindells’ repertoire: justifiably onematching his highest standards.


Review of No Angelsby Robert Swindells

Are people born to be criminals, or does society make them into one? This isthe central question of the text, and Swindells leaves us to make up our ownminds about the answer.

Swindells uses the two parallel characters of Nikki and Nick to explore thethemes of crime and punishment. Nikki, a troubled teen faced with a trickyhome situation, has run away and fallen in with a tribe of misfits. Nick, aVictorian ‘cove’ supporting his mother and sisters, falls under the care of themysterious Dr Snow. The first person narrative helps the reader identify withthe two characters, particularly in the way Swindells uses the idiosyncrasiesof their particular time to create a colloquial style that makes the reader feelas though the characters themselves are telling the tale. Although thecolloquial style of Nick will be a little unfamiliar to some, those familiarwith Charles Dickens’ Artful Dodger will find Nick’s style not dissimilar tohis London counterpart.

Through the careful re-telling of their stories, the way the reader is expectedto identify with the main characters, and the way Swindells skilfully createsthe narrative, you are left in no doubt that the views of the formidablecharacters of Stern and Nossiter, whose lines are interwoven into themultiple narrative, are unjustified.


29



Review of No Angelsby Robert Swindells

Are people born to be criminals, or does society makethem into one? This is the central question of the text, andSwindells leaves us to make up our own minds about theanswer.

Swindells uses the two parallel characters of Nikki and Nickto explore the themes of crime and punishment. Nikki, a troubled teen faced with a tricky home situation, has runaway and fallen in with a tribe of misfits. Nick, a Victorian‘cove’ supporting his mother and sisters, falls under the careof the mysterious Dr Snow. The first person narrative helpsthe reader identify with the two characters, particularly inthe way Swindells uses the idiosyncrasies of their particulartime to create a colloquial style that makes the reader feel asthough the characters themselves are telling the tale.Although the colloquial style of Nick will be a littleunfamiliar to some, those familiar with Charles Dickens’Artful Dodger will find Nick’s style not dissimilar to hisLondon counterpart.Through the careful re-telling of their stories, the way thereader is expected to identify with the main characters, andthe way Swindells skilfully creates the narrative, we areleft in no doubt that the views about crime held by theformidable characters of Stern and Nossiter, whose lines are interwoven into the multiple narrative, areunjustified.

Keeps a balancein the sentenceby usingantonyms andsimilar-soundingwords as echoesto ensure thereview isinteresting.

The review starts with aquestion to hook thereader.Presents a

summary of thenovel and of thetwo maincharacters.

Embedded clauseto add extrainformation.

Comes back tothe themes setout in theintroduction tothe review.

Maintains thepositive tone ofthe review byexplaining anydifficulties for thereader andsimplifying it.

Usually uses thethird person, onoccasion usingthe first-personplural.

Uses the firstperson plural toinvolve thereader.

Uses nounmodification toadd more detail,ensuring thereview is concise. Introduces the

two maincharacters anduses embeddedsubordination togive a little moredetail about them.

Uses a list-of-three as arhetorical deviceto summarise theway the novel iswritten.

30

Use these annotations to explore the features of review writing.

Starts byoutlining thepremise of thetext and the mainthemes.

Explains somedetail about theway the text iswritten andcomments on itseffect.

Summarises themain features ofthe novel andtheir effect onthe reader.

Modelled reading

Documents

TEACHER’S BOOKLET - Pearson Education€¦ · · 2017-07-13bridge between their reading and writing. These materials support the teaching of both reading and thinking skills