In evaluation questions we need to think about giving our interpretation of the WHAT and our analysis of the _______?

Which word is an antonym for the word 'anchor'?

Which word is not a synonym of 'refine'?

In the courtly love tradition, the male ___________ the lady.  Which word best matches?

'She was trapped like a bird in a cage.'  What language device is being used in this sentence?

English - Responding to evaluation questions

﻿Welcome to today's English lesson. I'm Mrs. Crompton. Before we begin our learning, let's make sure we have everything we need. You will need a pen and paper. Take a moment to make sure you've cleared any distractions away, and have everything you need at hand. So here's our question from our last learning session. This part of the story, where Lucy is forced back into her coffin by Van Helsing and his men, shows how men are always victorious. None of our sympathy is with Lucy. To what extent do you agree? We clarified yesterday, what it means to evaluate. So when we evaluate, we need to give our interpretation. And a lot of yesterday's session was about really building your confidence in exploring your own ideas and making sure that you can evidence those fully. So our interpretation is based on the content, the what, and then our analysis of the methods, the how. And you should have with you, your planning notes. So that's where we're starting today. We're going to review our planning notes, and what we're going to be doing first of all, is thinking about the sequencing of those notes. So in a moment, I'm going to ask you to draw this table. We have two columns. Men are always victorious, on one side. None of us sympathy is with Lucy, on the other. And then we've got three boxes underneath where you can pop in your quotations, but you're not going to do that just yet. All I need you to do is to draw up the box now. So you should have your box ready. And what we're going to do now is to work through our evidence and to really start sequencing, organising our thoughts, really pinning everything down. First of all, we're going to review the quotations, okay? So before you put anything in those boxes, I need you to review the evidence that you've got. Make sure you've got the right evidence. Now, if you think you haven't, there is going to be an opportunity for you to reread the text, okay? So please don't panic. If you start looking at it and thinking, "I can't link these quotations," not a problem, you're going to get an opportunity to reread the text should you wish. If we've got the right quotations, we should be able to do the following. The second part here, identify supporting and rich quotations is something I've perhaps not gone into too much detail with you, but I think this is a really important time to make this distinction. When we gather evidence, sometimes the evidence we gather for a response like this is a good supporting quotation, i.e., it backs up the point that we are making. But I can't do any analysis with it. It just does what it says. It supports the idea. So that's absolutely fine. We need those. Those are the quotations that we're going to embed within our line of argument, as we're presenting ideas. However, we do need some rich quotations as the ones that we used last week when we were doing the cloud analysis, those rich quotations allow us to cover the how part. That's the bit where we can then analyse the methods that Stoker has used. So within maybe three quotations, it might be that only one of those is rich. Absolutely fine. I wouldn't want you to try and analyse six quotations through the course of this response, okay? So I hope that is quite a nice, positive idea in your minds, thinking, "Okay, I can see how this is working." It's a combination of rich and supporting evidence. We're then going to get as far as step three in this initial part of the lesson. And I would like you to decide on how you're going to place those quotations into your box. So you need to sequence them and also think about the methods, okay? So these three things are the processes you are going to go through, reviewing, maybe deciding you need to reread the text, which I'm going to show you in a moment, gathering your quotations together, sort of categorising them a little bit in terms of supporting our rich, and then sequencing them, thinking about how you're going to build those links. This is reinforced. This is backed up by furthermore and all of those connectives that you can use, always keeping in mind that methods need to be covered at some point. Okay, I will be waiting for you at the other side. You have got the text also, and then you can pause anywhere along this section to get this idea together and to make sure that this table is completed. Okay, I will see you soon. Welcome back, everybody. So, how did that go? You should have a nice completed table and you can think now about where your evidence is going. What we're going to try and do is to write this up together. And we're going to look at the whole question in four sections. The first part you can see there is an overview statement where you're going to give your response to the whole question. So this is the bit that ended up in the pink ring on your original sort of donut planning document. And that was your response to the idea of Van Helsing and his men shows how men are always victorious. None of our sympathy is with Lucy. To what extent do you agree? So it's the to what extent you agree, and it's your overview statement in conclusion to that response. You're then going to work through your first row of evidence. And there is a reminder here that when we analyse, we look at those connections between one piece of evidence. And I've used the clouds from last week's learning, just to remind you of your analytical writing skills. And we're always remembering to point out any method as we go. We will then move on. I'll just go through the whole thing to start with. We will then go on to work through the second row of evidence. So this is the part where we're thinking about our sympathy with Lucy, before we come to our final conclusion, big picture ideas. And that's where you might refine your phrasing, think about the four conflicts in that final part. So you need to get all your planning together, and what I'm going to suggest we do, as it shows there with the pause button in between, is that you write the first two parts. Think about your overview statement, work through your first row of evidence, pause, and then move on to the next part while you deal with the last two bits, okay? Over to you, good luck. So you've got your first part written. Let's have a look at the second two in a little bit more detail. So work through your second row of evidence. And I said, be systematic and explain your ideas fully. As a reminder, please don't sort of jump about, make sure you're thinking about the sequence, and explore those ideas. When it says, explain your ideas fully, that's an opportunity for you to bring in the context work that we've been doing. So make sure that you don't miss opportunities, and we're always taking that opportunity to bring in any relevant method. The final conclusion is where we really want nice, refined phrasing. And that reminder, we're drawing judgement . So we want a judgement overall. Overall the text shows us... And you can make your comment on the statement, but a really, really polished answer would perhaps reach to those big picture ideas. And again, we know that we can bring in our four conflicts. So, reminders on this screen about the need to explain your ideas fully and the need to refine that your phrasing for the ultimate polished response. To finish the learning for today, you have a recap quiz to complete. All that remains for me to say is thank you for your focus, and enjoy the rest of your learning today.

'Within a foot or two of the door, however, she stopped as if arrested by some invisible force.'  What word class is 'invisible'?

'The beautiful colour became livid.'   What does the word 'livid' mean?

'The lovely blood-stained mouth grew to an open square.'  What subject terminology could we use to define the use of 'lovely' and 'blood-stained' to describe Lucy's mouth?

What does the word 'dichotomy' mean?

'Lucy is interesting because she does not _______________ to the reader's expectations of a Victorian 'Angel in the House.'   Which word best fits the blank?

English - Evaluation - writing it up

In this lesson, we will return to our planning in response to the question: 'This part of the story, where Lucy is forced back into her coffin by Van Helsing and his men, shows how men are always victorious. None of our sympathy is with Lucy.' Today, we will look at how to sequence our thoughts and build an effective evaluation in a systematic way.

English

Y9 English

Key Stage 3

Year 9

Evaluation: Writing it up

Fiction: Reading and descriptive writing

UNIT

Approaches to reading unseen fiction texts

Character types and function

Analysing language: Selecting evidence

Analysing language: Analytical writing

Examining structural choices

Unseen Fiction Texts: Pre-1900

Mary/Eve Dichotomy

Thinking about space: Where do women belong?

Responding to evaluation questions

Reading skills: Unseen fiction - Cold Mountain

Journeys in literature: Cold Mountain

Descriptive detail: Close analysis

Descriptive writing: Planning techniques

Descriptive writing: Slow write

Reading skills: Samphire

Reading skills: Samphire (Part 2)

Narrative writing: What makes a good opening?

Narrative writing: Creating movement in our writing

Narrative writing: Effective endings

Reading skills: Pre-1900 unseen fiction - Heart of Darkness

Writing skills: Responding to a setting stimulus image

Writing skills: Responding to a person stimulus image

Writing skills: Using symbolism

Writing skills: A writing process

What is the opposite of a protagonist?

When analysing language we need to ensure our explanations relate to the _____ of the passage.   What is the missing word?

Which word is not a synonym for 'humility'?

All texts start with a point of equilibrium.

What is a 'bildungsroman'?

What is the function of descriptive writing?  Choose the best definition from the list below.

What is samphire?

What is a parallel narrative?

What do we call a character that does not change?

What is a circular narrative?

Complete this sentence - "most narratives revolve around a single ______________ that represents the core of the story."

What does catharsis literally mean?

Which one of the following is not a type of narrative?

What is it called when you open a narrative in the middle of a moment of action?

What are the main characters in the novel called?

Lesson overview:Evaluation: Writing it up

Core Content

Fiction: Reading and descriptive writing: