In this lesson, we’ll be starting to consider how we can use our reading strategies to respond to non-fiction material. We will be working with an extract from Aron Ralston’s autobiography, Between a Rock and a Hard Place. During the session, we will be tracking the events in our new text and asking key questions of the material by responding to a series of prompts to allow us to extend our thinking and observe some of the features that are particular to non-fiction material.
Unit: Non-Fiction Texts and View Point Writing
In this lesson, we’ll complete the reading of this climactic moment from Aron Ralston’s autobiography Between a Rock and a Hard Place. During the session, our focus will be on defining the writer’s thoughts and feelings and tracking how the writer communicates this. We will work through the text systematically, using our reading strategies to support us in unpicking the text and drawing our final conclusions at the end.
In this lesson, we'll be looking at how to examine the writer’s perspective. We will be continuing to work with our text, Between a Rock and a Hard Place by Aron Ralston. We will look at how understanding Ralston’s viewpoint helps us to make further observations about the attitudes and feelings communicated within the account. In order to help us do this, we will work with a writing frame and key quotations, building our response systematically. Once you have written your response, there will be a model answer for you to self-assess against and track your progress.
In this lesson, we will continue to work with our text of the week, an extract from Aron Ralston’s autobiography Between a Rock and a Hard Place. We will start by considering what subject terminology is useful to know when approaching non-fiction texts. We’ll then be reminding ourselves of the process we have been using to select ‘rich’ evidence before using a slow writing method to create our analysis of a set passage. Finally, you will have an opportunity to assess your progress against our reading skills criteria and a model response.
In this final lesson, we will be considering how to give an evaluative response to our set text from Aron Ralston’s autobiography Between a Rock and a Hard Place. We will return to our evaluative planning techniques and work through our response together; first the planning process and then the actual write up. At the end of the session, you will have the opportunity to assess your progress against our success criteria.
In this lesson, we'll be continuing our reading of unseen non-fiction texts; this week exploring Touching the Void written by the British climber Joe Simpson about his experiences in the Peruvian Andes. As usual with our first reading, we will be tracking the events and responding to a series of prompts to develop our understanding of the text.
In this lesson, we’ll complete the reading of our extract from Touching the Void by Joe Simpson whilst considering the thoughts and feelings he presents. Prior to this, we will be finding out a little bit more about Joe Simpson and his companion Simon Yates so that we can establish the very particular perspective of this incident. At the end of the session, you will write your response to the writer’s attitude in the selected passage; this will allow you to draw together your learning. A model answer will be provided for you to assess your progress.
In this lesson, we will be following our process for analysing a writer’s language use by examining a passage from Joe Simpson’s Touching the Void in more detail. As usual, we will ensure that we have selected ‘rich’ and connecting evidence that allows us to build our analysis before completing a slow write. We will then be checking our progress against our criteria and examining a model response.
Summarising ideas across two texts: Between a Rock and a Hard Place – Aron Ralston and Touching the Void – Joe Simpson
In this lesson, we will be considering what the skill of summary requires by working with our two non-fiction texts, Between a Rock and a Hard Place and Touching the Void. We will look at how we need to understand the focus of the question and select relevant supporting evidence to answer our question. Crucial in the skill of summary is the idea of synthesising information across the two texts and showing what we have understood / can infer. During the course of the lesson, we will break down the process and experiment with sentence stems to support our written responses.
In this lesson we will be comparing our unseen fiction texts and looking at how the two writers’ perspectives influence the way they write their accounts of being trapped. We will break down the task and first establish key similarities and differences in their attitudes. We will then use a planning frame to read extracts from the two texts and select our evidence. You will have an opportunity to write up your response using a framework to support your answer. At the end of the lesson, you can check your response against our success criteria and a model answer.
In this lesson, we'll be continuing our reading of unseen non-fiction texts, this week looking at a pre-1900 extract from the pioneering Victorian explorer and naturalist, Isabella Bird. As usual with our first reading, we will be tracking the events and responding to a series of prompts to develop our understanding of the text. At the end of the lesson, we will reflect on the ‘Big Picture’ issues the text has presented by considering the 4 Conflicts.
In this lesson, we'll be following our process for analysing a writer’s language use by examining the final part of our extract from Isabella Bird’s The Hawaiian Archipelago. As usual, we will ensure that we have selected ‘rich’ and connecting evidence that allows us to build our analysis before completing a slow write. We will then be checking our progress against our criteria and examining a model response.
In this lesson, we will begin to develop our response to Isabella Bird’s perspective by defining her thoughts and feelings and placing her extract within a social and historical context of Victorian travel writing. Next, we will look at a written response to the extract using a writing frame to help organise your thoughts. At the end of the lesson, there will be an opportunity to assess your progress against a model response.
In this lesson, we will be revisiting Aron Ralston’s Between a Rock and a Hard Place and drawing comparisons with Isabella Bird's Hawaiian Archipelago. We will consolidate our comparison skills by using our framework for selecting evidence and structuring a written response. You will then be able to check your progress against a model response.
In this lesson, we'll be reflecting on the three non-fiction texts we have read and considering who has inspired us the most: Ralston, Simpson or Bird. In order to arrive at your decision, you will have an opportunity to engage in an evaluative task before reviewing your candidate’s story and finally writing up your response. The main priority today is to give your personal response, really reflecting on your feelings towards each of the individuals and the decisions they have made.
In this lesson, we’ll be looking at viewpoint or discursive writing. We'll be exploring a question that will build on our unseen non-fiction reading which gave us individuals who could be considered inspirational. We will be considering the statement: “People who save lives, or help improve the lives of others, are the true role models of today.” Today, we will examine a response to this statement and consider how it has been constructed.
In this lesson, we'll be looking at planning techniques that will help us generate ideas as well as produce a balanced and thoughtful viewpoint essay plan. We will do this by looking to the Greeks and learning about ‘logos’, ‘ethos,’ ‘pathos’ and ‘kairos’. You will then have an opportunity to start creating a plan using a framework to help sequence your ideas.
In this lesson, we'll return to our plan and look at how to develop an effective introduction to our essay. We will start by reviewing the model answer and considering how the introduction works. We will then look at the technique of a ‘drop paragraph’ and consider how different choices are made depending on the purpose and audience of our task and the relationship we need to establish with our reader. After examining the features of a ‘drop paragraph’ you will return to your own plan and write the first section of your essay.
In this lesson, we'll return to our essay plan and look at how to build the main body of our response, thinking about the function of the paragraph, the desired effect on the reader and the types of rhetorical devices that might be best to choose. We'll do this as a slow write to give you time to think about your options. At the end of the lesson, we’ll critique our writing and compare to the model answer for fluency and control.
In this lesson, we'll look at how to ensure we write an effective conclusion by reviewing examples and looking at the features and function of a final paragraph in a viewpoint essay. You will have an opportunity to experiment before completing your essay. You will then complete a final review and commentary of your own work.
Units in English
- The Oral Tradition
- Epic Poetry
- The Canterbury Tales: ‘General Prologue’
- The Refugee Tales: ‘Prologue’, ed. Anna Pincus and David Herd
- The Canterbury Tales: ‘The Knight’s Tale’, Chaucer
- Telling Tales, Patience Agbabi
- A Midsummer Night’s Dream, Shakespeare (Introduction and Act 1)
- A Midsummer Night’s Dream, Shakespeare (Act 2)
- A Midsummer Night’s Dream, Shakespeare (Act 3)
- A Midsummer Night’s Dream, Shakespeare (Act 4 & 5)
- The Story of an Hour by Kate Chopin
- Sweetness by Toni Morrison
- Introduction to poetry
- Introduction to the sonnet
- ‘Sonnet 18’, Shakespeare
- ‘Death, be not proud’, Donne
- ‘If thou must love me’, Barrett-Browning
- ‘If we must die’, Claude McKay
- ‘The sonnet-ballad’, Gwendolyn Brooks
- Creative writing: short stories
- Creative writing: poetry
- Recapping the basics: simple sentences, statements, paragraphs, capital letters and past simple verbs
- Complex sentences, avoiding fragments and run-ons, capital letters
- Past simple tense, subordinate clauses, punctuating conjunctions and lists
- Writing accurate, correctly punctuated and paragraphed dialogue, using personal pronouns
- Avoiding fragments, fused sentences and comma splices. Using capital letters and writing in the past tense. Using multiple subordinate clauses, punctuating lists correctly when in a complex sentence.
- Paragraphing narratives for clarity, using possessive pronouns, using apostrophes accurately, structuring, writing and editing genre-specific narratives
- Introduction to Tragedy
- Julius Caesar, Shakespeare, Act 1
- Julius Caesar, Shakespeare, Act 2
- Julius Caesar, Shakespeare, Act 3
- Julius Caesar, Shakespeare, Act 4 and 5
- Introduction to the Romantics
- Romanticism and Nature
- Nature poetry: 'Sycamore Gap' Zoe Mitchell, 'A Sunset' Ari Banias, 'California Dreaming' Lachlan Mackinnon, 'Causeway' Matthew Hollis.
- Romanticism and Revolution
- Revolutionary and Protest poetry: ‘America’ Claude McKay, ‘Rosa’ Rita Dove, ‘Torture’/ ‘We alone can devalue gold’ Alice Walker, ‘Good Bones (2016)’ Maggie Smith, 'To the Indifferent Women' Charlotte Perkins Gilman, ‘Caged Bird’ Maya Angelou
- Oliver and the Workhouse
- Oliver Heads to London
- Oliver is Caught
- Oliver, Bill & The Maylies
- Oliver and the Consequences
- Annie John by Jamaica Kincaid
- Creative writing: memoir
- Introduction to rhetoric
- Injustice: Pankhurst & Sojourner Truth
- Change: Michelle Obama & Lennie James
- Motivate: Churchill & Gandhi
- Writing rhetoric
- Shakespearean Comedy - The Tempest
- Language Skills - Fiction - Reading
- Language Skills - Fiction - Writing
- Language Skills - Non-Fiction - Reading
- Language Skills - Non-Fiction - Writing
- Grammar for Writing
- The Short Story
- Gothic Literature
- Fiction: Reading and Descriptive Writing
- Non-Fiction Texts and View Point Writing
- Jane Eyre
- Animal Farm
- Paragraphing non-fiction writing, including presenting a balanced argument