Fle7 Issuu

We are working with Cambridge Assessment International Education towards endorsement of these titles.
E
Cambridge Lower Secondary
PL English
LEARNER’S BOOK 7
Graham Elsdon with Esther Menon
M
SA
Second edition Digital access
Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication.
Executive Preview.indb 6 17/09/20 5:40 PM

We are working with Cambridge Assessment International Education towards endorsement of this title.
E
Cambridge Lower Secondary
PL English
LEARNER’S BOOK 7
Graham Elsdon with Esther Menon
M
SA
University Printing House, Cambridge CB2 8BS, United Kingdom

One Liberty Plaza, 20th Floor, New York, NY 10006, USA
477 Williamstown Road, Port Melbourne, VIC 3207, Australia
314–321, 3rd Floor, Plot 3, Splendor Forum, Jasola District Centre, New Delhi – 110025, India
E
79 Anson Road, #06–04/06, Singapore 079906
Cambridge University Press is part of the University of Cambridge.

It furthers the University’s mission by disseminating knowledge in the pursuit of
education, learning and research at the highest international levels of excellence.
www.cambridge.org
PL
Information on this title: www.cambridge.org/9781108746588
© Cambridge University Press 2021
This publication is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without the written
permission of Cambridge University Press.
First edition 2012
20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
Printed in TBC by TBC
M
A catalogue record for this publication is available from the British Library
ISBN 978-1-108-74658-8 Paperback + Digital Access (1 year)
ISBN 978-1-108-74659-5 Digital edition (1 year)
ISBN 978-1-108-74661-8 eBook
Cambridge University Press has no responsibility for the persistence or accuracy
of URLs for external or third-party internet websites referred to in this publication,
and does not guarantee that any content on such websites is, or will remain,
SA
accurate or appropriate. Information regarding prices, travel timetables, and other

factual information given in this work is correct at the time of first printing but
Cambridge University Press does not guarantee the accuracy of such information
thereafter.
NOTICE TO TEACHERS IN THE UK

It is illegal to reproduce any part of this work in material form (including
photocopying and electronic storage) except under the following circumstances:
(i) where you are abiding by a licence granted to your school or institution by the
Copyright Licensing Agency;
(ii) where no such licence exists, or where you wish to exceed the terms of a licence,
and you have gained the written permission of Cambridge University Press;
(iii) where you are allowed to reproduce without permission under the provisions
of Chapter 3 of the Copyright, Designs and Patents Act 1988, which covers, for
example, the reproduction of short passages within certain types of educational
anthology and reproduction for the purposes of setting examination questions.
Introduction
Introduction
Welcome to Stage 7 of Cambridge Lower Secondary English.
We’ve designed this book to help you develop your English skills and also to
E
introduce you to some really interesting stories and articles. You’ll begin by
studying a fantastic adventure story about a character with a very unusual
skill and finish by reading a spine-chilling tale about a deadly sea creature.
You’ll read fiction, non-fiction, poetry and drama about exciting cities,
futuristic schools and fame.
PL
We hope you’ll really enjoy the two complete short stories in this book.
One of them features a strange character below the earth and the other
is about time travel. Reading complete short stories will give you a better
understanding of structure and theme.
By the time you’ve completed this book, you will be able to write
persuasively, analyse language in more depth and write an entertaining
playscript. There are plenty of opportunities to work in pairs and groups
on presentations and projects. You’ll sharpen your language skills and
M
you will learn about some very interesting older texts in a fun way as well
as developing key skills for 21st century life.
Try using the reflection and assessment activities too – they’ll help you to
become a more confident and independent learner.
Good luck on the next stage of your learning journey.
SA
Graham Elsdon and Esther Menon
3
Contents
Contents
Page Unit Text types Reading
8 1 Adventure Contemporary fiction (adventure); non- ‘Beware Low-Flying Girls’; Around India in
E
fiction (travel writing); thematic poetry; 80 Trains; ‘Hard is the Journey’; Silverfin
novel (spy story)
32 2 ‘Hey, You Down Short story (science fiction) ‘Hey, You Down There’
There’
57
82 PL
3 Film and fame
4 Small but perfect

Contemporary fiction; non-fiction (informative Film Boy; ‘Hrithik Roshan says he practices
article); non-fiction (film review)
Flash fiction; haiku poetry; imagist poetry;

non-fiction (informative article); non-fiction
(explanatory text); non-fiction (magazine
article and interview)
every day to overcome stammering’ in the
Hindustan Times; The Incredibles film review;
‘Thai cave rescue boys meet hero’ in the
Guardian
‘One in Twenty-Three’; haiku poems; imagist
poems; ‘The tiny world of Willard Wigan’ in
the Telegraph; explanation of shabtis; ‘Micro-
artist Willard Wigan reveals his tiny world’ in
WhatsonTV
M
108 5 Unusual education Non-fiction (descriptive accounts); non- Two accounts of different schools; blogs
fiction (blogs); non-fiction (discussion about school uniform; homeschooling article
article and account); contemporary fiction; and account; Wonder; The Last Class
contemporary drama
136 6 Life stories Thematic poetry; non-fiction to narrate ‘Lullaby’; ‘The Song of the Old Mother’;
(autobiographies); non-fiction to narrate biography of Malala Yousafzai; As I Walked
(diary); persuasive speech Out One Midsummer Morning; Letter to
Daniel; Captain Robert Scott’s diary; speech
SA
by Nelson Mandela
163 7 ‘The Travel Short story (fantasy) ‘The Travel Agency’
Agency’
189 8 In the city Contemporary fiction; classic fiction; The White Tiger; Neverwhere; A Christmas
thematic poetry; non-fiction (argument Carol; The Sign of Four; ‘City Jungle’; ‘Last
articles) Night, I Saw the City Breathing’; ‘Urban
Threats’ in National Geographic; ‘What would
the ultimate child-friendly city look like?’ in
the Guardian
216 9 Dangers of the sea Contemporary fiction; non-fiction Jaws; ‘Why Are We Afraid of Sharks?’ in
(informative article); classsic fiction; classic National Geographic; Moby-Dick; And The
poetry Ocean Was Our Sky; The Rime of the Ancient
Mariner
4
Contents
Writing Speaking/Listening Language focus 21st century skills

Summarise genre features; write a Pair discussion and prediction; Sentence types; Creativity;
E
monologue; analyse a poem’s meaning; present group views; recount an alliteration and sibilance; collaboration
write a story anecdote powerful verbs
Write a spoken drama; write informally; Pair and group discussion Sentence openings; Critical thinking;
write about theme; write a story with compound-complex communication
an unusual ending sentences; formal/
informal language
writing
PL
Write a section of a story; write an
article; write a film review; speech
Write flash fiction; analyse a poem;

write poems; write an interview
Pair discussion; individual speaking
Pair and group discussion

Direct speech; types of
noun/adjective-noun
combinations
Time connectives;
prefixes
Collaboration;
creativity
Creativity; critical
thinking
M
Write an account about school; write a Pair and group discussion Connectives; colons Social
script responsibility;
collaboration
Justify poetry choices; write an account Pair and group discussion Rhythm and rhyme; voice; Social
of family life; write a monologue; embedded clauses responsibility;
analyse a letter; analyse language; creativity
write a poem; write a speech
SA
Explain character; write a narrative Pair and group discussion Word choice and order; Critical thinking;
piece; write a brochure introduction; voice and excitement learning to learn
analyse character; write a diary entry;
write about theme
Travel article; continue a story; write a Pair, group and individual discussion Using punctuation; Learning to learn;
poem about a city personification; related communication
word forms; perspective
Describe a sea snake; continue a story; Pair, group and individual discussion Choosing words and Creativity;
analyse poetic language phrases; poetic language collaboration
5
How to use this book
1 Adventure
How to use this book In this unit, you will study texts about adventures. You will read about
characters who face challenges, go on journeys and experience exciting
situations. As you work through the texts and activities, think about the
way the characters react to their adventures.
This book contains lots of different features that will help your learning.
1.1 The These are explained
start below.
of an adventure 1.1 The start of an adventure
E
This list sets out what you will learn in each In this session, you will:
session. You can use these points to identify the • discuss the features of adventure stories
• look for explicit information in a text
important topics for the lesson. • explore how writers structure their stories.
in this session.
Important words are1 highlighted

•
an explanation of the meaning
•
in the margin. You will •also
PL
This contains questions or activities to help find
out what you know already about the topics
Adventure stories in
when they first appear in the

are athe
genre.text
book. You will find

This means that different adventure
stories contain similar features. In pairs, discuss:
the types of characters in adventure stories
the types of
what
all these words in the glossary

find
happens
these
of settings
definitions
wordsstories
in adventure
of
in adventure stories
atstories
theusually
backend.of
Getting started
Adventure stories are about characters who go on journeys. The

characters often have special skills and face difficult challenges.
Treasure Island by Robert Louis Stevenson, is an example of a
story about a boy who goes on a sea adventure to find hidden
treasure. In pairs, make a list of adventure stories and films that
you know.
1.1 The start of an adventure
Key words
genre: a
particular type of
text, for example,
adventure,
comedy, crime,
M
• how these science fiction
Compare your findings with another pair. Apart from the setting: the
this book. main character, what other types of people do you find in
location of where
a story takes
adventure stories? place
2.3
2.3Gold!
Go
‘Beware Low-Flying Girls’
Read the extract from ‘Beware Low-Flying Girls’ by Katherine Rundell. 3 83 InInthethe
next
nextpart ofof
part thethe
story, Dora
story, Dorareceives a letter
receives from
a letter thethe
from people
people
It is about Odile, a girl whose adventure begins when she discovers she down
down thethe
hole. They
hole. write
They in in
write standard
standardEnglish.
English.What
What dodo
you think
you think
Activities give you the opportunity to practise
has a very unusual skill. thethe
note
notewill say?
will say?
SA
and develop the skillsExtract

that 1you learn in each Write
Write thethenote
notethat thethe
that people send
people toto
send Dora. Remember
Dora. Remember that they
that they
seem
seem totolike flashlights,
like have
flashlights, gold,
have gold,and that
and Dora
that has
Dora sent
has them
sent themaa
session. Activities willIt involve answering
was cold, that day she first took flight, and the snow lay thick enough todictionary a catand
dictionary
hide and
in. food.
food.
questions or completing tasks.
She wore Thiscoat.
her father’s includes
It came down past her knees, and she had 44 Listen
rolled thetosleeves
Listen four
to
02 02 fourpeople speaking
people speakingabout Calvin
about and
Calvin Dora.
and Dora.
up, so they hung at her wrist in a great roll of wool. The coat had once been AsAs a you
youdeep,
listen, make
listen, make notes and
notes then
and summarise:
then summarise:
listening activities where youbrown,
cocoa-bean hearbuta now
sound it was the colour of an elderly shoe. It smelt, very slightly, of
• • what what Speaker
Speaker AAthinks ofof
thinks Calvin
Calvin
horses and woodsmoke.
recording. These recordings can be played
The wind was fierce that day. It was from
often windy in winter at the top of •the what
• mountain;
what Speaker
Speaker BBthinks ofof
thinks Calvin
Calvin
the Digital edition of birds
the got
Learner’s Book.
blown backwards up the cliff edge, reverse-somersaulting 1through
• what
their wings shedding feathers like confetti. Seagulls blew into the house, sometimes
the Speaker
•Adventure sky,
what Speaker CCthinks ofof
thinks Dora
Dora
right into her lap as she sat curled up in the corner, wrapped in rugs, reading• • what by Speaker
what Speaker
the DD thinks
thinksofofDora.
Dora.
firelight. Suddenly finding that you had an irate seagull as a bookmarkLanguagewas not, Odile focus Reading tip
thought, ideal, but her grandfather would throw a blanket over themListening and stomp
Listening out
tiptip
into the night with the bird bundled into his arms. To create excitement in suspense stories, writers often use verbs When exploring
When
When listening
listening totothetheopinions
opinions ofof
other speakers,
other speakers, make
make notes
notes of
‘Always be polite to birds,’ he would say. ‘They know more than they let that
on.’ suggest movement and power. In the first paragraph of of the effect of
the
thereasons
reasons they
theygive forfor their ideas. Briefly note down the main
Silverfi n, there aregive
lots of their ideas.
‘action’ Briefl
verbs, y note
including down the
struggled, main sentence types,
This will provide you with explanations points
The house was built into the rock of the mountain, and the door was polished points they
stone.
gripping
grandfather had lived on the mountaintop all his life. Odile had lived with story,
him since
they make.
andHer
make.
slid. These powerful verbs create excitement in the
she the reader imagine the movement and danger that
remember to
helping think about the
of important content relating to grammar
was a baby. She had nobody else. In the house, the fire burned all the5year
5 the
the fire as hot as the human heart,’ said her grandfather, his jaw stern. ‘Never
round.
In character
groups ‘Keep
In groups ofis three,
of
let it goverb
experiencing.
three, discuss Verbs
thethe
discuss views build
of
views intensity, so choosing
Calvin.
of Calvin.
out.’like struggled is often more effective in creating
specific effect
aOne
powerful they create. For
and language. That day, she had pulled her father’s coat around her, and set out. The wind
One
One
One
group member
caught
excitement
group member
group
group
should
the theshould
than
member
shouldgive
choicepresent
member should
reasons
give reasons
of adjective.
present
why
reasons
why
reasons
Speaker
whywhy
AA
Speaker
Speaker
is is
SpeakerBB
correct.
correct.
is is
correct.
correct.
example, short
coat as she walked down the mountain path, billowing it out behind her like a sail. It had sentences do not
The
The third member
third member ofofthethe
group
group should
shouldbebethethe
chairperson.
chairperson. Use
Usethethe always create
no buttons left, so she took a corner of the coat in each fist and held her3 arms
Look stiff at
again her
at in Activity
the extract4.from
side. She began to run, her hair blowing in her eyes and mouth, down thenotes notes
hill. you youmade
made in Activity 4. Silverfin. Write a paragraph excitement;
explaining how the writer uses powerful verbs to create excitement. sometimes they
Find your
Speaking
Speaking tiptipown examples and comment on their effect. are used to
4 Writers useasmany techniques toimportant
create excitement. convey anger or
When
When youyouactact as chairperson,
chairperson, it is
it is important toto inFor
actact in
example,
a fiarmfirmbut
but
Each tip will help you to develop a technique or theymanner.
friendly
friendly may useMake
manner. 9
short
Make sentences
sure that
sure that atother
otherthegroup
moment
group of greatest
members
members listen drama,
listenand
and
even humour.
take
takeor theyYou
turns.
turns. might
You use aintroduce
should
should single sentence
introduce thethe paragraph.
discussion
discussion Look
andandalso atdecide
also the short
decide
skill connected to reading, writing, speaking or when
when it is time
sentences
it is infor
time thethe
for thenext
last 13 person
lines
next toto
of the
person speak.
extractYou
speak.(from
Youcan Healso
can also ask
stopped).ask Key words
questions,
questions, summarise
summarise views is and
views and decide
decide when
whenthethediscussion
discussion hashas
listening. reached
In pairs,
reached an
discuss which
end.
an end.
why. Make
the
a note of your opinions.
most exciting short sentence and
humour: when
things are funny,
5 Writers can use punctuation to create effects. In the extract, or things that are
• • How ellipsis is used
effective wasatthe
moments
group of drama. For example, in paragraph 5,
discussion? funny
How effective was the group discussion?
the narrator
• • In In
what ways states:
did each person contribute? ellipsis: a set of
what ways did each person contribute?
• • WhatThemight
What castle
might was
you
you six feet away,
improve
improve onon finext
next ve time
. .time
. four
you. .have
you . have
Theabranch
a was swaying three dots ( . . . )
alarmingly.
group discussion?
group discussion? used to indicate
that words have
6 Here the ellipsis emphasises the tension, as if the character and the
been left out
reader are holding their breath as the main character edges along
Original material © Cambridge University Press 2020. This material is not final and
theis subject to further changes prior to publication.
branch.
Find one other example of ellipsis from the extract and write a 4343
7 ‘The Travel Agency’
5 Plan a monologue called ‘The Day I Met the Kraiks’.

4 Write 300 words
It willexplaining how
be told from the writer
Odile’s pointpresents
of view.Sannala in
Extract 3. Include
a Ondetails How to use this book
on: decide and make brief notes on:
your own,
a the image of • Sannala that the writer
what happened whenpresents
you met the Kraiks
b the effect
2 ‘Hey, You Down There’ of• structural
what happened onsuch
techniques as flashback
the next stage of andyour quest.
contrast
b Think about the narrative structure of your monologue.
5 cPractise
the your
effectspoken
ofList
voice,
the sentence
events
drama instructures
thepairs,
in your and
orderthen other
you perform
will language
tell them in your
it to the
class.techniques
Remembermonologue.
to: Look back at the structure outlined in Key word
d how Session 1.1,ofActivity 4 for ideas.
• speakthe introduction
clearly and use yourthis character
voice to showdevelops the themes
the characters’ feelings Key word voice: the
of6 friendship
Now write andyour
loneliness.
monologue. Remember that you are writing from a particul
• vary the volume and pace of your voice to show Calvin’s and pace: the speed
Odile’s point of view, so you will need to capture her voice. This character
Dora’s emotions.
Peer assessment at which someone
means thinking carefully about her personality and attitude, and or thinks
speaks or how
fiction, or
After completing an activity, this provides you Swap accounts
Self-assessment
have written about
with a partner
choosing
each
words and
point.
andphrases
Copy
check how
and
thoroughly
that convey
complete the
theyexample, youquickly events
this. For
table take place
writer’s to
in
have found out that Odile is young, but she is also brave. She likes point of v
with the opportunity to either assess your own
E
toyou
If indicate how
can, make effectively
a recording they
of have
your written
drama about
and each
listen to point.
it.
adventures. She has been warned about the Kraiks, so she may be a story
Place a tick under red or amber or green. non-fi ctio
• Is it likely to interest
cautious your
and audience?
a little scared.
work or another student’s work. • Green means they have written in detail.
• Did you vary your voices?
• AmberPeermeans assessment
they have offered some detail. Speaking
• Did you speak clearly?
• Red means
In that they
groups, take have
turns not written
reading yourabout the bullet
monologue at all.
aloud. Before yo
• Write a paragraph in your notebook giving an account of
your strengths
• Whichandbitsalsoofareas
eachto develop. were the most interesting
monologue your mon
to listen to? plan how
a will speak
PL
This contains questions that ask you to look
back at what you have covered and reflect on
your learning.
This list summarises the important skills that

you have learnt in the session.
5
•
b
Summary
d I can •write
•
2.3 Gold!
In this
I can
•
I can •assess
What
Summary
Summary checklist
analyse
an
There’
Why? Give reasons for your assessment.
checklist
c I can analyse and write a compound-complex sentence.
andhave
What perform
mymight
you alearnt
checklist
spokenfromdrama.
you do differently
own speaking
writing this monologue?
next time?
and performance
Now feed back your findings to your partner. Explain your

judgements, making sure you are polite and kind.
I can predict how stories might develop.

I can identify the features of a monologue.
I can explain how a writer might use a character to develop
I can write and perform an interesting monologue.
session, you will:
a theme.
how a
analysis
writer
of how
presents
a
a heroic
explore the social and historical context of ‘Hey, You
I Down
can write character
understand how non-standard English helps to convey
is
skills.
character.
presented.
words wil
emphasis
Where wi
pause? H
Listening tip
you use y
voice to m
When receiving
your mon
verbal feedback,
sound
listen carefully
specific advice.
Ask for details
and examples
to help you
understand any
guidance. Take
notes to help you
remember.
to ex
M
character
• practise your group discussion skills.
These questions look back at
Check
Check your
your progress
progress
some of the content you learnt Answer the following questions to check
Answer the following 174 to check
questions whatwhat
you you
havehave learnt
learnt in this
in this unit.unit.
in each session in this unit. If Check your progress
1 1 What are the key features of adventure stories?
Give an example of a symbol in a poem you have studied. Give some examples of events that
happen in adventure stories.
you can answer these, you are Answer the
2
2
following questions to check what you have learned in this unit.
Explain what is meant by ‘The intended audience of a piece of writing
What type of characters do you find in adventure stories? What happens to them?
1 What are key thefeatures
way in of adventure
a text isstories?
ready to move on to the next determines
3GiveList
somethree ways you
examples
which
of can keep
events
written’.
anhappen
that audience in interested
adventure when relating an anecdote.
stories.
SA
3 Describe the differences between literal and figurative language.

unit. 2 4What
4 5Write
Using
typeexamples, explain
of characters
a sentence 40
what
do you
containing
alliteration
find
an embedded
and stories?
in adventure
clause.
sibilance are.
Are List
theythree ways
ordinary of creating
people or dosuspense
they haveinspecial
a story.skills? What happens to them?
5 GiveExplain
two examples of a minor sentence.
3 6Name three what
ways you
you have learnt
can keep anabout planning,
audience writing
interested when and redrafting
relating your writing.
an anecdote.
6 Writehow
Explain a list of tips for
persuasive future students
speeches about improving writing.
are structured.
4 Using examples, explain what alliteration and sibilance are.
5 List three ways that a writer can create suspense.
Project
6 Project
At the end of each unit, there Explain what you know about writing accounts of adventures.
In groups,
ThisHow
unithas
youwriting
hasyour
are going
explored
to design and present some ideas for a specific
improved?
the life stories of real people and characters in literature. You
type of adventure story: the superhero story. Superhero stories are about
is a group project that you can are going to research and present the life story of a person in public life who has
characters who have extraordinary powers. They are often normal
made a difference. This might be a scientist who has made an important medical
people who secretly change into superheroes in order to help people
carry out with other students. discovery, a person who has promoted peace or a young person who is trying to
in need. Using the information in this unit as well as extra research:
improve the planet like Greta Thunberg.
This will involve using some of • devise a new superhero
Think carefully about the person you choose to research. There are many people
who•have write a brief
goodcharacter
things, soprofi le
the knowledge that you who•is less
done
well known.
decide Start by
details about
it might
theresearching
be more interesting to choose someone
world theytheliveperson.
in – is itFind out about
developed during the unit. their life recognisable
story and theas positive
your own things theyorhave
world, is it done.
a different type of place?
Present
• your research
describe in the form
a costume of a booklet
they might wear to show in class.
Your project might involve You should present information in an appealing way. Use pictures,
• draw the bad characters
coloured text boxes and headingsthat the superhero
to organise will encounter
your material.
creating or producing Once• everyone
plan somehas storylines.
completed their booklet, spend time in
something, or you might all groups
person
reading
Present youreach
in turn.
artwork
ideasother’s work. You
as a group.
Be prepared
to explain
You should discuss
could use eachand
pictures
to justify to your group
your ideas.
solve a problem together. why your person is the most significant.
Start by:
At the end of your discussion, your group must
• noting down the names of any superhero books, comics
choose one person (in your group) who you
and films you know
think has made the most important contribution
• discussing
to society. Nominate some
one initial
studentideas
perwith your group
group
to tell
• the class which
working person
out who will your group
do what has group
in your
selected and why.
• planning ways to present your work.
162 7 31
1 Adventure
E
In this unit, you will study texts about adventures. You will read about
characters who face challenges, go on journeys and experience exciting
situations. As you work through the texts and activities, think about the
way the characters react to their adventures.
•
•
PL
In this session, you will:
discuss the features of adventure stories
look for explicit information in a text
M
• explore how writers structure their stories.
Getting started
Adventure stories are about characters who go on journeys. The

SA
characters often have special skills and face difficult challenges.

Treasure Island by Robert Louis Stevenson, is an example of a
story about a boy who goes on a sea adventure to find hidden
treasure. In pairs, make a list of adventure stories and films that
you know.
8
1 Adventure stories are a genre. This means that different adventure

Key words
stories contain similar features. In pairs, discuss:
• the types of characters in adventure stories genre: a
particular type of
• the types of settings in adventure stories text, for example,
adventure,
• what happens in adventure stories
E
comedy, crime,
• how these stories usually end. science fiction
Compare your findings with another pair. Apart from the setting: the
location of where
main character, what other types of people do you find in
a story takes
PL
adventure stories?
‘Beware Low-Flying Girls’

Read the extract from ‘Beware Low-Flying Girls’ by Katherine Rundell.
It is about Odile, a girl whose adventure begins when she discovers she
has a very unusual skill.
Extract 1
place
M
It was cold, that day she first took flight, and the snow lay thick enough to hide a cat in.
She wore her father’s coat. It came down past her knees, and she had rolled the sleeves
up, so they hung at her wrist in a great roll of wool. The coat had once been a deep,
cocoa-bean brown, but now it was the colour of an elderly shoe. It smelt, very slightly, of
horses and woodsmoke.
SA
The wind was fierce that day. It was often windy in winter at the top of the mountain;
birds got blown backwards up the cliff edge, reverse-somersaulting through the sky,
their wings shedding feathers like confetti. Seagulls blew into the house, sometimes
right into her lap as she sat curled up in the corner, wrapped in rugs, reading by the
firelight. Suddenly finding that you had an irate seagull as a bookmark was not, Odile
thought, ideal, but her grandfather would throw a blanket over them and stomp out
into the night with the bird bundled into his arms.
‘Always be polite to birds,’ he would say. ‘They know more than they let on.’
The house was built into the rock of the mountain, and the door was polished stone. Her
grandfather had lived on the mountaintop all his life. Odile had lived with him since she
was a baby. She had nobody else. In the house, the fire burned all the year round. ‘Keep
the fire as hot as the human heart,’ said her grandfather, his jaw stern. ‘Never let it go out.’
That day, she had pulled her father’s coat around her, and set out. The wind caught the
coat as she walked down the mountain path, billowing it out behind her like a sail. It had
no buttons left, so she took a corner of the coat in each fist and held her arms stiff at her
side. She began to run, her hair blowing in her eyes and mouth, down the hill.
9
1 Adventure
The wind caught her coat and tossed her upwards. Odile felt the
sudden swoop of gravity undone.
It lasted only a second. She screamed, pulling her coat up over
her face, and dropped to the ground again, landing on
her hands and knees in the snow. Her breathing
E
stopped. Though she had barely fallen two feet,
she felt winded, gasping and choking for air.
‘I flew,’ she whispered. Or had she perhaps
just tripped and fallen more extravagantly than
usual? She had to be sure.
PL
Odile rubbed some snow into her eyes to make
sure she was awake. She pulled a twig from a tree,
brushed the frost from it and used it to pin her hair
out of her eyes. She put on her gloves.
She stretched out the corners of her coat. She began to
run, downhill, her feet kicking up a spray of snow.
The coat billowed out behind her. Her breath misted
the air in front of her.
M
And Odile flew.
Reading tip
SA
When you see words you do not understand, use details from
the surrounding sentences to help you work out meanings. For
example, in the second to last paragraph of the extract, you could
work out the meaning of billowed by thinking about the effect the
wind might have on Odile’s coat – blowing it out around her.
Key word
2 Practise working out word meanings from their context. context: the
The following words are taken from the third paragraph of situation within
the extract. What do you think they mean? which something
exists or happens
a fierce c irate
b confetti d bundled.
3 When reading a text, it is important to be able to identify and

understand the main points and ideas that a writer tells you.
10
Explicit information is information that the writer states directly.

Key words
Read the text again and make notes on:
explicit
a what you can find out about Odile’s family information: ideas
b what is unusual about the setting and details that
c other unusual aspects of the story. a writer states
E
directly
4 The narrative structure of a story is the order in which events take narrative
place. This includes how a story starts, when different pieces of structure: the
information are revealed and how the story ends. Look at this order in which a
timeline, which shows the first four main points in ‘Beware Low- writer sets out the
Flying Girls’.
can fly.
PL
You are told Odile
is described.
The strength of the
wind is described.
Her father’s coat You find out that Odile’s

grandfather and Odile
events in a story
M
live alone.
Write down the last two main points in the extract from ‘Beware
Low-Flying Girls’.
5 Writers design the narrative structure of their stories to keep
readers interested. In pairs, discuss the following questions.
SA
a Why does the writer start the story by telling you Odile
can fly?
b Why does she tell the reader that Odile wears her father’s coat?
(Think about why the coat might be special.)
Key words
c Why does the writer end this part of the story with
Odile flying? predict: say what
you think might
6 Which parts of the story have you found most interesting so far? happen in the
In your pairs, predict what you think might happen, or what you future
would like to find out, in the next part of the story. Do you both opinion: a
have the same opinion? personal view
or judgement
7 Write a summary of about 50 words explaining what you have about something,
learnt about the features of adventure stories. Use some examples not necessarily
from ‘Beware Low-Flying Girls’ in your summary. based on fact or
knowledge
11
1 Adventure
Summary checklist
I can identify some features of adventure stories.
I can locate explicit information in a text and understand
its meaning.
I can comment on the narrative structure of a text.
E
1.2 Quest!
•
•
•
PL
describe how stories develop
explore the features of a monologue
write and perform a monologue.
M
Getting started
A quest is a difficult journey in search of an item or person.

Look up the origins of this word. How is the word ‘quest’
connected to the word ‘question’?
SA
1 Here are two possible ways that the story you read in Session 1.1
could develop.
Which idea do you prefer and why? Discuss your ideas in pairs. Are
they similar to the predictions you made in the previous session?
A Odile flies far from home and arrives in a town she

has never been to. The people treat her like a princess.
She is given lots of power. One day, a threatening
creature arrives and Odile is expected to defend the
town. She is frightened and doesn’t know what to do.
12
1.2 Quest!
B Odile flies into a dizzying snowstorm and doesn’t

know where she is. She falls asleep on a mountainside
and when she wakes up, the coat has gone. She meets
a friendly girl called Millie who invites Odile to stay
with her family. Odile is not sure if it’s a good idea.
E
Now read another part of ‘Beware Low-Flying Girls’. At this
point, Odile has found out that her father used the coat to fly.
PL
She also discovers that her grandfather is ill. To get better,
he needs a special plant from the other side of the mountain.
Odile decides to go on a quest to find it. Her grandfather
warns her to be careful of the Kraiks – a mysterious group of
talking birds.
Extract 2
Without another word, she pulled on her boots and coat

M
and kissed her grandfather’s cheek. He waved her away;
his skin was colder than usual.
Odile walked as far as the paths would take her, clapping
her hands together in front and behind her back to keep
them warm; and then she climbed. It was more of a scramble,
really, around the edge of the mountain, but there were
SA
places where the ground cut away and dropped to a blur

below. She did not fly: the wind might drop at any moment,
and she didn’t like the idea of so much gravity at once.
The first hint that something was wrong was the smell. Odile
sniffed. There were seven layers of scent, none of them good:
a between-the-toe smell, a week-old-fish smell, an unbrushed-
tooth smell; a jackdaw’s breath, a cat’s sick pool, a burnt furball jackdaw: a bird
and a sailor’s earwax. (a small crow)
‘Kraiks,’ she whispered. furball: a ball
of fur that can
She looked up, up the edge of the mountainside. She could see
develop in an
nothing – only mist, and branches stretching like arms across the
animal’s stomach
rocks. But a voice came down, thin and quiet.
‘Where are you going, little girl?’
Odile said nothing. She set her jaw, and kept climbing, heading
sideways.
13
1 Adventure
2 In pairs, discuss how the story could develop.

Remember the following:
• The Kraiks seem dangerous.
• Odile can fly.
• She needs the plant for her grandfather.
E
Key words
• The central character in an adventure story usually faces monologue: a
a problem. story or speech
• Adventure stories usually end happily. given by one
character
01 3
PL
A monologue is a spoken text told by one person. The speaker
usually explains their feelings and attitudes, as well as telling a
story in which they gradually reveal bits of information.
Listen to the monologue and answer the questions. You will need to
listen for explicit information, but also consider the speaker’s tone,
which can reveal how he is feeling.
a How many messages had Alex missed?
tone: the way that
someone speaks
or how a piece of
writing sounds,
which helps
suggest mood
and feelings
M
b Why does Alex think the music shop owners are happy Listening tip
to let John play the guitars?
When you hear
c How would you describe the relationship between Alex information
and his mother? spoken aloud,
listen carefully
d How does the story end?
SA
for any explicit

e ‘Alex seems like a really kind person.’ To what extent do you information. The
agree with this view? way a person
speaks and how
4 Just like written stories, monologues are carefully structured they use their
to keep the listener interested. When writing a monologue, it is voice can also
important to think about when to tell the listener key information. give you clues as
to how they feel
In pairs, discuss the following questions. about the story
a What were you told at the start of the monologue and how they are telling.
Listen carefully
did this keep you interested?
not just to what
b What was the most exciting or dramatic part of the is being said, but
monologue? At what point in the story did it happen? also the tone (i.e.
how it is being
c How did the monologue end? How did the ending make you said).
feel – were you happy for Alex?
14
1.2 Quest!
5 Plan a monologue called ‘The Day I Met the Kraiks’.

It will be told from Odile’s point of view.
a On your own, decide and make brief notes on:
• what happened when you met the Kraiks
• what happened on the next stage of your quest.
E
b Think about the narrative structure of your monologue.
List the events in the order you will tell them in your
monologue. Look back at the structure outlined in Key word
Session 1.1, Activity 4 for ideas.
6
PL
Now write your monologue. Remember that you are writing from
Odile’s point of view, so you will need to capture her voice. This
means thinking carefully about her personality and attitude, and
choosing words and phrases that convey this. For example, you
have found out that Odile is young, but she is also brave. She likes
adventures. She has been warned about the Kraiks, so she may be
cautious and a little scared.
voice: the way
a particular
character speaks
or thinks in
fiction, or the
writer’s tone and
point of view in
non-fiction
M
Peer assessment Speaking tip
In groups, take turns reading your monologue aloud. Before you read
• Which bits of each monologue were the most interesting your monologue,
to listen to? plan how you
will speak. Which
SA
• Why? Give reasons for your assessment. words will you

emphasise?
Where will you
pause? How can
• What have you learnt from writing this monologue?
you use your
• What might you do differently next time?
voice to make
your monologue
sound exciting?
Summary checklist
I can predict how stories might develop.
I can identify the features of a monologue.
I can write and perform an interesting monologue.
15
1 Adventure
1.3 Train trouble

• explore ways of using speech to engage an audience
E
• look for implicit meaning in a text
• use different sentence types to add interest to descriptive writing.
1
Getting started
PL
Have you ever had a difficult start to a journey? Have you ever
missed a bus or been on a crowded train? Have you ever been stuck
in traffic or had an annoying start to a holiday? What happened?
How did it make you feel? Tell your anecdote to a partner.
Tell the whole class your anecdote.

M
• Explain clearly what happened.
Key words
• Focus on feeling and emotion to engage your listeners.
anecdote: a short
• Use tone of voice, gesture and facial expression to add meaning. entertaining story
• Give your anecdote a strong ending. that is usually
spoken
SA
Speaking tip gesture:

movements of
When you relate an anecdote, make sure you give enough details about the hands or arms
the event to help your listeners picture the scene. Effective speakers to add emphasis
often use non-verbal communication, so think about how you could to bring a story
use gesture and facial expression to add meaning to your anecdote. to life
non-fiction:
writing that is
Around India in 80 Trains about real events
and facts
Read the following piece of non-fiction writing, which is from an
autobiography by Monisha Rajesh. In the extract, the writer describes autobiography:
a text in which
a difficult start to a journey, as she arrives at a station in India. She is
the writer gives
accompanied by a friend called Passepartout. They are helped by Subbu, an account of
who is guiding them through the busy station and on to the train. As their own life and
you read, think about how the writer makes the journey seem stressful. experiences
16
1.3 Train trouble
E
PL
Chennai Egmore station could be heard before it was seen.
A cacophony erupted as we made our way under the arches,
running after Subbu who had been instructed to come with us
to the platform. Indian stations are not designed for running.
An assault course lay between us and Subbu, who was winding
deeper and deeper into the sea of boxes, briefcases and body
cacophony:
a mix of loud,
often unpleasant
sounds
assault course:
M
parts. We ducked and wove around the slalom of wooden an area filled with
carts wheeled by men with no sense of urgency, strings of obstacles such as
hand-holding children, hobbling dogs, stacked hessian sacks, walls and ditches
nose-pickers, watersellers, booksellers and red-shirted porters. that people have
Subbu now stood by our train, under a digital sign reading B2, to find a way over
his face powder dry, as we bent double, sweat running down or around
SA
our bodies. slalom: a skiing

race down a long,
Engines hissed and thudded as they began to move, high-
winding course
-pitched announcements singing out in breakneck-speed Tamil,
while the smell of dried fish crept up my nostrils. Passepartout hobbling: walking
leapt about, clicking away, and I smiled weakly for the camera unsteadily
before boarding the Anantapuri Express to Nagercoil. hessian: a strong,
thick woven fabric
Subbu had already found our seats and placed our bags on
each by the time we squeezed through. Thanking him, we dug
out bottles of water, notebooks, pens, toilet paper, flannels
slunk: moved
and flip-flops, much to the amusement of our companions who
away smoothly
had already chained up bags, hidden shoes, plugged in phones
and quietly
and sat down cross-legged, watching us. At 7.20pm the train
jerked. Subbu bowed and slunk off as the train glided out of the silhouette: the
station. Through the tinted window he was soon no more than a shadow or outline
saluting silhouette. of an object
against a brighter
We were on the move. background
17
1 Adventure
2 In pairs, discuss the explicit information in the text:

a What can you find out about Chennai Egmore station?
Key words
b What do you learn about the actions and feelings of the
narrator, Subbu and Passepartout? narrator: the
person telling the
3 Writers often give information to readers and leave them to work
E
story
out what it means – this is implicit information. Understanding this implicit
is sometimes called ‘reading between the lines’. For example, in information:
paragraph 1 of the extract, the writer implies that Subbu is calm. ideas and details
She states that Subbu’s face was powder dry, which suggests that that readers have
a
b
PL
Subbu is not flustered and sweating, unlike the others.
Reread the final two paragraphs. In pairs, discuss the following
questions:
Why might the people on the train be amused?
What is being implied about the narrator and Passepartout’s
experience of travel in India?
to work out for
themselves
simple sentence: a
sentence with one
main clause
compound
sentence: a
sentence with
two main clauses
M
Language focus
joined by ‘and’,
Writers use different types of sentences for different effects. ‘but’, ‘or’
For example, a simple sentence can provide basic, clear detail, complex
but it can also create tension. Compound sentences and sentence: a
complex sentences add detail as well as creating effects, such as sentence with
conveying excitement. When writing about sentences, try to link one main clause
SA
your comments about the sentence type to the effect it creates. and one or more
For example, think about what the shortness of a sentence dependent
suggests about the narrator’s feelings. Does the detail of a clauses
complex sentence help to suggest busyness or panic?
4 Look at this simple sentence followed by a complex sentence from

the extract:
Indian stations are not designed for running. An assault course lay
between us and Subbu, who was winding deeper and deeper into
the sea of boxes, briefcases and body parts.
The first sentence is a direct statement that gives a view about the
station. The tone sounds slightly sarcastic. The effect on the reader
is to give a clear, direct impression of the station and the narrator’s
attitude. The shortness of the sentence reflects the narrator’s feeling
of amusement but also tension.
18
1.3 Train trouble
The second sentence is longer and more detailed. The first clause
Key words
introduces an image of the clutter of the station. The subordinate
clause (who was winding . . .) contains more detail, using ‘and’ twice. clause: a group
The effect is to convey the huge number of things in the station. of words that
contain a verb
The length and detail of the sentence reflects the detail of the scene
being described. subordinate
E
clause: in
Copy and complete the following table in your notebook to grammar, a clause
identify examples of simple, compound and complex sentences that cannot
in the extract from Around India in 80 Trains. In the last column, form a sentence
alone but adds
PL
comment on their effect. Explain how the writer builds up detail
and the impression this gives the reader.
Sentence type Example

Simple
Compound
Complex
Effect
information to the
main clause
M
5 In Activity 1, you told an anecdote about difficult journey. Now
turn this into a written version. Before you write, think about how
you will describe the scene. Remember how the extract uses lots of Writing tip
images, lists and interesting words to bring the scene to life. Use a Remember that
range of simple, compound and complex sentences to add detail the language
SA
and variety to your writing. and style of

written accounts
Peer assessment is different to
spoken accounts,
Share your finished account with another student. Discuss the so think carefully
following questions: about the way
• Which bits of your writing do you think are most effective you phrase
and why? your writing.
For example,
• Did you use a variety of sentences?
people often
• If you were to redraft your work, what would you do differently? do not speak in
full sentences,
although you can
Summary checklist hear where ideas
I can use language to engage listeners in a spoken account. start and end,
but you must
I can identify and understand implicit information in a text.
always write in
I can use different sentence types to write an interesting account. full sentences.
19
1 Adventure
1.4 A hard journey

• look for explicit and implicit meanings in poetry
E
• explore how poets use language features for effect
• learn how to write an analysis of a poem.
Getting started
PL
Some people and some poems describe life as a journey. In
pairs, discuss what life has in common with a journey. How could
life be described as an adventure?
‘Hard is the Journey’

Read the following poem by Li Po, an 8th century Chinese poet.
M
Gold vessels, At peace I drop a hook vessels: hollow
containers
Jade dishes of rare meats, into a brooklet,
jade: a hard,
costing more thousands, At once I’m in a boat
SA
green stone
but sailing sunward... banquet:
I lay my chopsticks down, a feast
brooklet:
no more can banquet, (Hard is the journey,
a small stream
I draw my sword and stare Hard is the journey,
wildly about me: So many turnings,
And now where am I?)
Ice bars my way to cross
the Yellow River, So when a breeze breaks waves,
Snows from dark skies to climb bringing fair weather,
the T’ai-hang mountains! I set a cloud for sails,
cross the blue oceans!
20
1.4 A hard journey
1 Copy and complete this table to list the events of each stanza.
Key word
The first one has been done as an example.
stanza: a group
Stanza What happens of lines of poetry,
sometimes called
1 The narrator describes expensive meats. a verse
E
2
Language focus
PL Key words
M
Poets often use different types of sound effects, such as alliteration:
alliteration and sibilance. These sound patterns are effective use of the same
when the poem is read aloud. They are used sometimes for sound, especially
very specific effects. consonants, at
the beginning
Alliteration is when consonant sounds are repeated at the start of several close-
of words (e.g. ‘the rifle’s rapid rattle’ – the repeated ‘r’ sound
SA
together words
brings to mind the stuttering sound of a gun being fired).
sibilance: use
Sibilance is the repetition of soft consonant sounds, usually the of repeated soft
‘s’ sound (e.g. ‘the ship moved slowly through the sea’ – the consonant sounds
repeated ‘s’ sound brings to mind the sound of a ship moving for emphasis
through water, or the sound of the wind making the ship move).
2 Read the poem again carefully. Identify examples of alliteration

and sibilance. What effect do these language features create?
3 In pairs, discuss the following:
a In stanza 2, the narrator decides to stop feasting and picks up
his sword. Why do you think he does this?
b In stanza 3, the narrator is unable to cross the river.
How does the narrator seem to feel about this in stanza 4?
21
1 Adventure
4 At the end of a poem, the poet usually states their conclusion and
comments on the main point of the text. Reread stanzas 5 and 6
and makes notes on:
a how the narrator feels in stanza 5 (why does he find the
journey hard?)
E
b what happens in stanza 6 to make the narrator set sail.
5 People read poems in different ways and have different responses
to them. Some readers might think that ‘Hard is the Journey’ ends
happily, because the narrator travels on. Others might think that
6 PL
the ending of the poem shows that the narrator’s difficult journey is
never-ending. In groups, discuss what you think the ending of the
poem means.
What is the overall mood of the poem – is it optimistic or
pessimistic? Here are two possible interpretations of the poem.
Discuss them in small groups. Do you agree with either of them?
Why/why not?
Key word
mood: the feeling
created by the
words, sounds
and images in a
poem
M
This is a poem about how
difficult life can be. The
narrator faces many problems.
SA
The poem shows how you can’t

control your life.
This is a poem about how

humans succeed in the end. The
poem shows that if you believe
in yourself, then things work
out well.
22
1.4 A hard journey
7 Present your thoughts from Activity 6 to another group and listen

Speaking tip
to their ideas. Then debate your ideas. You should:
• clearly explain and justify your views When debating
ideas, listen
• discuss your ideas, making sure you take turns carefully to
others’ opinions
• come to an agreement about which view is the most
E
and their
convincing. reasoning. When
challenging their
Self-assessment views, be polite
and friendly. You
How well did you contribute to your group discussion and
8
debate?
•
•
•
PL
Did you give a clear opinion and justify it?
Did you listen respectfully to other people’s views?
What advice would you give to others in your group about
improving their skills?
Using ideas from the table you created in Activity 1 and from your
could organise
your debate in
a formal way,
with a teacher or
student taking
on the role of
chairperson to
keep order and
make sure that
M
everybody gets a
discussion and debate, write a response to the following question. chance to speak.
Write about 200 words.
What does ‘Hard is the Journey’ show about attitudes to
adventures? You should write about:
SA
• details of the journey in the poem

• what you think the writer is saying about journeys and
adventures
• the language choices made by the poet.
Summary checklist
I can identify and explain explicit and implicit meanings
in poetry.
I can analyse how poets use language features for effect.
I can write an analysis of a poem.
23
1 Adventure
1.5 Danger!
• investigate some features of suspense writing
E
• explore the effects of language and grammatical choices
• read aloud with expression.
Getting started
PL
Adventure stories often contain moments of suspense. The main
character is usually in a dangerous situation. The situation is
tense and drawn-out, which makes the reader concerned about
what will happen to the character.
Look at the picture of a child in the woods. If you wrote a story
based on this picture, how would you create suspense? What
would happen in your story?
M
Silverfin
Read the following extract from a novel by Charlie Higson. It is about
a young spy called James. At this point in the story, James is trying to
SA
sneak into a castle that hides a deadly secret. The only way to get in is
to walk along a branch that hangs over a lake. Kelly is James’s friend.
He struggled on up through the tangle of small twigs and young limbs. After
some careful searching, he found a suitable branch. In fact it was probably his
only hope, because it was the last branch that looked as if it would be strong
enough to support him. He lay down on it, gripping it with his legs, and
slowly slid himself away from the trunk and out over the loch. loch: lake
He looked down at the black waters, so still now, but he could picture the eels consolation:
beneath the surface, lying in the stinking mud at the bottom, their wide snouts something that
sticking out, waiting patiently. His one consolation was that if the fall didn’t makes you feel
kill him, it would at least knock him unconscious, and he would know nothing better
about sinking down through the dark waters towards their slimy mouths.
He suddenly felt very lonely. If he fell, Kelly wouldn’t come, and nobody else
knew he was here. He was utterly alone.
24
1.5 Danger!
He forced his eyes away from the water towards the wall ahead of him. The
branch was bending sharply now, and he found himself crawling downwards
towards its tip, so that there was a very real danger of slipping forward and off
the end. Best not to think about that.
Slowly he shuffled along. The castle was six feet away, five . . .
E
four . . . The branch was swaying alarmingly. He felt like he could tip off at
any moment.
He stopped.
The wall was still three feet away . . .
He didn’t move.
PL
He knew it wasn’t going to work. The branch wasn’t long enough. It was too thin.
If he went any further, he would be past the point of no return. He’d be stuck.
He glanced down, he was over the ground now, at the foot of the wall. That
would be worse than hitting the water, eels or no eels. He closed his eyes and
slowed his breathing, trying to calm the mounting panic.
And then he heard it.
mounting: getting
bigger
M
First a creak. Like a loose tread on a staircase. tread: the surface
And then a crack. of a step or stair
He felt the branch shudder . . . It was splitting.
SA
1 In your notebook:
Key word
a list the dangers and problems that the main character faces
storyboard: a
b note down how you think James feels series of drawings
or images
c write down the six most exciting sentences in the story.
showing the
Find a partner and compare your ideas. Do you agree? planned order of
2 Imagine you are making a film based on Silverfin. Create a images in frames
storyboard of six images that show the most important parts of the (in films and
television)
story. Choose your images carefully – which ones would help to
create a feeling of suspense?
25
1 Adventure
Language focus Reading tip
To create excitement in suspense stories, writers often use verbs When exploring
that suggest movement and power. In the first paragraph of the effect of
Silverfin, there are lots of ‘action’ verbs, including struggled, sentence types,
gripping and slid. These powerful verbs create excitement in the remember to
E
story, helping the reader imagine the movement and danger that think about the
the character is experiencing. Verbs build intensity, so choosing specific effect
a powerful verb like struggled is often more effective in creating they create. For
excitement than the choice of adjective. example, short
sentences do not
3
4 PL
Look again at the extract from Silverfin. Write a paragraph
explaining how the writer uses powerful verbs to create excitement.
Find your own examples and comment on their effect.
Writers use many techniques to create excitement. For example,
they may use short sentences at the moment of greatest drama,
or they might use a single sentence paragraph. Look at the short
sentences in the last 13 lines of the extract (from He stopped).
In pairs, discuss which is the most exciting short sentence and
always create
excitement;
sometimes they
are used to
convey anger or
even humour.
Key words
M
why. Make a note of your opinions. humour: when
things are funny,
5 Writers can use punctuation to create effects. In the extract, or things that are
ellipsis is used at moments of drama. For example, in paragraph 5, funny
the narrator states: ellipsis: a set of
The castle was six feet away, five . . . four . . . The branch was swaying three dots ( . . . )
SA
alarmingly. used to indicate

that words have
Here the ellipsis emphasises the tension, as if the character and the
been left out
reader are holding their breath as the main character edges along
the branch.
Find one other example of ellipsis from the extract and write a
sentence explaining its effect.
6 Look again at the extract from Silverfin. Write a paragraph explaining
how the writer creates suspense through his choice of language,
punctuation and sentence types. You should comment on:
• powerful verbs
• short sentences
• ellipsis
• any other aspects of language that help to create suspense.
26
1.6 Creating suspense
7 Using your knowledge of the way the text has been written, read
Speaking tip
the extract aloud to a partner. As you read, focus on expressing the
excitement. Work out: When performing
a story aloud,
• which words and phrases you will emphasise
always plan
• how loud or soft your voice will be at various points how you will
E
emphasise
• how long you will pause when ellipsis is used certain words.
• when you will slow down or speed up your reading to When actors
create excitement. perform scripts,
they spend time
Summary checklist
PL
I can comment on the features of suspense stories.
I can describe the effects of language and grammatical choices.
I can read a story aloud with expression.

considering how
they will speak
certain phrases
and where they
will pause. Use
a pencil to make
notes on the story
to help you plan.
M
Key word
In this session, you will: script: the words

in a play, film, etc.
• use planning techniques for a piece of narrative writing
• explore what makes a successful opening to a story
SA
• write and edit a narrative text.
Getting started
Remind yourself of the typical events of adventure stories from

Sessions 1.1 and 1.2. Which events in this type of story are used
to build suspense?
1 You are going to plan part of a story that contains suspense.

Make notes on the following questions:
• Who will your main character be?
• Where is the story set?
• What are they trying to do or achieve in the story?
• What dangers do they face?
27
1 Adventure
If you are finding it difficult to start, think about these situations:

• a character who is rowing across a wide river when a
storm happens
• a character who is trying to escape from his kidnappers.
Or use the picture below to help you.
E
2 The opening sentences of a story are very important. They must
provide the reader with information – either character, setting or
situation. They must also show an element of mystery, danger or
humour to engage the reader’s interest. Compare these two story
3
PL
openings. In pairs, discuss why the second opening is more effective
than the first.
A I was walking along a cliff at night. It was very dark and I thought that I might fall off.
B Absolute darkness. I’d never been this scared before. Slowly, I edged along the cliff.
Think carefully about your story opening. How can you capture
M
your reader’s attention straight away? Write some opening
sentences and show them to a partner. Share your opinions.
4 Write the story that you have planned. You do not have to write
the complete story – you could stop at a dramatic moment like
Silverfin. Remember to:
SA
• build suspense as the story develops

• try to make your reader feel concerned about your character
• use appropriate punctuation, such as ellipses
• use known spelling patterns to spell words correctly
• use language precisely to show your ideas
• use paragraphs and give your story an appropriate title
• make sure your handwriting is clear and neat.
28
Here is a sample answer to this task:
I stood on the cliff face and looked down at the furious,

boiling waters – I’d dreamt of this moment. The air. The
sea. The fre edom. My dreams of liberty and closeness to
E
nature had led me here. Further along this cliff face was a
place of wonder: it was a cave rumoured to contain strange,
beautiful creatures that only a few humans had se en. But
to get to the cave, I would ne ed to leap into the ocean,
PL
then climb up to the cave. This was no easy thing. People
had died attempting such a feat – it was madness.
All my life I had avoided danger. But sometimes, life has a
strange way of opening your eyes. The ocean looked angry; the
ocean was certain death.
The air is so fresh here. There is a comfort in the hypnotic
M
noise of the seabirds, calling you into possible destruction. I
breathed deeply, controlling my fear, reminding myself of the
reason I was here. Even with my eyes shut, I could see the
vivid colours of sea and sky. The sea was beautiful.
SA
This will be a symbolic fall. I may not make it.

Beneath my feet, I felt the grainy reassurance
of the rocks. Was the wind on my side? Or was
it the enemy? On the horizon, a cruise ship
moved slowly. The waters swirled invitingly.
An unseen force propelled me towards the
water . . . I didn’t want this any more but
found myself falling.
For seconds, I was a bird.
Beneath me, the ocean beckoned.
This was it.
29
1 Adventure
5 Discuss the sample answer in pairs.

Writing tip
a What do you think is good about it?
Redrafting your
b What ideas or techniques could you use in your own story? work can be time-
consuming, but it
c Look how punctuation devices such as the dash, ellipsis,
is essential. When
colon and semi-colon have been used. How do they help
E
you redraft, start
with meaning? by considering
6 Now discuss the voice of the text. What sort of personality does structure. Is the
order right or
the narrator have? Make a list of phrases the writer uses to convey
does it need
Peer assessment
•
•
PL
the narrator’s personality.
Ask a friend to read your story aloud. Listen carefully to how

it sounds. Which bits do you both think are the best?
Which bits need redrafting?
Use a highlighter to identify paragraphs you want to improve.
Help each other with ideas and phrases. Remember to spell-
rearranging?
Do some parts
need more
explanation?
Then turn your
attention to the
detail, such as
word choices,
ensuring you have
M
check your work. used strategies
• Look at the effectiveness and range of punctuation you have you know to spell
used. Can you use some of these when you redraft your work? words correctly.
SA
Once you have finished your story, read it back to yourself.

• How well do you think you planned your story?
• If you did this activity again, what would you change about the planning process?
• What advice would you give to someone who wants to write a suspense story?
Summary checklist
I can plan a piece of narrative writing.
I can identify what makes a successful opening to a story.
I can write a narrative piece and edit my work to improve it.
30
Check your progress

Answer the following questions to check what you have learnt in this unit.
1 What are the key features of adventure stories? Give some examples of events that
happen in adventure stories.
2 What type of characters do you find in adventure stories? What happens to them?
E
3 List three ways you can keep an audience interested when relating an anecdote.
4 Using examples, explain what alliteration and sibilance are.
5 List three ways of creating suspense in a story.
6 Explain what you have learnt about planning, writing and redrafting your writing.
Project
PL
Write a list of tips for future students about improving writing.
In groups, you are going to design and present some ideas for a specific
type of adventure story: the superhero story. Superhero stories are about
characters who have extraordinary powers. They are often normal
people who secretly change into superheroes in order to help people
in need. Using the information in this unit as well as extra research:
M
• devise a new superhero
• write a brief character profile
• decide details about the world they live in – is it
recognisable as your own world, or is it a different type of place?
SA
• describe a costume they might wear

• draw the bad characters that the superhero will encounter
• plan some storylines.
Present your ideas as a group. You could use pictures and
artwork to explain your ideas.
Start by:
• noting down the names of any superhero books, comics
and films you know
• discussing some initial ideas with your group
• working out who will do what in your group
• planning ways to present your work.
31

Fle7 Issuu

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Fle7 Issuu

Uploaded by

Copyright:

Available Formats

We are working with Cambridge Assessment International Education towards endorsement of these titles.

Second edition Digital access

Executive Preview.indb 6 17/09/20 5:40 PM

University Printing House, Cambridge CB2 8BS, United Kingdom

Cambridge University Press is part of the University of Cambridge.

accurate or appropriate. Information regarding prices, travel timetables, and other

NOTICE TO TEACHERS IN THE UK

Graham Elsdon and Esther Menon

4 Small but perfect

Flash fiction; haiku poetry; imagist poetry;

Writing Speaking/Listening Language focus 21st century skills

Write flash fiction; analyse a poem;

Pair and group discussion

How to use this book

Important words are1 highlighted

when they first appear in the

book. You will find

all these words in the glossary

Adventure stories are about characters who go on journeys. The

and develop the skillsExtract

5 Plan a monologue called ‘The Day I Met the Kraiks’.

This list summarises the important skills that

Now feed back your findings to your partner. Explain your

I can predict how stories might develop.

3 Describe the differences between literal and figurative language.

Adventure stories are about characters who go on journeys. The

characters often have special skills and face difficult challenges.

1.1 The start of an adventure

1 Adventure stories are a genre. This means that different adventure

‘Beware Low-Flying Girls’

3 When reading a text, it is important to be able to identify and

1.1 The start of an adventure

Explicit information is information that the writer states directly.

Her father’s coat You find out that Odile’s

A quest is a difficult journey in search of an item or person.

A Odile flies far from home and arrives in a town she

B Odile flies into a dizzying snowstorm and doesn’t

Without another word, she pulled on her boots and coat

places where the ground cut away and dropped to a blur

2 In pairs, discuss how the story could develop.

for any explicit

5 Plan a monologue called ‘The Day I Met the Kraiks’.

• Why? Give reasons for your assessment. words will you

1.3 Train trouble

Tell the whole class your anecdote.

Speaking tip gesture:

1.3 Train trouble

our bodies. slalom: a skiing

2 In pairs, discuss the explicit information in the text:

4 Look at this simple sentence followed by a complex sentence from

1.3 Train trouble

Sentence type Example

and variety to your writing. and style of

1.4 A hard journey

‘Hard is the Journey’

1.4 A hard journey

2 Read the poem again carefully. Identify examples of alliteration

The poem shows how you can’t

This is a poem about how

1.4 A hard journey

7 Present your thoughts from Activity 6 to another group and listen

• details of the journey in the poem

Language focus Reading tip