YOU DON’T KNOW - Pearson Schools and FE Colleges · Extracts from You Don’t Know Me© 2001...
Transcript of YOU DON’T KNOW - Pearson Schools and FE Colleges · Extracts from You Don’t Know Me© 2001...
TEACHER’S BOOKLETPearson Education Limited, Edinburgh Gate, Harlow, Essex,CM20 2JE
England and Associated Companies throughout the World© Pearson Education Limited 2004
The right of Gavin Knight to be identified as the author of this work has been asserted by him inaccordance with the Copyright, Designs and Patents Act of 1998.
Extracts from You Don’t Know Me © 2001 David Klass
The original edition of You Don’t Know Me is published in the USA by Frances Foster Books,Farrar, Straus and Giroux
First published in Great Britain by Viking 2001Published by Puffin Books 2002
Sources and acknowledgements
We are grateful to all copyright holders whose material appears in this booklet. However in someinstances we have been unable to trace the owners of copyright material and we would
appreciate any information that would enable us to do so.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, ortransmitted 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 restrictedcopying in the United Kingdom issued by the Copyright Licensing Agency, 90 Tottenham Court
Road, London, W1T 4LP
ISBN 0 582 84492 4
First published 2004
YOU DON’T KNOW ME
9 780582 844926
ISBN 0-582-84492-4
Introduction
2
AimThis resource provides materials to support the teachingof framework objectives through the reading of YouDon’t Know Me. Reading can be a shared, socialactivity and it is important that pupils are given theopportunity to talk and write about their reading.Emphasis is placed on the promotion and developmentof independent reading, as pupils are asked to reflecton the reading strategies they use and encouraged totry out new ones. Many of the activities encouragepupils to build a bridge between their reading andwriting. In particular, pupils are encouraged to developthe skills that readers in Year 9 need if they are to meetthe reading and writing demands made of them.
The lesson outlineThe lesson outline provides a structure for teaching ‘at aglance’. It is intended to provide a framework and canbe adjusted to suit your circumstances. The structureenables you to cover a longer text, while maintainingpace. Objectives are taught explicitly and are clearlyplaced within the context of the book and the lessonstructure. There will be issues about coverage, but it ismore important that pupils are able to explore theirreading through talk and other interactive approaches,rather than sitting passively as the whole book is read tothem, or worse, being asked to ‘read around the class’.
Approaches for progressing through the book include:
• pupils or teacher recap previous chapters that maynot have been read
• jigsaw reading (groups are given a section or chapterto read and then the group reports back)
• use of prepared summaries or diagrammaticrepresentations of the plot
• reading at home, if appropriate.
It is also 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.
Resources
This unit does not require extensive resources butideally they should be prepared in advance. Groupactivities could be photocopied onto coloured card andlaminated, so that pupils have their own copies forreference. The main resources you will need are: copiesof the text, highlighter and marker pens, ‘Post-it’ notes,sugar paper, reading journals, copies of extracts on OHTand paper for annotation.
Reading journals
While some pupils will eagerly share their impressionsabout texts they have read, others feel less comfortablein class discussions, and will keep their thoughts tothemselves. In an effort to encourage all pupils to thinkmore about what they read and share theirobservations and opinions confidently, some teachers
use reading journals to great advantage. Readingjournals provide pupils with the opportunity to reflect,speculate and express their immediate responses totheir reading. They can be an essential tool in trackinghow pupils are responding to the text. Whilstopportunities for using reading journals are nothighlighted in this resource, it may be worthwhileincorporating the use of reading journals into yourteaching of You Don’t Know Me. For example, pupilscould be asked to reflect every lesson on the readingstrategies that they have used, and make a brief noteabout them, including reference to the text.
Pupils can make a wide variety of entries in a readingjournal, including:
• noting responses
• questions arising
• mind mapping and other graphic representations(tension graphs, timelines)
• jotting down words and phrases that need clarifying,or that they could ‘steal’ for their own writing
• keeping track of the plot.
Most pupils will need support if they are to write withclarity and understanding, even if they are just makingnotes. For example, if pupils are asked to delve intocharacters’ motivations and choices, this kind ofresponse will need to be modelled for them. You canalso provide key words and phrases to prompt criticalresponses from pupils, for example:
‘I wonder what this means …’ ‘This bit reminds me of …’‘If it was me, I would …’‘I was surprised when …’
Assessing the reading journal
It is important that pupils regard the journal as part of acontinuing dialogue with the teacher and with eachother, rather than work that is to be marked. However,there are three stages that reflect critical thinking andreading and these could be used as a teacher checklistfor assessment:
1 A literal encounter with the text – the pupil’sresponses are superficial and tend towards recount.
2 Analysis and interpretation – the pupil’s responses aremore reflective, for example empathy with a characteris reflected in the journal.
3 Synthesis and evaluation – the pupil is able to makelinks within and beyond the text.
It is important to remember that more challengingcontent on its own does not always improve pupils’critical thinking. Equipping pupils with the rightvocabulary and the methods by which they canappraise their learning and progress is a critical part ofthe process. Using a layout such as the one suggestedon page 3 will support pupils when they are developingtheir critical engagement with the text they are reading.Some activities are listed, but these are just suggestions.
3
Literal• Date of entry
• Pages/chapter
• Prior knowledge:– What happened in the last
chapter?– What do you know about …?– Use of KWL grids.
• Sequence key events: – How might the story
continue?– What are the clues?
• Brief summary:– main points– only important/new facts– plot development.
Analysis and interpretation• Personal response:
– reactions– predictions– judgements– comparisons– questions, wonderings– sketches, illustrations– diagrams, tension graphs,
mind maps– interesting vocabulary,
images– cause and effect.
Synthesis and evaluation• Readers make connections
between the text and:– themselves – other texts – other things they know.
• Elements of narrative stylereflected in own writing.
• How have responses developedduring reading?
• How are the elements of thetext a synthesis? (Explorethrough mind-mapping.)
How often should pupils write in their journals?
Less is more! Writing in journals several times a week will soon become tedious and pupils will find that they havenothing new to add. It is much better to ask for fewer responses, and ones that require deeper engagement, sothat pupils are writing for themselves and not for the teacher.
Before,during or after
During orafterreading
Afterreading
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. Whilst the majority of objectives selected reflect the development of reading,this does not imply that they should be approached in isolation or taught in areductive way. The objectives listed below encompass the ability to recognise,understand and manipulate the conventions of language and develop the pupils’ability to use language imaginatively and flexibly, in the narrative context. Objectives(and pupils) benefit from being explicitly taught and from being identified anddeployed in context. Other objectives can also be taught (through starter activities),but it is up to the teacher to decide where the priority lies and to adapt the resourcematerials according to the needs of the pupils.
4
Year 9
W7 Layers of meaning
Reading
R1 Information retrievalR6 Authorial perspectiveR7 Compare textsR9 Compare writers from different timesR11 Author’s standpointR12 Rhetorical devicesR13 Evaluate own readingR18 Prose text
Writing
Wr6 Creativity in non-literary textsWr7 ‘Infotainment’Wr12 Effective presentation of informationWr13 Influence audienceWr16 Balanced analysisWr17 Cite textual evidence
Speaking and listening
S&L2 Standard EnglishS&L5 Compare points of view S&L7 Identify the underlying issues S&L8 Evaluate own contributionsS&L10 Group organisationS&L11 Evaluate own drama skillsS&L12 Drama techniques
Word
5
Less
on
1 2
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F3•
R13
Eval
uate
ow
nre
adin
g
Rea
din
g A
F5•
R12
Rh
eto
rica
l dev
ices
Wri
tin
g A
F1•
Wr7
Info
tain
men
t
Less
on
fo
cus
•N
arra
tive
stru
ctur
e•
Ded
uce,
infe
r or
inte
rpre
tin
form
atio
n
Ch
apte
rs 1
–3•
Nar
rativ
e vo
ice
•Iro
ny•
Writ
er’s
use
ofla
ngua
ge
Star
ter/
Intr
od
uct
ion
Vis
ual
isat
ion
an
d s
pec
ula
tio
n•
Ask
pup
ils t
o di
scus
s th
e im
pact
of t
he b
ook
cove
r in
pai
rs.
They
shou
ld c
omm
ent
on:
layo
ut,
use
of c
olou
r, sy
mbo
lism
, to
ne a
ndsp
ecul
ate
abou
t pl
ot.
Reco
rdth
eir
idea
s on
a f
lipch
art.
Exp
lori
ng
iro
ny
•A
sk p
upils
to
read
Kam
al’s
lett
erin
pai
rs.
Pup
il w
ork
shee
t2.
1
Dev
elo
pm
ent
•Fl
ick
quic
kly
thro
ugh
the
nove
l and
rea
dou
t so
me
chap
ter
head
ings
. A
sk p
upils
to
disc
uss
wha
t cl
ues
the
chap
ter
head
ings
give
us
abou
t th
e no
vel.
•A
sk p
upils
to
com
plet
e th
e gr
oup
task
on
chap
ter
head
ings
. Pu
pil
wo
rksh
eet
•Sh
ared
rea
ding
of
Cha
pter
1.
•A
sk p
upils
to
answ
er q
uest
ions
on
the
use
of ir
ony.
Pu
pil
wo
rksh
eet
•W
orki
ng in
pai
rs,
ask
pupi
ls t
o w
rite
ale
tter
to
a ce
lebr
ity s
ugge
stin
g a
life
swap
.•
Re-r
ead
alou
d pa
ge 1
to
the
clas
s an
d as
kpu
pils
to
cons
ider
: w
hat
the
tone
of
the
narr
atio
n is
, ho
w w
e ar
e ho
oked
into
the
narr
ativ
e an
d w
heth
er t
he n
arra
tor’s
posi
tion
is c
omic
or
trag
ic.
2.2
1.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•A
sk p
upils
to
refle
ct o
nth
eir
expe
ctat
ions
for
the
nove
l in
light
of
wha
tha
s be
en le
arnt
tod
ay.
•A
dd n
ew id
eas
to t
hefli
pcha
rt a
nd s
ave
for
futu
re u
se.
Ho
mew
ork
•Re
ad C
hapt
ers
2–3.
Plen
ary
•Pu
pils
sha
re t
heir
lett
ers
to c
eleb
ritie
s w
ith t
hecl
ass.
•A
sk p
upils
to
com
men
tup
on e
ffec
tive
uses
of
irony
.
Ho
mew
ork
•Pu
pils
res
earc
h th
ebi
ogra
phy
of t
he w
riter
,D
avid
Kla
ss.
Less
on
ou
tlin
e
6
Less
on
3 4 5
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F4•
R12
Rh
eto
rica
l dev
ices
Wri
tin
g A
F2•
Wr1
3 In
fluen
ce a
udie
nce
Rea
din
g A
F4•
R12
Rh
eto
rica
l dev
ices
Rea
din
g A
F3
•R1
3 Ev
alua
te o
wn
read
ing
•S&
L12
Dra
ma
tech
niqu
es
Less
on
fo
cus
Ch
apte
rs 1
–3•
Aud
ienc
e,pu
rpos
e an
def
fect
Ch
apte
rs 4
–6•
Nar
rativ
e vo
ice
Ch
apte
rs 7
–9•
Hyp
othe
sise
and
spec
ulat
e
Star
ter/
Intr
od
uct
ion
Wri
tin
g f
or
effe
ct: a
ud
ien
ce a
nd
pu
rpo
se•
Shar
ed r
eadi
ng o
f th
e fil
m r
evie
wof
Van
Hel
sing
. Pu
pil
wo
rksh
eet
•A
sk p
upils
to
iden
tify
the
conv
entio
ns o
f th
e te
xt t
ype
and
reco
rd e
xam
ples
of
rhet
oric
alde
vice
s.Pu
pil
wo
rksh
eet
Rh
eto
rica
l dev
ices
•Re
calli
ng r
heto
rical
dev
ices
enco
unte
red
durin
g pr
evio
usle
sson
s, a
sk p
upils
to
iden
tify
whe
re t
hey
trie
d to
use
the
mw
ithin
the
ir ow
n w
ritin
g.•
Mod
el r
eadi
ng o
f th
e op
enin
g of
Cha
pter
1 in
ord
er t
o id
entif
yfu
rthe
r fe
atur
es o
f th
e na
rrat
ive
voic
e.A
nn
ota
ted
tex
t
Ro
le o
n t
he
wal
l•
Ask
Pup
ils t
o w
rite
wor
ds o
rph
rase
s ab
out
John
’s ch
arac
ter
on ‘
Post
-it’
note
s.•
Ask
pup
ils t
o pl
ace
thei
r ‘P
ost-
it’no
tes
insi
de a
nd o
utsi
de a
larg
eou
tline
of
John
(on
boa
rd)
– ke
yw
ords
whi
ch d
escr
ibe
John
to
bepl
aced
insi
de t
he o
utlin
e. A
skpu
pils
to
just
ify t
hein
clus
ion/
excl
usio
n of
wor
ds w
ithre
fere
nce
to t
he t
ext.
4.13.
1
3.1
Dev
elo
pm
ent
•G
roup
tas
k: c
olla
bora
tive
writ
ing
of f
ilmre
view
. Pu
pil
wo
rksh
eet
•A
sk e
ach
grou
p to
rea
d al
oud
thei
r fil
mre
view
. En
cour
age
pupi
ls t
o co
mm
ent
onth
e ef
fect
iven
ess
of t
he w
ritin
g.•
Paire
d re
adin
g of
Cha
pter
4.
•A
sk p
upils
(in
tria
ds)
to r
ecap
on
Cha
pter
s4–
5.•
Shar
ed r
eadi
ng (
Cha
pter
6).
•Th
e Pu
pils
to
skim
rea
d th
eir
chap
ter
and
com
plet
e th
eir
grid
on
rhet
oric
al d
evic
es in
use.
Pup
il w
ork
shee
t•
Pupi
ls s
hare
the
ir fin
ding
s w
ith o
ther
s in
the
grou
p.
•Re
ad a
loud
the
plo
t su
mm
ary
of C
hapt
ers
7–9.
Pup
il w
ork
shee
t•
This
less
on f
ocus
es o
n sp
ecul
atio
n so
read
ing
thes
e ch
apte
rs w
ill b
e de
ferr
ed f
ora
whi
le.
•G
roup
tas
k: d
ram
a ac
tiviti
es t
o ex
plor
eJo
hn’s
situ
atio
n. P
up
il w
ork
shee
t5.
1
5.1
4.23.
1
Plen
ary
and
Ho
mew
ork
Plen
ary
•A
sk p
upils
to
shar
e w
hat
they
fou
nd o
ut a
bout
Dav
id K
lass
.
Ho
mew
ork
•Re
ad C
hapt
er 5
.
Plen
ary
•C
heck
pup
ils’
unde
rsta
ndin
g of
the
iras
sign
ed le
arni
ng a
bout
narr
ativ
e vo
ice,
rhe
toric
alde
vice
s, a
nd t
he e
ffec
tof
the
se o
n th
e re
ader
.
Plen
ary
•A
sk G
roup
s an
d en
voys
to p
rese
nt f
reez
e fr
ames
.•
Pupi
ls d
iscu
ss w
hich
wor
ds o
r ph
rase
s sh
ould
be a
dded
to
or r
emov
edfr
om J
ohn’
s ou
tline
inlig
ht o
f w
hat
has
been
lear
nt t
oday
.
Ho
mew
ork
•Re
ad C
hapt
ers
7–9.
7
Less
on
6
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F4, A
F5 &
AF6
•R
7 C
om
par
e te
xts
•R9
Com
pare
writ
ers
from
diff
eren
t tim
es•
W7
Laye
rs o
f m
eani
ng
Less
on
fo
cus
Ch
apte
rs 1
0–12
•Em
path
ise
•In
terp
ret
patt
erns
Star
ter/
Intr
od
uct
ion
Co
mp
are
trea
tmen
ts•
On
whi
tebo
ards
, as
k pu
pils
to
writ
e th
ree
piec
es o
f ad
vice
the
yw
ould
giv
e Jo
hn a
bout
how
to
hand
le m
eetin
g G
lory
’s pa
rent
son
the
ir fir
st d
ate.
Ask
pup
ils t
odi
spla
y th
eir
whi
tebo
ards
and
elab
orat
e fu
rthe
r.
Dev
elo
pm
ent
Un
der
stan
din
g t
he
auth
or’
s cr
aft
•Sh
ared
rea
ding
of
Extr
act
A (
from
My
Chi
ldho
odby
Max
im G
orky
). Te
ach
erp
lan
ner
•M
odel
act
ive
read
ing,
und
erlin
ing
and
anno
tatin
g th
e te
xt.
•Pu
pils
ann
otat
e Ex
trac
t B
(fro
m M
yC
hild
hood
), fo
llow
ed w
ith p
aire
d re
adin
gof
Ext
ract
C (
from
You
Don
’t K
now
Me)
.•
Pupi
ls r
espo
nd t
o pr
ompt
s in
ann
otat
ions
alon
gsid
e te
xt a
nd t
hen
disc
uss
whe
ther
all t
hree
ext
ract
s ar
e si
mila
r or
diff
eren
t in
term
s of
nar
rativ
e vo
ice,
situ
atio
n, t
one,
lang
uage
fea
ture
s an
d th
e ef
fect
on
the
read
er.
6.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•G
roup
s sh
are
findi
ngs
on E
xtra
cts
A–C
.•
Ask
pup
ils t
o di
scus
sw
hy t
he m
an w
ho is
‘not
my
fath
er’
has
agu
n hi
dden
in h
is s
ock
draw
er a
nd h
ow t
his
mig
ht b
e si
gnifi
cant
to
the
stor
y in
the
fut
ure.
Ho
mew
ork
•Re
ad C
hapt
ers
10–1
2.
8
Less
on
7 8
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F3 &
AF6
•R1
8 Pr
ose
text
•S&
L12
Dra
ma
tech
niqu
es
Rea
din
g A
F2 &
AF6
•R6
Aut
horia
l per
spec
tive
•R1
8 Pr
ose
text
Less
on
fo
cus
Ch
apte
rs 1
3–14
•C
hara
cter
deve
lopm
ent
and
mot
ivat
ion
Ch
apte
r 15
•In
terp
ret
patt
erns
•A
sk q
uest
ions
•Es
tabl
ish
rela
tions
hip
with
auth
or a
ndna
rrat
or
Star
ter/
Intr
od
uct
ion
Ro
le o
n t
he
wal
l•
Pupi
ls d
iscu
ss G
lory
’s m
otiv
atio
nfo
r go
ing
on t
he d
ate
with
Joh
nan
d w
rite
sugg
estio
ns o
n ‘P
ost-
it’no
tes.
Ask
pup
ils t
o pl
ace
note
son
a la
rge
outli
ne o
f G
lory
’s he
ad(o
n bo
ard)
. H
ot-s
eat
a se
lect
edpu
pil i
n th
e ro
le o
f G
lory
.•
Focu
s on
exp
lorin
g he
rm
otiv
atio
n fo
r go
ing
on t
heda
te.
Ro
le o
f th
e au
tho
r•
Wor
king
in p
airs
, pu
pils
dis
cuss
hum
orou
s in
cide
nts
in t
heir
rece
nt r
eadi
ng.
•A
lert
cla
ss t
o th
e im
pact
of
sudd
en s
hift
s in
ton
e in
nar
rativ
ew
ritin
g. A
sk p
upils
for
exa
mpl
esfr
om p
revi
ous
inde
pend
ent
read
ing.
Rem
ind
pupi
ls t
o w
atch
out
for
this
in C
hapt
er 1
5.
Dev
elo
pm
ent
•Re
cap
Cha
pter
s 10
–12.
•
Shar
ed r
eadi
ng (
Cha
pter
13)
. •
Inde
pend
ent
read
ing
(Cha
pter
14)
.•
Sele
cted
pup
il is
aga
in h
ot-s
eate
d as
Glo
ry.
Ask
pup
ils t
o ex
plor
e th
e re
ason
s be
hind
Glo
ry’s
beha
viou
r du
ring
the
date
.
•Sh
ared
rea
ding
(C
hapt
er 1
5).
•M
odel
act
ive
read
ing
expl
orin
g w
ith p
upils
the
follo
win
g:–
the
sym
path
y th
at’s
been
bui
lt up
for
Jo
hn a
fter
his
big
dat
e–
his
vuln
erab
ility
(ag
e, b
are
feet
, lo
nelin
ess,
fea
r)–
the
vici
ousn
ess
of h
is o
nly
prot
ecto
r –
the
know
ledg
e th
at t
he m
an w
ho is
‘no
t m
y fa
ther
’ ca
rrie
s a
gun
– th
e jo
urne
y in
the
bac
k of
the
tru
ck a
nd
the
isol
ated
loca
tions
.
Plen
ary
and
Ho
mew
ork
Plen
ary
•Pu
pils
dis
cuss
whi
ch‘P
ost-
it’ n
otes
sho
uld
bead
ded
to o
r re
mov
edfr
om G
lory
’s ou
tline
inlig
ht o
f w
hat
has
been
lear
nt t
oday
.
Ho
mew
ork
•A
sk p
upils
to
sele
ct t
hree
hum
orou
s in
cide
nts
from
thei
r re
adin
g of
thi
sno
vel a
nd t
o m
ake
brie
fno
tes
on t
hese
.
Plen
ary
•G
roup
tas
k on
aut
horia
lan
d na
rrat
ive
voic
e.Pu
pil
wo
rksh
eet
8.1
9
Less
on
9 10
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F3 &
AF6
•S&
L7 Id
entif
y un
derly
ing
issu
es•
S&L8
Eva
luat
e ow
nco
ntrib
utio
ns•
S&L1
1 Ev
alua
te o
wn
dram
a sk
ills
Rea
din
g A
F2 &
AF6
•R1
Info
rmat
ion
retr
ieva
l•
R18
Pros
e te
xt
Wri
tin
g A
F3•
Wr6
Cre
ativ
ity in
non
-lit
erar
y te
xts
•W
r17
Cite
tex
tual
evid
ence
Less
on
fo
cus
Ch
apte
r 16
•In
terp
ret
patt
erns
•Id
entif
y ke
ypo
ints
mad
eex
plic
itly
and
impl
icitl
y•
Con
side
rim
plic
atio
ns in
text
Ch
apte
r 20
•In
terp
ret
patt
erns
Star
ter/
Intr
od
uct
ion
Iden
tify
ing
un
der
lyin
g is
sues
•W
orki
ng in
pai
rs,
ask
pupi
ls t
odi
scus
s w
hat
is h
appe
ning
to
the
narr
ator
and
why
he
feel
s so
pow
erle
ss.
Con
side
r as
a c
lass
who
the
nar
rato
r is
spe
akin
g to
and
the
evid
ence
for
thi
s. A
skpu
pils
wha
t th
e pu
rpos
e be
hind
John
’s na
rrat
ion
is.
Nar
rati
ve s
tyle
•
Rem
ind
pupi
ls o
f K
amal
’s le
tter
.Pu
pil
wo
rksh
eet
•W
orki
ng in
pai
rs,
pupi
lsbr
ains
torm
ont
o w
hite
boar
dsid
eas
for
an e
ntry
into
an
‘If y
ouw
ere
me’
com
petit
ion
by J
ohn.
•
Mod
el w
ritin
g of
the
firs
tpa
ragr
aph,
fol
low
ed b
y pa
ired
writ
ing
of t
he r
emai
ning
thr
eepa
ragr
aphs
of
lett
er.2.
1
Dev
elo
pm
ent
•Pa
ired
read
ing
(Cha
pter
16)
.•
Wor
king
in g
roup
s of
six
and
wor
king
with
a di
ffer
ent
part
ner
for
each
one
, ask
pup
ilsto
impr
ovis
e th
ree
diff
eren
t sc
enar
ios.
Allo
w p
upils
at
leas
t fiv
e m
inut
es p
lann
ing
time
for
each
impr
ovis
atio
n. T
hen
sele
ctpa
irs t
o pe
rfor
m t
heir
scen
ario
s to
the
who
le c
lass
. Pu
pil
wo
rksh
eet
Nar
rati
ve s
tyle
•
Shar
ed r
eadi
ng (
Cha
pter
20)
.•
Ask
pup
ils t
o co
nsid
er G
usta
v K
acho
oski
:is
he
likel
y to
be
sign
ifica
nt t
o th
e re
st o
fth
is s
tory
? H
ow c
an w
e te
ll?•
Dis
play
bla
nk g
rid a
nd m
odel
com
plet
ion
of t
he f
irst
two
boxe
s. A
sk p
upils
to
com
plet
e th
e re
mai
ning
box
es.
Pup
il w
ork
shee
t
9.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•Pe
er a
nd s
elf-
asse
ssm
ent.
Pup
ilw
ork
shee
t•
Ask
pup
ils w
hat
impl
ied
mea
ning
s th
ey h
ave
disc
over
ed in
the
impr
ovis
atio
ns. T
hen
ask
pupi
ls t
o ex
plor
e ho
wth
ey a
dd t
o ou
run
ders
tand
ing
of t
heno
vel’s
und
erly
ing
them
es a
nd is
sues
.
Ho
mew
ork
•Re
ad C
hapt
ers
17–1
9.
Plen
ary
•Se
lect
pup
ils t
o sh
are
thei
r w
ork
on J
ohn’
sle
tter
s an
d as
k pu
pils
to
com
men
t on
the
effe
ctiv
enes
s of
the
writ
ing.
•A
s th
ey r
ead
the
next
chap
ter,
ask
pupi
ls t
oex
plor
e ho
w s
ucce
ssfu
lD
avid
Kla
ss is
in m
akin
ghi
s le
ss im
port
ant
char
acte
rs s
eem
rea
l to
read
ers.
Ho
mew
ork
•Re
ad C
hapt
er 2
1.
9.1
10.1
10
Less
on
11
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F2 &
AF7
•R1
Info
rmat
ion
retr
ieva
l•
Wr1
7 C
ite t
extu
alev
iden
ce•
S&L5
Com
pare
poi
nts
ofvi
ew•
S&L1
0 G
roup
orga
nisa
tion
Less
on
fo
cus
Rev
isit
ing
Ch
apte
rs 2
0–21
•In
terp
ret
patt
erns
Star
ter/
Intr
od
uct
ion
Ch
arac
teri
sati
on
•In
rol
e, r
ead
Mr
Kes
sler
’s ra
nt o
npa
ges
209–
210
abou
t th
e yo
uth
of t
oday
.•
Wor
king
in p
airs
, as
k pu
pils
to
mak
e a
bulle
t-po
inte
d lis
t of
his
mai
n cr
itici
sms.
The
n in
ano
ther
colo
ur,
ask
pupi
ls t
o pr
ovid
e a
coun
ter-
argu
men
t to
eac
h po
int.
Sele
ct c
ontr
ibut
ions
for
who
le-
clas
s co
nsid
erat
ion.
Dev
elo
pm
ent
Ch
arac
teri
sati
on
•Re
min
d pu
pils
of
the
grid
the
y fil
led
inab
out
Gus
tav
Kac
hoos
ki in
Les
son
10.
Pup
il w
ork
shee
t•
Wor
king
in p
airs
, as
k pu
pils
to
com
plet
esi
mila
r gr
ids
for
Mr
Kes
sler
and
Dr
Whi
tefie
ld,
focu
sing
on
the
skill
with
whi
ch t
he a
utho
r fle
shes
out
his
min
orch
arac
ters
.Pu
pil
wo
rksh
eet
•Pu
pils
for
m g
roup
s of
six
to
shar
e th
eir
wor
k an
d re
spon
d to
the
fol
low
ing
ques
tion:
do
you
agre
e th
at D
avid
Kla
ss is
a gi
fted
writ
er w
hose
wor
k is
wor
thy
ofst
udy
in s
choo
ls?
11.1
10.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•Re
pres
enta
tives
fro
mea
ch g
roup
fee
d ba
ckre
spon
ses
on D
avid
Kla
ssas
a w
riter
, an
d th
esu
itabi
lity
of Y
ou D
on’t
Kno
w M
eas
a t
ext
for
stud
y in
Eng
lish
less
ons.
11
Less
on
12
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F6•
S&L2
Sta
nd
ard
En
glis
h•
S&L7
Iden
tify
th
eu
nd
erly
ing
issu
es•
S&L1
0 G
roup
orga
nisa
tion
Less
on
fo
cus
Ch
apte
r 22
•In
terp
ret
patt
erns
•Id
entif
y is
sues
•Re
ach
cons
ensu
s
Star
ter/
Intr
od
uct
ion
Ten
sio
n r
isin
g?
•D
raw
a t
ensi
on c
hart
on
the
boar
d in
the
for
m o
f a
bar
grap
h.La
bel t
he y
axis
1–1
0 (s
uspe
nse
ratin
g).
Ask
pup
ils f
orsu
gges
tions
for
ten
sig
nific
ant
mom
ents
fro
m t
he n
ovel
for
incl
usio
n as
poi
nts
on t
he x
axis
e.g.
Bill
y as
ks G
loria
out
.•
Dis
trib
ute
grap
h pa
per.
Ask
eac
hpa
ir to
mak
e on
e co
py a
nd t
oag
ree
whe
re t
hey
wan
t to
pla
ceea
ch e
vent
on
the
susp
ense
rat
ing
(0 =
chi
lled,
10
= m
eltd
own)
.
Dev
elo
pm
ent
Min
i-d
ebat
e: c
orp
ora
l pu
nis
hm
ent
•Re
ad a
loud
pag
es 2
18–2
20 u
p to
‘...
I hat
ehi
m,
and
how
com
plet
ely
pow
erle
ss I
was
to s
top
him
.’ In
gro
ups
of s
ix,
pupi
lsen
gage
in a
min
i-deb
ate.
Pu
pil
wo
rksh
eet
•Re
min
d th
e cl
ass
of t
he c
onve
ntio
ns a
ndex
pect
atio
ns f
or m
ini-d
ebat
es.
(See
the
DFE
S Ye
ar 7
Sp
eaki
ng
an
d L
iste
nin
gB
ank:
0141
/200
1fo
r ad
vice
on
adop
ting
role
s in
dis
cuss
ion
and
ackn
owle
dgin
g,ju
stify
ing
or m
odify
ing
view
s.)
•La
bel p
upils
A o
r B.
Exp
lain
tha
t pu
pil A
sw
ill s
peak
in f
avou
r of
the
mot
ion,
Bs
agai
nst.
Allo
w 1
5 m
inut
es’ p
repa
ratio
ntim
e, w
ith A
s an
d Bs
wor
king
in p
airs
.Fo
rm t
able
s in
to is
land
s w
ith 6
pup
ils a
tea
ch (3
As
and
3 Bs
).•
Gro
up A
will
con
tain
a p
ropo
ser,
ase
cond
er a
nd a
scr
ibe.
The
prop
oser
will
spea
k fo
r 3
min
utes
, th
e se
cond
er f
or 2
and
the
scrib
e w
ill n
ote
on A
3 pa
per
the
key
poin
ts o
f th
e de
bate
.•
Gro
up B
will
con
tain
tw
o sp
eake
rs a
gain
stth
e m
otio
n (s
ame
timin
gs),
and
a sc
ribe.
•O
nce
the
min
i-deb
ates
are
com
plet
ed,
disp
lay
the
A3
shee
ts a
nd e
ncou
rage
pupi
ls t
o m
ove
arou
nd lo
okin
g at
the
m,
cons
ider
ing
fres
h id
eas.
12.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•Re
view
the
con
flict
ing
view
poin
ts e
xpre
ssed
inth
e di
scus
sion
. C
heck
whe
ther
a c
onsi
dere
dco
nsen
sus
exis
ts w
ithin
the
clas
s.
Ho
mew
ork
•Fi
nish
rea
ding
Cha
pter
22.
12
Less
on
13 14
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F5 &
AF6
•R6
Aut
horia
l per
spec
tive
•R1
1 A
utho
r’s s
tand
poin
t•
Wr1
7 C
ite t
extu
alev
iden
ce
Rea
din
g A
F4, A
F5 &
AF6
•
R6 A
utho
rial p
ersp
ectiv
e•
R12
Rhet
oric
al d
evic
es
Less
on
fo
cus
Ch
apte
rs 2
3–25
•In
fer
and
dedu
ce•
Empa
this
e•
Rein
terp
ret
Ch
apte
rs 2
6–27
•
Re-r
ead
•Re
inte
rpre
t•
Sum
mar
ise
•Pa
ss ju
dgem
ents
•In
terp
ret
patt
erns
Star
ter/
Intr
od
uct
ion
Ch
arac
teri
sati
on
•Sk
im r
e-re
ad t
he f
irst
desc
riptio
ns g
iven
of
Vio
let
Hay
esin
Cha
pter
3.
•W
orki
ng in
pai
rs,
ask
pupi
ls t
ojo
t do
wn
five
impo
rtan
t th
ings
abou
t V
iole
t th
at h
ave
emer
ged
betw
een
Cha
pter
s 3
and
22.
Ask
pupi
ls t
o ex
amin
e w
heth
er t
heir
perc
eptio
ns a
bout
thi
s ch
arac
ter
have
cha
nged
and
dis
cuss
thi
sw
ith a
noth
er p
air.
Au
tho
r’s
stan
dp
oin
t•
Who
le-c
lass
dis
cuss
ion
abou
t th
eau
thor
’s st
reng
th o
f fe
elin
gab
out
John
’s be
atin
gs.
•In
pai
rs,
ask
pupi
ls t
o co
mpo
seth
ree
key
ques
tions
the
y w
ould
like
to a
sk t
he w
riter
. In
rol
e, h
ot-
seat
ed a
s D
avid
Kla
ss,
answ
erse
lect
ion
of q
uest
ions
fro
m t
hecl
ass.
Dev
elo
pm
ent
Ch
arac
teri
sati
on
: Au
tho
r’s
stan
dp
oin
t•
Writ
e th
e ke
y id
eas
abou
t V
iole
t on
boa
rd.
•Sh
ared
rea
ding
(C
hapt
er 2
3).
•Pu
pils
sha
re id
eas
abou
t ho
w t
he d
ate
with
Vio
let
diff
ers
from
the
dat
e w
ithG
lory
.•
Paire
d re
adin
g (C
hapt
er 2
4).
•A
sk p
upils
to
mak
e no
tes
in p
airs
cont
rast
ing
Glo
ry a
nd V
iole
t (t
he g
rid c
anbe
use
d as
a n
ote-
taki
ng f
ram
e to
sup
port
this
act
ivity
). A
sk p
upils
to
focu
s on
who
the
auth
or w
ants
us
to p
refe
r an
d ho
w w
eca
n te
ll th
is.
•Sh
ared
rea
ding
(C
hapt
ers
26–2
7).
•Ex
plai
n th
at p
upils
will
hav
e un
til t
he n
ext
less
on t
o re
flect
on
the
endi
ng o
f th
eno
vel a
nd t
hat
the
hom
ewor
k ac
tivity
will
help
the
m t
o ev
alua
te t
he im
pact
of
this
endi
ng.
Pup
il w
ork
shee
t14
.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•Pu
pils
foc
us o
n ho
wna
rrat
or’s
and
the
read
er’s
perc
eptio
ns o
fG
lory
and
Vio
let
alte
r as
the
stor
y un
rave
ls.
Ho
mew
ork
•Re
ad C
hapt
er 2
5.
Ho
mew
ork
•C
ompl
ete
grou
pw
orks
heet
on
the
impa
ctof
the
end
ing.
Pu
pil
wo
rksh
eet
14.1
13
Less
on
15
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F1 &
AF7
•
R18
Pros
e te
xt
Wri
tin
g A
F2, A
F3 &
AF4
•W
r16
Bal
ance
dan
alys
is•
Wr1
2 Ef
fect
ive
pres
enta
tion
Less
on
fo
cus
Ch
apte
r 27
•En
ding
s an
dev
alua
tions
•Re
late
to
prev
ious
rea
ding
expe
rienc
e
Star
ter/
Intr
od
uct
ion
Neg
oti
atin
g c
om
mo
n r
ead
ing
s•
Ask
pup
ils t
o co
mpl
ete
ase
quen
cing
act
ivity
. In
stru
ctpu
pils
to
rank
the
fiv
e st
atem
ents
they
mos
t ag
ree
with
and
to
reje
ct t
he r
est,
sha
ring
the
resu
ltsas
a w
hole
-cla
ss f
eedb
ack.
15
.1
Dev
elo
pm
ent
•Re
calli
ng e
ndin
gs o
f ot
her
book
s st
udie
din
Eng
lish
at K
S3,
ask
pupi
ls t
o co
nsid
erw
heth
er t
his
text
diff
ers
in s
ome
way
and
if so
to
expl
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Pupil worksheet 1.1Lesson 1
Set the scene
Introduce a problem
Complication
Crisis
Adjustment
Resolution
14
In You Don’t Know Me the writer uses chapter headings to signal what is about to happen.Here are ten of them; they are jumbled up.
1 Working with a partner, try to place the chapter titles into the correct box on the grid below.More than one title can go in each box.
• Epilogue, whatever that means
• gotcha
• fateful Tuesday picks up steam
• in the war zone
• the happiest day of my life
• running away from home
• the Holiday Dance
• the best day of my life gets better
• fateful Tuesday begins
• the worst thing that could happen
Pupil worksheet 1.1
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Lesson 2
15
In an international competition called ‘If you were me’, children wrote to celebrities and offeredto step into their shoes and trade places for a day. Letters from around the globe werereceived. Many gave vivid and moving accounts of daily life for children struggling againstpoverty and exploitation. Kamal’s letter below, concerning a life swap with David Beckham, was‘highly commended’ by the judging panel.
Irony: a subtle way of poking fun at something or somebody; a way of speaking in whichthe words used carry the opposite of their normal meaning.
Dramatic irony: a device in a play or book where a character says something that has onemeaning for that person but also a deeper one, visible only to the audience or reader.
Dear David Beckham
I have your picture on my wall. You look so happy with your blond hair
and big smile. I wish that I could play for Manchester United, drive fast
cars, and be like you.
I am in the football trade too. Sometimes I find myself surrounded by
lots of balls and wish that I could boot them away, like you.
I get up every day as soon as the sun rises. I know that somewhere you
will be running along a riverbank, jumping, stretching up to the sun,
and getting your body ready for battles with other great players.
I cannot run outside and play with my friends. I have to work from
dawn until the sun sets. I stitch together panels for the balls you like
to kick. It is hard.
I am ten years old and have never had a holiday. I have never seen a
proper football match but everyone says that you are the best.
Every week my father gets paid some money for all my work. It is not a
lot but we need it. My sister, who is eight, has now joined me at work, so
I am no longer lonely.
I wish that I could be like you.
Do you wish that you could be like me?
Think of me the next time you take a penalty.
May your spirit soar through the air, like the ball, and give me the
strength to go on.
Yours in friendship and trust
Kamal
Pupil worksheet 2.1
Irony
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Pupil worksheet 2.2Lesson 2
16
1 Re-read Kamal’s letter on Worksheet 2.1. Discuss with a partner the contrasting life styles ofKamal and David Beckham. Focus on the following areas:
• health
• wealth
• work
• happiness.
2 Re-read the definitions of irony and dramatic irony on Worksheet 2.1. Is Kamal’s letter opento any kind of ironic interpretation? Discuss your ideas with your partners.
3 Re-read the letter once more and highlight any phrases that might be ironic. Share yourthoughts with another pair when you are ready.
4 As you read You Don’t Know Me watch out for examples of irony. For example, in Chapter1, when ‘the man who is not my father’ says ‘I’ll really take care of you John’ he isthreatening him rather than reassuring him. Are any of the following quotations, taken fromChapter 1, intended to be ironic?
a) ‘I am in the middle of a hurricane.’
b) ‘Your eyes are closed and you couldn’t care less.’
c) ‘When he hits me he doesn’t curl his fingers up into a fist because that would leave amark.’
d) ‘You think I’m happy with this life. Hah, Hah!’
e) ‘You don’t know me at all.’
5 Think about your own lifestyle. Working with your partner, decide which famous celebrityyou would both like to life swap with. Working together, draft a four-paragraph letter tothat person, suggesting why you chose them and what they might learn about life bybecoming you for a day. Try to use irony within your writing!
Irony
Pupil worksheet 3.1Lesson 3
17
This film review was written in order to entice the reader into the cinema. Its purpose was todraw an audience for the film.
1 After the shared reading with your teacher and your class, fill out the grid (below) whichfocuses on the conventions of film review writing.
2 Choose one of the famous tales below and, in a group of four, write a similar two-paragraph review for a new (and imaginary) Hollywood blockbuster due for general releaseinto cinemas next week.
• Puss in Boots
• The Pied Piper of Hamelin
• The Ugly Duckling
• Jack and Jill
• Rapunzel
Make sure that you remember the conventions of film review writing as you will need themagain for the final activity, once you have finished reading You Don’t Know Me.
VAN HELSING
Action, Fantasy, Horror: stars Hugh Jackman, Kate Beckinsale, Richard Roxburgh
Deep in the mountains of Carpathia lies the mysterious and mythic land of Transylvania – a worldwhere evil is ever-present, where danger rises as the sun sets, and where the monsters that inhabitman’s deepest nightmares take form.
Into this world, brought to life and played out on massive sets and sweeping locations, comes VanHelsing (Hugh Jackman), the legendary monster hunter born in the pages of Bram Stoker‘s Dracula.In his ongoing battle to rid the world of its fiendish creatures, Van Helsing, on the order of a secretsociety, travels to Transylvania to bring down the lethally seductive, enigmatically powerful CountDracula (Richard Roxburgh) and joins forces with the fearless Anna Valerious (Kate Beckinsale), outto rid her family of a generations-old curse by defeating the vampire and a host of other monsters.
Rhetorical devices Example from extract
Overblown, highly exaggerated phrases suggesting great importance
Powerful choices of verb
Variety of sentence lengths for effect
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You don’t know me. Just for example, you think I’m upstairs in my room doingmy homework. Wrong. I’m not in my room. I’m not doingmy homework. And even if I were up in my room Iwouldn’t be doing my homework, so you’d still be wrong. And it’s not really my room. It’s your room because it’syour house. I just happen to live there right now. And it’snot really my homework, because my math teacher, Mrs.Moonface, assigned it and she’s going to check it, so it’sher homework.Her name’s not Mrs. Moonface, by the way. It’s reallyMrs. Garlic Breath. No it’s not. It’s really Mrs. Gabriel, butI just call her Mrs. Garlic Breath, except for the timeswhen I call her Mrs. Moonface.
Confused? Deal with it.
You don’t know me at all. You don’t know the first thingabout me. You don’t know where I’m writing this from.You don’t know what I look like. You have no power overme.
Taunting orchallenging tone.Who is beingteased, thereader or the‘you’ of the tale?Use of pronoun isambiguous
Weak pun overownership ofhomeworkunderlinesnarrator’ssensitivity overbelongings
Use of pronounsas weaponsagain. Moonfaceor Garlic Breath.It’s as if he’ssaying I’ll call myteachers what Ilike. Just you tryand stop me!
Second sentencebeginning with‘And’ – is hedeliberatelyflauntingconventions ofgrammar?
Tension overownership ofroom. Pronounsdrip withcontempt, ‘you’and ‘your’ mustbe enunciatedwith disgust
Short sentencesserve as insultsand challenge toreader. A miniparagraphpacked withvenom
Fifth use ofpronoun ‘you’ inthis paragraphdrives a fingerinto our chests.The final line: youdon’t scare me,you’re powerless,I’m completelyindependent andwill show nodeference to you
Single wordsentence servesto underline ourstupidity –narrator isgloating
Narrator isrevelling in ourignorance
Chapter 1: page 1
18
4.1
Modelled reading
who I am not
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Pupil worksheet 4.2Lesson 4
19
Rhetorical device Example of effective use
Rhetorical questions
Repetition
Unusual metaphors or similes
Variations in sentence length for effect
Mocking or teasing of the reader
Use of irony
Repeated jokes
Work in groups of three. You are going to analyse and discuss Chapters 4 – 6 with reference tothe rhetorical devices used.
1 Decide who will be A, B or C. Person A will work on Chapter 4, B on Chapter 5 and C onChapter 6.
2 Skim read your chapter once more, noting down in the checklist below any examples ofeffective use of the rhetorical devices listed.
3 Before you report back to the others in your group, consider the following:
• What mood is John in within your chapter?
• Does this change as your chapter progresses?
• What evidence can you provide from the text to prove your point?
• In your opinion, has the use of the rhetorical devices you have found helped to makethis a more interesting piece of writing? How?
4a) When everyone is ready, share your findings. Try to make sure that each time you make apoint you explain it clearly and give supporting evidence from the text.
b) Make brief notes on what is said and be prepared to expand upon your own ideas, ifrequested by others.
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Pupil worksheet 5.1Lesson 5
20
Work in groups of 4–6. You are going to speculate on what might happen next.
1 What can you infer and deduce about the likely success of John’s date at the schoolbasketball match? Brainstorm a list of possibilities.
2 Agree upon one scenario as the focus for your work. On a sheet of rice paper create a moredetailed plotline, using the familiar narrative frame below:
Set the scene
Introduce a problem
Complication
Crisis
Adjustment
Resolution
3 Role play: improvise an important moment from your new plotline, in order to explore yourideas more fully.
4 Reflect upon the performance: what did it teach you that you hadn’t realised before? Doyou need to make any adjustments to your plotline in light of this?
5 Freeze-frame: select a key moment from your scenario and create a still picture recreating it.Be ready to show this in the plenary.
6 One member of each group should now act as envoy and move to another group to explainwhat you have achieved.
Plot summary: Chapters 7–9
In these chapters we are given an insight into the ‘torture island’ inside John’s head as hemusters up the courage to ask Glory Hallelujah out on a date. After furtively passing her anote in his anti-math class, he is surprised to see her eat it. In school the next day sheaccepts his invitation; John grows in stature and confidence, so much so that he even daresto point out a calculation error made by his anti-math teacher.
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Extract AFather lay on the floor, by the window of a small, darkenedroom, dressed in white, and looking terribly long. His feetwere bare and his toes were strangely splayed out. Hisgentle fingers, now peacefully resting on his chest, werealso distorted, and the black disks of copper coins firmlysealed his once shining eyes. His kind face had darkenedand its nastily bared teeth frightened me.Mother, half naked in a red skirt, was kneeling beside him,combing his long soft hair down from the forehead to thenape of his neck with the black comb I loved to use as asaw for the melon rinds. She kept muttering something in ahoarse, deep voice. Her grey eyes were swollen andseemed to be dissolving in a flood of tears.
Extract from My Childhood by Maxim Gorky
Immediate use ofpronounannouncesproximity tosubject (physicaland emotional)
‘gentle, peaceful,rest…’ The lovefor his father isclear, but is hedead? Is it aeulogy?
Black disks sealup shining life ofeyes, links todarkness of facein next line.Symboliccontrasts of lightand dark
Unprepared,vulnerable
Hoarse fromwailing andlamenting?
Ashen-colouredeyes, – is thecoldness of deathbeingemphasised?
Use of adverbialsprovidesinformationabout geographyof room anddeliberatelydelays readerawarenessconcerning theman’s physicalcondition
Why are his toescontorted?
Unexpectedviciousness,revealed bydeath. Newperspective onfather fornarrator
Complexsentence,subordinateclause links combin contact withfather’s hair tonarrator’s ownusage of thistool. Builds abridge totouching offather
Lesson 6 Teacher planner 6.1
21
Shared reading
Following a shared reading of Extract A from My Childhood by Maxim Gorky, model activereading, underlining and annotating the text. Ask pupils to annotate Extract B from MyChildhood. Follow this with a paired reading of Extract C from You Don’t Know Me.
Pupil task
Ask pupils to discuss whether all three extracts are similar or different in terms of narrativevoice, situation, tone, language features and the effect on the reader.
© Pearson Education Limited 2003. This may be reproduced for class use solely within the purchaser’s school or college.
Extract BOn the floor, under the window, in a small, shuttered room,lay my father, dressed in a long white garment I had neverseen him in before. His feet were bare and the toes werestrangely distended, while the fingers of his hands, restingon his breast, were curled in. The blackened disks of twocopper coins covered his eyes, shutting out theiraccustomed, cheerful gleam. All the light had gone out ofhis still face. But what scared me was the snarl his openmouth showed with the teeth bared.Beside him, on her knees, was my mother, in anundergarment. She was combing his long, fine hair backfrom his forehead to the nape of his neck. The comb shewas using was the one with which I scraped edible shardsfrom watermelon rinds. As she combed away, she talked tohim without stopping, until it seemed that they mustfinally flood her eyes out of their sockets.
Extract from My Childhood by Maxim Gorky
Extract CAt the bottom of the sock drawer is a knitted bootie. It isheavy – crunchy to the touch. I open it… and see moremoney than I have ever seen before. The man who is notmy father has an impressive stash. Clearly, he does notbelieve in banks. Or maybe he is planning to start his ownbank. There are many twenties. There are fifties. I evenglimpse several crisp hundred-dollar bills.I take only one twenty. I start to replace the bootie … andthen I feel something beneath it. Something small and hardthat clearly does not belong in a sock drawer.It is wrapped in a blue towel. I know I have no businesslooking at it, but there is a very good reason why I amcurious. Whatever it is, it must be even more valuable thanmoney, since the man who is not my father has buried it atthe very bottom of his sock drawer, beneath his secretmoney stash.I need to find out what is more valuable than money.I carefully lift the blue towel out of the drawer. It isunexpectedly heavy. I unwrap it. Metal glints. I feel myselfshiver.It is a gun. To be accurate, it is a pistol.
Extract from You Don’t Know Me (Chapter 11: pages 100–101)
by David Klass
An ‘en dash’ –what does it dohere?
Where do youthink he’s earnedall this money?
What effect doesthe sentencelength have?
Limitedvocabulary?Sounds like a veryyoung child. Whyis this appropriatehere?
Lesson 6 Teacher planner 6.1
22
Bootie? Whatdoes thissuggest?
Ellipsis – whatdoes it do here?
Ellipsis again –why?
Drug relatedlanguage? Whatdoes thissuggest?
What is theeffect of thesentences usedhere?
What effect doesthe sentencelength have?
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Pupil worksheet 8.1Lesson 8
23
What do we mean by voice in a text?
Which voices can we hear?
What is John thinking as the events of the evening unravel?
What is the author thinking?
Are John and the author thinking the same?
What makes this section so shocking?
What have you noticed about the shift in tone and its effect on us as readers?
1 Work in groups of four. You are going to analyse and discuss Chapter 15 with reference tothe authorial and narrative voice used. Make notes on the following questions forhomework and be prepared to share your ideas in the next lesson. Record your thoughts inthe spaces provided.
1 Work in groups of six. Each group is going to improvise three different scenarios. For eachscenario work with a different partner. These scenarios take place in Chapter 16 at the timewhen John, alone and scared in the back of the van, prays to God for help.
Scenario 1
Under a piece of sacking John discovers the mobile phone belonging to the man who is not my father. In the memory he finds his mum’s mobile number. Very quietly he calls herup and tries to explain what is happening.
Scenario 2
The mobile memory also gives a number for Mona, the ex-wife of the man who is not myfather. John decides to call her up and find out what he can about this man he hates somuch.
Scenario 3
Mona gives John some information he thinks he might be able to use in order to blackmailhis future step dad. He decides to bring it up in conversation over breakfast the next day.
2 To get better at improvisation, you need to think about what you can already do well andwhat you need to improve. You need to reflect on the quality of your own work and thework of others.
When you give feedback on each other’s improvisations, your comments should be positiveand specific. You should comment on:
• movement
• gesture
• use of voice
• believability of the person in the role
• contribution to success of group’s performance.
3a) Pick out at least three strengths and praise the performers for them.
b) Outline one aspect for future development. Give guidance on how the performers mightimprove this area in the future.
4 Think about your own performance. What were you pleased with?
5 In the light of your friend’s comments and your own thoughts, can you identify one targetthat you might set yourself so that next time you are asked to work in this way you canachieve even more? Discuss your evaluation with your teacher and write it down before youforget it!
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Pupil worksheet 9.1Lesson 9
24
© Pearson Education Limited 2003. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 10.1Lesson 10
25
How the character is first seen by the reader
Physical appearance
Character’s feelings about John
What the character says that’s memorable
Future importance of the character
One of the signs of a really good writer is how believable the minor characters are. In Chapters20–21 we meet Gustav Kachooski, Mr Kessler, and the Principal, Dr Whitefield. They areprobably minor characters because they haven’t featured prominently until now.
1 Work in pairs. Discuss the character of Gustav Kachooski. Record your ideas in the grid.
Looking at a minor character – Gustav Kachooski
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Pupil worksheet 11.1Lesson 11
26
1 Working with a partner and without referring to the novel, try to fill out the grids. Thenrefer to the novel again in order to add further details, including evidence and quotations.
2 Form groups of six and compare your grids and impressions. Based upon your work today,and discussions with others in the group, do you agree that David Klass is a gifted writerwhose work is worthy of study in schools?
3 Elect a spokesperson who will share your group’s views on this question in the plenary.Remember to cite evidence from the text as proof for each point you make.
How the character is first seen by the reader
Physical appearance
Character’s feelings about John
What the character says that’s memorable
Future importance of the character
Mr Kessler Dr Whitefield
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Pupil worksheet 12.1Lesson 12
27
Mini-debate: corporal punishment
‘Teachers need control in the classroom. Banning the use of the cane was a mistake.If pupils are properly punished for offences in school they will learn better.Corporal punishment should be brought back immediately.’
1 Use the space provided in the boxes to record ideas for your mini-debate. Some ideas have been provided to get you started.
Group A (In favour)
• Poor discipline means that teachers areleaving the classroom. They find the jobtoo stressful, dealing with endlessconfrontation.
• Employers complain that school leavers are not up to the jobs they take up.
• Rowdy behaviour by one child affects thelife chances of everyone else in theclassroom.
Group B (Against)
• Beating people is barbaric anddegrading.
• It is a form of physical abuse that leavesscars inside and out.
• It is against the law and ignores ourhuman rights.
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Pupil worksheet 14.1Lesson 14
28
1 Hubris is a Greek word. It means that when life seems great and everything is going right, that’s when you’re most likely to take a fall. Explore the impact of the ending. Do you agreethat having enjoyed the dance, John let his defences down?
2 Make notes on the following questions for homework and be prepared to share your ideas in the next lesson. Record your thoughts in the spaces provided.
Do you think that there was anything John could have done to avoid the assault?
Had he provoked his assailant in any way?
Why didn’t he speak up earlier and tell somebody what was going on?
What do you think he should have done?
When John says ‘You don’t know me’ is he talking to everyone around him, to us as readers,or was it really his mother that he was trying to communicate with?
Sometimes stories finish with a happy ending and a moral. Do you think that this is the casein You Don’t Know Me? What did John have to say about his life in the future?
In your opinion, how successful was the ending?
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Sequencing activity15.1
29
A good story has a beginning, a middle and a definite end.
When writers fail to wrap up loose ends, it leaves the reader feeling frustrated.
A happy ending is not necessary, it is essential!
Villains should be punished for their wrongdoings or justice has not prevailed.
The final chapter is the most important of all.
Every ending is a new beginning.
Bury the dead, marry the living, pat the dog, feed the cat, set the sun, and soothethe reader – that’s the way for writers to make a million.
Always leave your audience wanting more.
There should be more questions raised than answers given by the closing pages.
There’s nothing as sad as losing somebody close, and finishing a good book feelsjust the same.
Life is random, chaotic, messy and confusing; nothing ends happily ever after.Books should reflect this from beginning to end.
✁1 Read the following statements. Rank the five statements you most agree with in order of
importance. Discard the rest. Be prepared to feedback to the class.