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Cambridge Lower Secondary English 2ed 7 Learning Book
Cambridge Lower Secondary English 2ed 7 Learning Book
English
LEARNER’S BOOK 7
Graham Elsdon with Esther Menon
www.frenglish.ru
Cambridge Lower Secondary
English
LEARNER’S BOOK 7
Graham Elsdon with Esther Menon
www.frenglish.ru
University Printing House, Cambridge CB2 8BS, United Kingdom
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Information on this title: www.cambridge.org/9781108746588
© Cambridge University Press 2021
This publication is in copyright. Subject to statutory exception
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no reproduction of any part may take place without the written
permission of Cambridge University Press.
First published 2012
Second edition 2021
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Printed in Malaysia by Vivar Printing
A catalogue record for this publication is available from the British Library
ISBN 978-1-108-74658-8 Paperback with Digital Access (1 Year)
ISBN 978-1-108-74659-5 Digital Learner’s Book (1 Year)
ISBN 978-1-108-74661-8 eBook
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Third-party websites, publications and resources referred to in this publication have not been
endorsed by Cambridge Assessment International Education.
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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
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.
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
you will learn about some very interesting older texts in a fun way, as
well as developing 21st century skills.
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.
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Contents
Contents
Page Unit Text types Reading
8 1 Adventure Contemporary fiction (adventure); non- ‘Beware Low-Flying Girls’; Around
fiction (travel writing); thematic poetry; India in 80 Trains; ‘Hard is the Journey’;
novel (spy story) Silverfin
32 2 ‘Hey, You Down Short story (science fiction) ‘Hey, You Down There’
There’
57 3 Film and fame Contemporary fiction; non-fiction (informative Film Boy; ‘Hrithik Roshan says he
article); non-fiction (film review) practises every day to overcome
stammering’ in the Hindustan Times;
The Incredibles film review; ‘Thai cave
rescue boys meet hero’ in the Guardian
82 4 Small but perfect Flash fiction; haiku poetry; imagist poetry; ‘One in Twenty-Three’; haiku poems;
non-fiction (informative article); non-fiction imagist poems; ‘The tiny world of
(explanatory text); non-fiction (magazine Willard Wigan’ in the Telegraph;
article and interview) explanation of shabtis;
‘Micro-artist Willard Wigan’
in WhatsonTV
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 and account); contemporary fiction; article and account; Wonder;
contemporary drama The Last Class
136 6 Life stories Thematic poetry; non-fiction ‘Lullaby’; ‘The Song of the Old Mother’;
(autobiographies); non-fiction (diary); biography of Malala Yousafzai; As I
persuasive speech Walked Out One Midsummer Morning;
Letter to Daniel; Captain Robert Scott’s
diary; speech by Nelson Mandela
163 7 ‘The Travel Short story (fantasy) ‘The Travel Agency’
Agency’
189 8 In the city Contemporary fiction; non-fiction The White Tiger; Doha article
(informative article); classic fiction; thematic Neverwhere; A Christmas Carol; The
poetry; non-fiction (argument articles) Sign of Four; ‘City Jungle’; ‘Last 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
poetry The Ocean Was Our Sky; The Rime of
the Ancient Mariner
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Contents
Write flash fiction; analyse a Pair and group discussion Time connectives; Creativity; critical
poem; write poems; write an prefixes thinking
interview
Write an account about school; Pair and group discussion Connectives; colons Social
write a letter; write a script responsibility;
collaboration
Justify poetry choices; write Pair and group discussion Rhythm and rhyme; voice; Social
an account of family life; write embedded clauses responsibility;
a monologue; analyse a letter; creativity
analyse language; write a poem;
write a speech
Write about characters, events Pair and group discussion Word choice and order; Critical thinking;
and settings; write a narrative voice and excitement learning to learn
piece; write a brochure
introduction; analyse character;
write a diary entry; write about
theme
Write a travel article; continue a Pair and group discussion; individual Using punctuation; Learning to learn;
story; write a poem about a city speaking personification; related communication
word forms; perspective
Describe a sea snake; analyse Pair and group discussion; individual Choosing words and Creativity;
characters; continue a story; speaking phrases; poetic language collaboration
analyse poetic language
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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
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.
Getting started
This contains questions or activities to help find Adventure stories are about characters who go on journeys.
The characters often have special skills and face difficult
out what you know already about the topics challenges. Treasure Island by Robert Louis Stevenson is an
example of a story about a boy who goes on a sea adventure
in this session. to find hidden treasure. In pairs, make a list of adventure stories
and fiof
1.1 The start lms
anthat you know.
adventure
45 Plan a300
Write monologue called ‘The
words explaining Day
how theI writer
Met the Kraiks’.Sannala in
presents
It will be
Extract 3.told fromdetails
Include How to use this book
Odile’son:
point of view.
•a
On image
the your own, decide and
of Sannala thatmake brief presents
the writer notes on:
• what happened when you met the Kraiks
• You
2 ‘Hey, the Down
effect of structural techniques such as flashback and
There’
• what happened on the next stage of your quest.
contrast
5 b the Think
•Practise your about
effect thedrama
narrative
of voice,
spoken sentencestructure
pairs,ofthen
structures
in your yourperform
and monologue.
other language
it to the
List the events in the order you will tell them in your
class.techniques
Remember to:
monologue. Look back at the structure outlined in Key word
•• how
speak the introduction
clearly of this
and use 4your character
voice to showdevelops the themes
the characters’ feelings Key word
Session 1.1, Activity for ideas.
of friendship and loneliness. voice: the way
6 •Nowvary writethe volume
your and pace
monologue. of your voice
Remember to show
that you Calvin’s
are writing and
from apace: the speed
particular
Peer Dora’s
pointemotions.
assessment
Odile’s of view, so you will need to capture her voice. This at which someone
character speaks
orspeaks
thinksorinhow
means thinking carefully about
andher personality and attitude, and
After completing an activity, this provides you Swap
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Self-assessment
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• Is it likely to interest your audience? non-fiction
work or another learner’s work. • cautious and a little
Green means theyscared.
• Did you vary your voices?
have written in detail.
• Amber means they have offered some detail.
•PeerDid you speak clearly?
assessment Speaking tip
• Red means that they have not written about the bullet at all.
•In groups,
Write a take
paragraph in your your
turns reading notebook givingaloud.
monologue an account of Before you read
your strengths
Bullet point and also areas to develop. your monologue,
• Which bits of each monologue were the most interesting
plan how you
1 to listen to? will speak. Which
•2 Why?checklist
Summary Give reasons for your assessment. words will you
emphasise?
This contains questions that ask you to look 3 I can analyse and write a compound-complex sentence.
Where will you
4 I can write and perform a spoken drama. pause? How
Listening tipcan
back at what you have covered and reflect on • What have you learnt from writing this monologue?
I canmight
• What assessyou
mydo
own speaking
differently andtime?
next performance skills. you use your
When receiving
voice to make
your learning. 5 Now feed back your findings to your partner. Explain your verbal
your feedback,
monologue
listen carefully
sound exciting? to
judgements, making sure you are polite and kind.
Summary checklist specific advice.
2.3 Gold!
I can predict
Summary how stories might develop.
checklist
Ask for details
and examples
I can identify the features of a monologue. to help you
I can explain how a writer might use a character to develop
This list summarises the important skills that aI can
In this write and
session,
theme. youperform
will: an interesting monologue. understand any
guidance. Take
you have learnt in the session. • I explore
can analyse
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can write
sociala and
writer presentscontext
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notes to help you
You an
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There’ remember.
• understand how non-standard English helps to
convey character
• practise your group discussion skills.
These questions look back Checkyour
yourprogress
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Check
at some of the content you Answer
Answer thethe following
following questions
questions
174 toto check
check what
what you
you have
have learnt
learnt in in this
this unit.
unit.
15
7 31
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1 Adventure
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.
Getting started
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1.1 The start of an adventure
01 Extract 1
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.
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.
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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
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.
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.
And Odile flew.
Reading tip
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.
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1.1 The start of an adventure
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.
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
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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.
1.2 Quest!
In this session, you will:
• describe how stories develop
• explore the features of a monologue
• write and perform a monologue.
Getting started
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.
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1.2 Quest!
02 Extract 2
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1 Adventure
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1.2 Quest!
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1 Adventure
Getting started
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 Key words
in traffic or had an annoying start to a holiday? What happened?
How did it make you feel? Tell your anecdote to a partner. anecdote: a short
entertaining story
that is usually
1 Tell the whole class your anecdote. spoken
• Explain clearly what happened. gesture:
movements of
• Focus on feeling and emotion to engage your listeners.
the hands or arms
• Use tone of voice, gesture and facial expression to add meaning. to add emphasis
to bring a story
• Give your anecdote a strong ending.
to life
non-fiction:
Speaking tip
writing that is
When you relate an anecdote, make sure you give enough details about about real events
the event to help your listeners picture the scene. Effective speakers and facts
often use non-verbal communication, so think about how you could autobiography:
use gesture and facial expression to add meaning to your anecdote. a text in which
the writer gives
an account of
Around India in 80 Trains their own life and
experiences
Read the following piece of non-fiction writing, which is from an
autobiography by Monisha Rajesh. In the extract, the writer describes
a difficult start to a journey, as she arrives at a station in India. She is
accompanied by a friend called Passepartout. They are helped by Subbu,
who is guiding them through the busy station and on to the train. As
you read, think about how the writer makes the journey seem stressful.
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1.3 Train trouble
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1 Adventure
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.
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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
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
comment on their effect. Explain how the writer builds up detail alone but adds
information to the
and the impression this gives the reader.
main clause
Sentence type Example Effect
Simple
Compound
Complex
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1 Adventure
Getting started
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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
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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 make notes on:
a how the narrator feels in stanza 5 (why does he find the
journey hard?)
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
the ending of the poem shows that the narrator’s difficult journey
is never-ending. In groups, discuss what you think the ending of Key word
the poem means. mood: the feeling
created by the
6 What is the overall mood of the poem – is it optimistic or
words, sounds
pessimistic? Here are two possible interpretations of the poem. and images in a
Discuss them in small groups. Do you agree with either of them? poem
Why or why not?
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1.4 A hard journey
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.
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1 Adventure
1.5 Danger!
In this session, you will:
• investigate some features of suspense writing
• explore the effects of language and grammatical choices
• read aloud with expression.
Getting started
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
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.
06 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.
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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 . . .
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.
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. mounting: getting
bigger
And then he heard it.
tread: the surface
First a creak. Like a loose tread on a staircase. of a step or stair
And then a crack.
He felt the branch shudder . . . It was splitting.
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?
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1 Adventure
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
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
always create
3 Look again at the extract from Silverfin. Write a paragraph excitement;
explaining how the writer uses powerful verbs to create excitement. sometimes they
Find your own examples and comment on their effect. are used to
4 Writers use many techniques to create excitement. For example, convey anger or
they may use short sentences at the moment of greatest drama, even humour.
or they might use a single sentence paragraph. Look at the short
sentences in the last 13 lines of the extract (from He stopped). Key words
In pairs, discuss which is the most exciting short sentence and
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 three dots ( . . . )
swaying 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.
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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
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 considering how
they will speak
I can comment on the features of suspense stories. certain phrases
I can describe the effects of language and grammatical choices. and where they
will pause. Use
I can read a story aloud with expression.
a pencil to make
notes on the story
to help you plan.
Getting started
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1 Adventure
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.
3 Think carefully about your story opening. How can you capture
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:
• 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.
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1.6 Creating suspense
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1 Adventure
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.
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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?
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.
Write a list of tips for future learners about improving writing.
Project
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:
• 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?
• 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.
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2 ‘Hey, You Down
There’
In this unit, you will study a short story called ‘Hey, You Down There’ by
Harold Rolseth. It is about a married couple, Calvin and Dora Spender,
who live on a farm in America.
Getting started
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2.1 Calvin and Dora
07 Extract 1
Calvin Spender drained his coffee cup and wiped his mouth
with the back of his hand. He burped loudly. burped: made a
Dora Spender sat across the table from her husband, her noise by releasing
breakfast scarcely touched. She coughed lightly, and then she air through mouth
said, ‘Are you going to dig in the well this morning, Calvin?’ hauling: pulling
Calvin fixed his small red-rimmed eyes upon her, and, as if Adam’s apple:
she had not spoken, said, ‘Git going at the chores right away. the lump at the
You’re going to be hauling up dirt.’ front part of the
‘Yes, Calvin,’ Dora whispered. Calvin cleared his throat, and throat (usually
the action caused his Adam’s apple to move rapidly under the more noticeable
loose red skin on his neck. He rose from the table and went in men)
out of the kitchen door, kicking viciously at the tawny cat tawny: a yellow-
which had been lying on the doorstep. brown colour
Dora gazed at him and wondered for the thousandth time spring to
what it was that Calvin reminded her of. It was not some her mind: be
other person. It was something else. Sometimes it seemed suddenly realised
as though the answer was about to spring to her mind, as by her
just now when Calvin had cleared his throat. But always it
stopped just short of her consciousness. Some day though,
Dora knew, the answer would come to her. She rose hurriedly Key words
from the table and set about her chores. focal character:
the character
who the reader
2 Writers decide how to ‘position’ characters in stories. There
understands and
will often be a focal character who the writer wants the reader empathises with
to understand and sympathise with. In this story, most readers the most in a story
sympathise with Dora. In pairs, discuss why you think this is.
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2 ‘Hey, You Down There’
08 Extract 2
Halfway between the house and the barn, a
doughnut-shaped mound of earth surrounded
a hole. Calvin went to the edge of the hole and
stared down into it distastefully. Only necessity
could have forced him to tackle this task, but it
was either this digging or the hauling of barrels
and barrels of water each day from Nord Fisher’s
farm half a mile down the road.
For two weeks now, ever since his well had
gone dry, Calvin had been hauling water, and the
disagreeable chore was becoming more unpleasant
because of neighbor Nord’s hints that some kind of payment distastefully: with
for the water would only be fair. a look or feeling
of unpleasantness
Several feet back from the edge of the hole, Calvin had driven
a heavy iron stake into the ground, and to this was attached a stake: a post for
crude rope ladder. tying things to
crude: basic,
Calvin hoped desperately that he would not have to go much
roughly made
further. He estimated that he was now down fifty or sixty feet.
muffled: covered
Calvin picked up a bucket to which was attached a long rope and not able to
and lowered it into the hole. It was Dora’s backbreaking task to be heard clearly
pull the bucket hand over hand after Calvin had filled it from the
bottom of the hole. By the time he got to the bottom of
the hole and had filled the bucket, Dora
should be there to haul it up. If she weren’t,
she would hear about it.
From the house, Dora saw Calvin prepare
to enter the well and she worked with
desperate haste to complete her chores.
She reached the hole just as a muffled
shout from below indicated that the
bucket was full.
Summoning all her strength, Dora hauled
the bucket up. She emptied it and then
lowered it into the hole again. While she
waited for the second bucket load,
she examined the contents of the first.
No water seeped from it.
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2.1 Calvin and Dora
Language focus
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2 ‘Hey, You Down There’
Reading tip
•
How much of the start of this story did you understand
on first reading? Even at the
•
Did you find it difficult to follow? If so, which parts? beginning of a
Why do you think this was? story, a writer
prepares the
reader for what
will happen at the
Summary checklist end. As you read,
I can describe how a writer presents characters and their notice any ideas
relationships. or problems that
are introduced at
I can explain how a writer positions a character in a text.
the start of a story
I can analyse sentence openings to explain their function. and consider what
might happen
next because
of them.
Getting started
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2.2 Down the hole
Read the next part of the story ‘Hey, You Down There’.
09 Extract 3
In her own way, Dora was deeply religious and at each tenth
bucket she pulled up she murmured an urgent prayer that it
would contain more water in it than earth.
On this particular morning as she lowered the bucket for its
tenth loading, she prayed, ‘Please let something happen this
time . . . Let something really and truly happen so I won’t have
to haul up any more dirt.’
Something happened almost immediately. As the rope slackened:
slackened in her hands indicating that the bucket had reached became less
the bottom, a scream of sheer terror came up from the hole, tightly bound
and the rope ladder jerked violently. Dora fell to her knees and jerked: moved
peered down into the darkness. ‘Calvin,’ she called, ‘are you all quickly
right? What is it?’ surge: a powerful
Then with startling suddenness, Calvin appeared. At first Dora movement
was not sure it was Calvin. The usual redness of his face was converse: talk to
gone; now it was a yellowish green.
He was trembling violently and had trouble
breathing. ‘It must have been a heart attack,’
Dora thought, and tried hard to control the
surge of joy that came over her.
Calvin lay upon the ground, panting. Finally
he gained control of himself. Under ordinary
circumstances, Calvin did not converse with
Dora but now he seemed eager to talk.
‘You know what happened? The complete
bottom dropped right out of the hole.
All of a sudden it went, and there I
was, standing on nothing but air. If I
hadn’t grabbed a hold of the last rung
of the ladder... Why, that hole must be
a thousand feet the way the bottom
dropped out of it!’
Calvin babbled on, but Dora didn’t listen.
She was amazed at the remarkable way
in which her prayer had been answered.
If the hole had no more bottom, there
would be no more dirt to haul up.
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2 ‘Hey, You Down There’
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2.2 Down the hole
Peer assessment
In pairs, swap your sentences and assess how accurate they are.
• Has your partner used commas in the right places?
• Is the conjunction in the right place?
• Is it a compound-complex sentence?
Now read the next part of the story. Calvin has tied a flashlight to the
end of a line of rope.
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2 ‘Hey, You Down There’
Summary checklist
I can analyse and write a compound-complex sentence.
I can write and perform a spoken drama.
I can assess my own speaking and performance skills.
2.3 Gold!
In this session, you will:
• explore the social and historical context of
‘Hey, You Down There’
• understand how non-standard English helps to
convey character
• practise your group discussion skills.
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2.3 Gold!
Getting started
11 Extract 5 tentatively:
carefully,
‘It don’t make sense,’ he said, more to himself than to Dora. uncertainly
‘What could be down underground a good thousand feet?’ pouch: a small
Tentatively he reached and pulled lightly on the line. When bag
the end of the line came into view, there was a small white
parchment: an
pouch of a leather-like substance.
old type of paper
Calvin opened the pouch with trembling fingers and shook into jack-knife: a knife
his palm a bar of yellow metal and a folded piece of parchment. with a folding
The bar of metal was not large but it seemed heavy for its size. blade
Calvin got out his jack-knife and scratched the point of the
measly: almost
blade across the metal. The knife blade bit into it easily.
worthless
‘Gold,’ said Calvin, his voice shaky. ‘Must scornfully: with
be a whole pound of it . . . and just for a contempt
measly flashlight. They must be crazy
down there.’
He thrust the gold bar into his pocket and
opened the small piece of parchment.
One side was closely covered with a fine
writing. Calvin turned it this way and that
and then tossed it on the ground.
‘Foreigners,’ he said. ‘No wonder they
ain’t got any sense. But it’s plain they
need flashlights.’
‘But, Calvin,’ said Dora. ‘How could they
get down there? There ain’t any mines in
this part of the country.’
‘Ain’t you ever heard of them secret
government projects?’ asked Calvin
scornfully. ‘This must be one of them.
Now I’m going to town to get me a load
of flashlights. They must need them bad. Now, mind
you watch that hole good. Don’t let no one go near it.’
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2 ‘Hey, You Down There’
1 The social and historical context of ‘Hey, You Down There’ reflects
Key words
ideas about America in the early 20th century by presenting a
stereotype of an American character. What have you noticed about stereotype:
Calvin Spender’s manner, attitude and actions so far? Make a list. a familiar but
simplified
Does the writer present a positive or negative view of Calvin and
character type
the values of his world? Refer to the text to support your opinion.
non-standard
2 Earlier in the story, in Extract 1, Calvin says Git going to Dora, English: words
rather than Get going. This use of non-standard English gives and grammatical
the reader a sense of Calvin’s speech. Non-standard English can patterns that
sometimes imply that a character has a lower status than one who fall outside the
conventional
speaks standard English.
forms of English
a In pairs, find examples of Calvin’s and Dora’s use of non- standard English:
standard English in Extract 5. the most widely
accepted form
b What do you think the writer is implying about these of English that is
characters through their speech? not specific to a
Now read the next part of the story. particular region
12 Extract 6
Dora picked up the bit of parchment which Calvin had thrown rummaged:
away. She could make nothing of the writing on it. It was all searched
very strange. Suddenly it occurred to her that possibly the hurriedly
people down below didn’t know there were English speaking
rickety: unsteady
people up above. She hurried into the house and rummaged
through Calvin’s rickety desk for paper and pencil. In her
search she found a small, ragged dictionary, and she took this
with her to the kitchen table.
Her note was a series of questions. Why were they
down there? Who were they? Why did they pay
so much for an old flashlight? As she started for
the well it occurred to her that possibly the people
down there might be hungry. She went back to
the kitchen and wrapped a loaf of bread and a
fair-sized piece of [meat] in a clean dishtowel. She
wrapped the dictionary with the food in the towel.
It took Dora a long time to lower the bucket. She
waited for a few moments and then tugged the
line gently. The line held firm below, and Dora
seated herself on the mound of earth to wait.
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2.3 Gold!
3 In the next part of the story, Dora receives a letter from the people
down the hole. They write in standard English. What do you think
the note will say?
Write the note that the people send to Dora. Remember that they
seem to like flashlights, have gold, and that Dora has sent them a
dictionary and food.
13 4 Listen to four people speaking about Calvin and Dora.
As you listen, make notes and then summarise:
• what Speaker A thinks of Calvin
• what Speaker B thinks of Calvin
• what Speaker C thinks of Dora
• what Speaker D thinks of Dora.
Listening tip
When listening to the opinions of other speakers, make notes of
the reasons they give for their ideas. Briefly note down the main
points they make.
Speaking tip
When you act as chairperson, it is important to act in a firm but
friendly manner. Make sure that other group members listen and
take turns. You should introduce the discussion and also decide
when it is time for the next person to speak. You can also ask
questions, summarise views and decide when the discussion has
reached an end.
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2 ‘Hey, You Down There’
Summary checklist
I can comment on the social and historical context of a story.
I can explain how non-standard English helps to convey
character.
I can contribute effectively to a group discussion.
Getting started
14 Extract 7
The warm sunlight felt good on her back and it was pleasant
to sit and do nothing. She had no fear that Calvin would return
soon. She doubted that he would return before morning.
After half an hour Dora gave the line a questioning tug, but it
did not yield. She did not mind. It was seldom that she had time
to idle away. Usually when Calvin went to town, he burdened
her with chores that were to be done during his absence.
Dora waited another half hour before tugging at the line
again. This time there was a sharp answering jerk, and Dora
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2.4 Glar the Master
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2 ‘Hey, You Down There’
Writing tip
When you write from a character’s point of view, start by
thinking about voice. Think about the manner and attitudes of
the character, and then decide on words and phrases that will
accurately reflect these ideas.
Read the next part of the story, in which Dora reads Glar the barbaric: not
Master’s letter. civilised
crude: very basic
15 Extract 8 decipher: work
out the meaning
Your language is barbaric, but the crude code book you sent dwelling: living
down made it easy for our scholars to decipher it. We, too,
courtesy:
wonder about you. How have you overcome the problem of
politeness and
living in the deadly light? Our Legends tell of a race dwelling
respect
on the surface but intelligent reasoning has made us ridicule
these old tales until now. We would still doubt that you are
surface-dwellers except for the fact that
our instruments show
without question that the
opening above us leads
to the deadly light. The
clumsy death ray which
you sent us indicates that
your scientific development
is very low. Other than
as an object from another
race it has no value to us.
We sent gold as a courtesy
payment only. The food you
call bread is not acceptable to
our digestive systems, but the
[meat] is beyond price. We will
exchange a double weight of
gold for all that you can send us.
Send more immediately.
Glar, THE MASTER
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2.4 Glar the Master
Key words
Dora took the gold bars and buried them in the loose black
soil. She paid no heed to the sound of a car coming down the formal language:
highway at high speed until it passed the house and a wild the form of
squawking sounded above the roar of the motor. She hurried English used in
around to the front of the house, knowing already what had more ‘serious’
happened. She stared in dismay at the four chickens which lay texts and
dead in the road. situations, such as
Fear sharpened her wits. Perhaps if she could dispose of news reports or
the bodies, Calvin would think foxes had got them. Hastily official speeches
she gathered up the dead chickens and feathers which lay informal
scattered about. She carried the chickens to the back of language: a more
the house wondering how she could best dispose of them. relaxed form of
Suddenly, as she glanced towards the hole, the answer English, used
came to her. when speaking
or in more casual
written texts,
3 What does Glar the Master’s name suggest about him? such as emails
Discuss your ideas in pairs. to friends
contractions:
Language focus two or three
words that are
Writers choose formal or informal language, depending on combined to
their audience and purpose. For example, when writing an make one shorter
email to a friend, or to make conversation sound more realistic word with letters
in a story, you would use informal language. This might include left out; the
shorter sentences, contractions and colloquial language. Formal missing letters
language is used when addressing people you do not know are indicated by
or when discussing more serious topics. Formal writing should an apostrophe
sound polite, and should use formal words and grammatically (e.g. wouldn’t,
correct sentences. shouldn’t, you’ll)
colloquial
4 The letter from Glar is written in more formal language than language: the
Calvin and Dora use. Do you know all the words he uses? type of informal
language people
If not, use your knowledge of word families to work them out,
use in everyday
or look them up in a dictionary. speech when
5 What effect is created by using formal language in Glar’s letter? addressing
Write a brief description of the image of Glar which the language people they
know well
creates. Give examples to back up your points.
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2 ‘Hey, You Down There’
Summary checklist
I can use language to capture the voice of a character.
I can analyse formal and informal language and its effects.
I can capture a wide range of vocabulary for effect in
my writing.
Getting started
In the previous part of the story, Dora hides the gold bars. What
would you do? Would you give the gold to the police? Would
you tell someone? Discuss your views in pairs.
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2.5 Back down the hole
Read the next part of the story. Dora has sent the chickens down
the hole.
16 Extract 9
She sat down again to enjoy the luxury of doing nothing.
When, an hour later, she picked up the line, there was an
immediate response from below. The bucket was exceedingly
heavy this time, and she was fearful that the line might break.
This time there were several dozen bars of gold in it and a
brief note in the same precise lettering as before.
Our scientists are of the opinion that the flesh you sent down
is that of a creature you call chicken. This is the supreme
food. Never have we eaten anything so delicious. To show our
appreciation we are sending you a bonus payment. Your code
book indicates that there is a larger creature similar to chicken
called turkey. Send us turkey immediately. I repeat, send us
turkey immediately.
Glar, THE MASTER
land sakes: an
‘Land sakes,’ gasped Dora. ‘They must have eaten that expression of
chicken raw. Now where would I get a turkey?’ surprise
Calvin returned about ten o’clock the next morning. His eyes mottled: marked
were bloodshot and his face was a mottled red. The loose with spots or
folds of skin on his neck hung lower than usual and more patches
than ever he reminded Dora of something that she couldn’t winch: a device
quite put a name to. He surveyed the hole glumly, then got for lifting
into the truck and backed it to the edge of the mound of something
earth. On the back of the truck was a winch with a large
drum of steel cable.
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2 ‘Hey, You Down There’
Now read the next part of the story. As you read, think about how the
writer portrays Calvin.
17 Extract 10
‘Fix me something to eat,’ he ordered Dora.
Dora hurried into the house and began preparing
eggs. Each moment she expected Calvin to come
in and demand to know what was holding up his
meal. When Dora went out to call him to eat, she
found he had done a surprising amount of work.
He had attached an oil drum to the steel cable.
This hung over a heavy steel rod which rested
across the hole. Stakes driven into the ground
on each side of the hole held the rod in place.
‘Your breakfast is ready, Calvin,’ said Dora.
‘Shut up,’ Calvin answered.
The winch was driven by an electric motor,
and Calvin ran a cable from the motor to
an electric outlet on the yard light post.
From the cab he took a number of boxes and
placed them in the oil drum.
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2.5 Back down the hole
shrilly: in a high-
‘A whole hundred of them,’ he chuckled, more to himself than
pitched way
to Dora. ‘Fifty-nine cents a piece. Peanuts . . . one bar of gold
will buy thousands.’ slack: became
less tight
Calvin threw the switch which controlled the winch, and with
contemplate:
sickening force Dora realized the terrible thing that would
think about
soon happen. The creatures down below had no use or regard
for flashlights.
Down went the oil drum, the cable screeching shrilly as it Reading tip
passed over the rod above the hole. Calvin got an oil can from
the truck and applied oil generously to the rod and cable. In a When reading
very short while the cable went slack and Calvin stopped the a long text, you
winch. ‘I’ll give them an hour to load up the gold,’ he said and can scan it to find
went to the kitchen for his delayed breakfast. information. This
means quickly
Dora was almost numb with fear. What would happen when reading a text
the flashlights came back up, with an insulting note in English, to search for key
was too horrible to contemplate. Calvin would learn about the terms, events or
gold she had received. characters. When
scanning, look for
2 Make a note of the negative aspects of Calvin’s personality in key words such
Extract 10. What does he do and say that makes him seem as characters’
names. Read
unlikeable? Use your scanning skills to help you.
quickly, perhaps
3 Writers develop themes throughout a story, which are often shown using your finger
through the actions of characters and the events that take place. as you work
Some of the themes in ‘Hey, You Down There’ are: through the text.
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2 ‘Hey, You Down There’
Writing tip
•
What were the challenges of writing about a theme
that develops during a story? When writing
•
How did you overcome these challenges? about themes,
start by
summarising
your view. For
Summary checklist example, in an
I can comment on how a writer controls information in a text. essay about
greed in the story,
I can scan a text to locate information. you might open
I can analyse how writers convey themes and ideas. by writing:
Getting started
Reading tip
Writers sometimes give readers an unexpected ending, but they
still provide some clues for the reader. As you read, consider how
the problems that are set up at the start are being resolved.
Read the next part of the story. It is the next day. Dora follows Calvin to
the hole.
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2.6 Turkey
18 Extract 11
The winch was already reeling the cable when she got to reeling: pulling
the hole. It seemed only seconds before the oil drum was up. up (a cable)
The grin on Calvin’s face was broad as he reached out over bawling: crying
the hole and dragged the drum to the edge. A look of utter
disbelief replaced the grin as he looked into it. His Adam’s
apple seemed to vibrate under his red-skinned throat, and
once again part of Dora’s mind tried to recall what it was
that Calvin reminded her of. Calvin was making flat, bawling
sounds like a lost calf. He hauled the drum out of the hole and
dumped its contents on the ground. The flashlights, many of
them dented and with lenses broken, made a sizeable pile.
With a tremendous kick Calvin sent flashlights flying in all
directions. One, with a note attached, landed at Dora’s feet.
Either Calvin was so blinded by rage that he didn’t see it, or
he assumed it was written in the same unreadable
script as the first note.
‘You down there!’ he screamed into the hole.
‘I’ll fix you. I’ll make you sorry you ever
double-crossed me. I’ll . . . I’ll . . . ’
He dashed for the house and Dora hastily
snatched up the note.
You are even more stupid than we
thought. Your clumsy death rays are
useless to us. We informed you of this.
We want turkey. Send us
turkey immediately.
Glar, THE MASTER
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Now read the final part of the story. An angry Calvin has decided to go
into the hole with his gun.
19 Extract 12
Calvin put his gun in the oil drum and pushed it to the center
of the hole. Then, hanging on to the cable, he carefully lowered
himself into the drum.
‘Give me just one hour to run those dirty rats down, then bring
me back up,’ he said. Dora threw the switch and the oil drum
went down. She spent most of the next hour praying that Calvin
would not find the people down there and become a murderer.
Exactly an hour later, Dora started the oil drum upward. The
motor labored mightily as though under a tremendous strain,
and the cable seemed stretched almost to breaking point.
Dora gasped when the oil drum came into view. Calvin was
not in it! She shut off the motor and hastened to the drum, half
expecting to find Calvin crouching down inside. But Calvin
was not there. Instead there were scores of gold bars and on
top of them a sheet of the familiar white parchment.
Carefully, she reached down and picked out the note, which threw the switch:
she read in her slow, precise way. turned the
switch on
Not even the exquisite flavor of the chicken compares to the
incomparable goodness of the live turkey you sent down to exquisite:
us. We must confess that we thought turkey would be rather beautiful, very
different from this, but this does not matter. So delicious was tasty
the turkey that we are again sending you a bonus payment.
We beg you to send us more turkey immediately.
Glar, THE MASTER
Dora read the note a second time to make sure she
understood it fully.
‘Well, I declare,’ she said in considerable wonder. ‘I do declare.’
3 Here are six reactions to the way the story ends. In pairs, discuss
each of these views. Which one(s) do you agree with? Why?
Express your ideas clearly and give examples to support your view.
• ‘Calvin got what he deserved.’
• ‘The story is funny even though it ends with a death.’
• ‘I knew how it would end.’
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2.6 Turkey
Peer assessment
Read each other’s stories.
• How effective was the ending?
• Were you expecting it?
• How useful were the clues that your partner used in the story?
Summary checklist
I can comment on the ending of a story.
I can understand how a writer prepares the reader for a
story ending.
I can plan and write a sequenced short story.
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Check your progress
Answer the following questions to check what you have learnt in this unit.
1 Describe the main problems at the start of the story.
2 Explain what a compound-complex sentence is. Give an example.
3 Explain what non-standard English is. Give an example.
4 Describe the difference between formal and informal English.
5 Give an example of a main theme from the story.
6 What do you think is the main message of ‘Hey, You Down There’?
Project
Reading stories from different writers and genres is an important
part of learning. As you get more confident with your reading,
experiment with different types of books. There are two parts
to this project, which is designed to get you thinking about
how readers choose books and also how they
(and you) can choose different types of books.
1 Start by designing a survey for your
classmates. Find out what types of books
they have read, what helps them to decide
their book choices and what types of books
they might like to read in the future. Ask
each learner to recommend a book. Once
you have completed the survey, write
a brief report for your teacher on your
findings. Use subheadings to present
your report.
2 Choose one of the books recommended
to you and read it. As you read, make
notes on the storyline, characters and theme. When you
have finished the book, give a talk to the class about it.
You should:
• give a brief account of the story and how it ends
• give your opinion of the story – whether you enjoyed it and
why or why not
• read a section from the story, focusing on reading accurately
and in a way which will engage your listeners.
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3 Film and fame
In this unit, you will read a range of texts about films and
the cinema. They include information about real-life actors
as well as the characters they pretend to be.
Getting started
He’s kind.
She’s energetic.
She’s hard-working.
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Film Boy
Read the opening to this story by Alexander McCall Smith. It is set in the
Indian city of Mumbai, which is famous for being the centre of the Indian
film industry, Bollywood. This extract focuses on the main character, Prem.
20 Extract 1
Prem lived in Bombay. He had always lived there and he knew Bombay: an
that Bombay was the most important city in all India. There was Indian city, now
always so much going on – there were vast factories with smoking
called Mumbai
chimneys, shops and bazaars that seemed to go on and on for ever,
and, most important of all, there were the film studios. Prem loved bazaars: markets
to go to the cinema. Sitting in his seat at the Regal Picture House, he
would watch the exciting films that were made right there in Bombay.
The way Prem got the money for his cinema tickets was to work for it.
Every day, after school, he would call in at the sweet stall which stood
outside the nearby hospital. Mr Rahna, who owned the stall, did not
have an assistant, and this made it hard for him to get away to have
coffee with his friends. For half an hour or so each afternoon Prem
would look after the stall for him, selling the sweetmeats to passers-by sweetmeats: item
and putting the money in the cash box. of sweet food
‘Who do you think is the best film star?’ a friend asked Prem one day.
Prem thought for a moment. ‘Well,’ he replied, ‘Jani Sudha is very
good. And I like Goel Prakash. But the very best, I think, is Rasi
Paliwalar.’
Prem’s friend looked thoughtful. ‘I think you’re right,’ he said. ‘I’ve
heard people say he’s the best in the world.’
‘He is,’ Prem said firmly. ‘I’m sure he is.’
They had both seen many films starring Rasi and had enjoyed them
all. Rasi was always the hero. If there was somebody who needed to
be rescued, then Rasi would be the one to do it. It did not matter if
the danger came from a flood or from a tiger, Rasi would not hesitate. bandit: a robber
Then, if the police were having difficulty in arresting a bandit, Rasi pinpoints: tiny
would be the person to whom they would turn. There was no limit to pricks as if made
what he could do. with a pin
There was no mistaking Rasi. He was a tall man, with broad shoulders, growl: a low
and teeth that glinted like pinpoints of light when he smiled. His famous noise made in
voice was deep – almost a growl when he was angry – but in the middle the throat, like an
of a fight it could sound more like a shriek. animal makes
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3.1 Meeting your hero
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Reading tip
When commenting on a text, choose short quotations to support
your analysis of how the writer conveys ideas. They do not need
to be complete sentences. This shows you can focus on the
words that really matter to prove your points.
Key word
4 A reader can infer what Prem is like from his actions. The writer infer: to work
presents the film star Rasi Paliwalar using different methods. something out
We are told about: from evidence
in a text, rather
• his appearance than being told it
• the roles he plays in films. explicitly
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3.1 Meeting your hero
When using direct speech in fiction, you can use some features direct speech:
of spoken English to make dialogue seem realistic. For example, the exact words
using contractions such as ‘I’ve’ instead of ‘I have’ can sound a person says,
more like speech. Make sure you follow the rules of punctuating marked by
dialogue: speech marks
• Put a new speaker on a new line. fiction: a story
about imaginary
• Put the words spoken by a character inside speech marks. characters and
• Start each new sentence of dialogue with a capital letter. events
• Use punctuation accurately inside speech marks. annotate: to add
notes to provide
extra explanation
5 The writer uses dialogue in the middle of the extract to report a
conversation between Prem and his friend. Reread the conversation
between Prem and his friend. On a copy of it:
• highlight the contractions
• annotate the text to show where the rules of reporting direct
speech are used.
Writing tip
When writing dialogue, it is usual to use contractions to show a
relaxed and fluent way of talking. When writing in formal English,
it is best to avoid using contractions, except when quoting
direct speech.
Summary checklist
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3 Film and fame
Getting started
Paragraph Plan
1 The meeting place Provide contrast in your story by setting this next section in a
different place.
2 Prem spots his hero Show Prem’s surprise by focusing on his actions rather than
telling the reader he is surprised.
3 The meeting Write about Prem meeting his hero. Include some
conversation, using direct speech and features of informal
speech to make it realistic.
4 Prem’s thoughts and Was meeting his hero as good for Prem as he thought? Show
feelings Prem’s thoughts and feelings by describing his response.
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3.2 Predicting the story
3 Now use your plan to write the next section of the story.
Remember to:
• establish the setting of where they meet
• show the reader Rasi Paliwalar’s character through careful
choice of words about his actions
• use the features of spoken English in the conversation
between Rasi and Prem
• use sentence openings to link the information in your
paragraphs.
Begin: This is how it happened. Prem had gone to . . .
Writing tip
To reflect realistic spoken English in your writing, you could
include pauses, contractions, fillers (e.g., ‘okay’, ‘right’, ‘do you
know’, etc.) and the occasional unfinished sentences.
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21 Extract 2
This is how it happened. Prem had gone to Mr Rahna’s stall at his
usual time. Business was a bit quiet that day, Mr Rahna had said, and
it would not have surprised Prem if he sold no sweetmeats at all. In
fact, Prem might well have dozed off in the heat, had a large car not dozed off:
suddenly stopped in the street outside the stall and an unmistakable fallen asleep
figure stepped out. It was Rasi Paliwalar. unmistakable:
‘Which of these sweets do you recommend?’ the famous voice easy to recognise
had asked.
‘They’re all very fresh, sir,’ Prem said. His voice sounded shaky and
he hoped that Rasi would not laugh.
‘I’m sure they are,’ Rasi replied pleasantly.
‘But which taste best?’
Prem pointed out a tray of mango-flavoured
fudge.
‘Many people like that one, Mr Paliwalar.’
Rasi looked up. ‘You go to the films?’
he asked.
‘Oh yes, sir,’ Prem said. ‘I go every week.’
Rasi nodded. ‘Good,’ he said simply. ‘Now I’ll
take ten pieces of that mango fudge.’
Prem took the coins which Rasi offered him
and handed over the sweets. Rasi smiled again
and then, without saying goodbye, dashed back
across the road to the waiting car. The driver
pulled out into the road, changed gear, and sped off.
Prem looked at the coins in his hand. Rasi had given
him three times more than he needed to pay. Many people
would have kept the extra money, but not Prem. It did not matter
if Mr Paliwalar was rich – which he undoubtedly was. The extra
money belonged to the film star, and Prem was determined that he undoubtedly:
would get it back. Besides, if he gave it back to him, Prem would definitely,
have the chance to meet his hero again, and that was something he certainly
would like very much indeed.
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3.2 Predicting the story
Language focus
Nouns are a key part of any description. Proper nouns are used
for specific places and people, like ‘Shanghai’ or ‘William’.
Concrete nouns give the reader an idea of ‘real’ objects in a
scene, such as ‘table’, ‘cat’, ‘guitar’. Abstract nouns help to
convey feelings and ideas, such as ‘love’ or ‘freedom’.
Writers use adjectives to tell you more about a noun. Adjectives
can give detail about size, appearance or manner, e.g. ‘large’,
‘beautiful’, ‘angry’. Adjective−noun combinations provide
readers with a quick image of a situation, person or thing,
e.g. ‘freezing rain’ or ‘large horse’.
Summary checklist
I can write a paragraph plan for a piece of narrative writing.
I can analyse the features of spoken English in dialogue.
I can convey a specific setting using a range of nouns.
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MY NIGHTMARE JOURNEY
1 (e.g. ‘lemme’
instead of ‘let
me’)
deliberate
2 WOT’S HOT AND WOT misspelling:
’S NOT? where a word
has been spelt
incorrectly for a
A!
CELEBRITY CRIME ON CAMER
3 particular effect,
often to sound
like spoken
4 English (e.g.
PILOT’S BAD ‘AIR D
AY! ‘cos’ instead of
‘because’)
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3.3 Real lives, real problems
Continued
5
ING SHOCKER…
FOOTBALLER’S SPEED
6
G A N G S T A R A P K IL L Z
M U S IC
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3 Film and fame
association met the actor at his residence on March 15. ‘I’d practise every day
to overcome the speech issue. I still do for an hour at least so I can control the
secondary actions like twitching and all. The unacceptability of stammering was
not only bothersome in my childhood but prevailed till 2012, long after I had bothersome:
become a film star,’ the report quoted him as saying. difficult
prevailed:
Speaking about his struggle, Hrithik recalled a time when he had to go to
continued
Dubai for an award. For his acceptance speech, he had to practise hard to say
the word ‘Dubai’ and eventually did deliver it without difficulty. recalled:
remembered
It may be recalled that in September last year his sister blog: a web page
Sunaina Roshan had written a long blog post on her where someone
brother in which she spoke about incidents from their writes and posts
childhood and getting diagnosed with cancer. She had also regular articles,
touched upon Hrithik’s problem of stammering. like an online
journal
She had written: ‘He defeated another major hurdle in
life and that was overcoming or rather finding a way to touched upon:
live with his stammer. He says it has been his greatest mentioned
battle. I remember watching him at the age of 13 hurdle: problem
as he would sit and read aloud for hours, sometimes without fail:
alone in the bathroom every single day, morning and always
night without fail. For 22 years I saw him do this.’
HT Correspondent, Hindustan Times
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3.3 Real lives, real problems
Self-assessment
Key word
Evaluate your article.
evaluate: to
• How clearly have you conveyed information about the person assess how good
you have written about? or bad something
• What structural and linguistic features have you used? is and identify
how to improve it
Summary checklist
I can understand and use the techniques used by journalists
to write headlines.
I can analyse the structural features of a newspaper article.
I can identify the language features of a factual
information article.
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3 Film and fame
Getting started
Film reviews
A review text gives information and an opinion about something the
writer has experienced, such as a film, restaurant or book. Read the film
review text, featured in a British newspaper.
Cert: U
The Incredibles is an incredibly funny and incredibly warm
comedy that made me laugh like a horse. In fact, I laughed so
hard, I sometimes felt my ribs would explode. Like the pixelated pixelated:
characters in the film, I felt I’d been flung through walls, thrown computer-
into the ocean and hurled headlong into the sky. The film puts lots generated
of different ideas in the blender – it felt like a mixture of X-Men headlong: quickly
and Batman but very modern at the same time. Pixar have taken and suddenly
earlier films and turned them into something altogether new.
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3.4 Reviewing films
The story takes a turn when 15 years later, a larger and balding
Mr Incredible is offered the opportunity to work again as a
superhero. The temptation is great, but the man behind this offer
remains a mystery: does he really want Mr Incredible to return – or
is he a former enemy trying to destroy the former superhero?
The animation and accompanying soundtrack are mind-blowing. soundtrack: the
These are just two of the standout features of this film, but it’s the music in a film or
humour that wins the viewer over. It’s not just the main characters TV show
who entertain, but the hilarious, bespectacled Edna Mode – the bespectacled:
designer of superhero costumes who reworks Mr Incredible’s wearing glasses
outfit. The lines given to her are some of the best in the film.
Superhero films are nothing new, but this one feels fresh. If you’re
looking for the classic holiday film which provides fun for all the
family, search no further, The Incredibles is incredible comedy.
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3.4 Reviewing films
Reading tip
Remember – you can use the surrounding words and the context
of a sentence to help you to work out the meaning of unknown
words or phrases. Also think about similar words – words from
the same ‘family’ – to figure out meaning.
Summary checklist
I can identify the structural features of a film review.
I can comment on the way writers use language to establish
the style of a journalistic review.
I can explain how descriptive language is used to
convey opinion.
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Getting started
The specialist words in the following list are often used in film
reviews. In groups of four or five, choose three items from the list
and decide what each word means. Use a dictionary if needed
or search on reputable websites on the internet to find out any
background information on the features listed.
Write down:
• the specialist word
• the name of a film
• an example of the term from that film.
For example: Specialist words: Special effects
Film: Harry Potter and the Philosopher’s Stone
Example: The giant Hagrid is seen on screen as very large, but
in fact everything else on the set is very small. Another very tall
actor was also used as a double for him in other scenes.
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3.5 Writing a review
1 Think of a film that you either liked a lot or did not like at all.
Writing tip
You are going to write a review of that film. Use the internet or
other resources available to you to find out factual information Remember to
about your film. You can use the features listed in Activity 2 as use your own
words when
a guide to the information you may want to include.
noting down
2 Start by using the structure to plan your review. information from
your research.
Review title:
However, you can
Introductory facts: copy basic factual
information such
Film title: as titles, actors’
Cast: names and
running times.
Release date:
Running time:
Director/producer:
3 Think about whether your review will be positive or negative.
Sort these words and phrases into positive and negative statements.
Then add three more positive and three more negative phrases
of your own.
a disaster from
a must-see a smash hit
start to finish
must not be
an exciting
high points missed
piece
an unsatisfying
a predictable
ending
storyline
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3 Film and fame
4 Now think about how you will structure the main body of the review.
You need to decide what information to put in each paragraph.
Remember that film reviews are a balance between offering
information about the film and giving an opinion.
Make a list of what each paragraph of your article will include.
5 Now write your film review, using your plan. Keep in mind what
type of language you will use to show the genre of the film.
For example, a comedy might include words such as ‘hilarious’,
‘laugh-a-minute’, ‘joke’ or a science-fiction film might use
‘futuristic’ and include technical-sounding words. Remember to
write clearly in your best handwriting.
Writing tip
Remember that film reviews are written in the present tense
(e.g. ‘the film is’ rather than ‘the film was’). You are not just
telling your readers about the experience that you had, you are
recommending or not recommending a product to them.
Peer assessment
Swap your work with a partner and read their review. It does
not matter if you are not familiar with the film they reviewed.
Decide whether their film review:
• showed their knowledge of the film, by presenting
facts about it
• gave a clearly expressed opinion
• showed their understanding of the structural and
language features of a review.
•
Think about the feedback you have received from
your partner.
•
Consider the process you went through to write
your review: research, planning, writing, checking.
•
Note down the area you would like to improve on
next time and why.
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3.6 Preparing a speech
Summary checklist
I can plan the content and structure of a film review.
I can write a film review using an appropriate structure
and style.
I can select vocabulary carefully to convey facts and opinion.
Getting started
24 1 Listen to the audio recording, which recounts the story of the Thai
boys who were trapped in a flooded cave. Answer these questions.
a Where are the Tham Luang caves?
b What is the name of the football team the boys play for?
c Do you think anyone should be blamed for the boys becoming
trapped in the cave? If so, who?
d By which date were the boys rescued?
e What does this event tell you about the people involved in
the rescue?
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Listening tip
The first time you listen to an account, focus on identifying key
facts and dates. When you listen to it a second time, think about
the opinions and important ideas the speaker offers.
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3.6 Preparing a speech
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3 Film and fame
5 Write your speech. When you have finished, read it aloud and check
the timing – it should last around two minutes. Check you have:
• used accurate spelling, punctuation and grammar
• included enough facts and evidence about your chosen
celebrity to give your listeners information
• considered who your audience is and what will
persuade them.
6 Deliver the speech to your class, displaying the image of your
Speaking tip
chosen celebrity. Think carefully about how long the speech will
take. Remember to use gestures and eye contact to convince your Choose language
audience of your point of view. that shows your
positive opinion.
Peer assessment This will help
you engage and
Listen to the speeches. As you listen, think about how persuasive persuade your
their speech is to you as the audience. listeners. When
Mark on a scale of 1−10 how convinced you are by their argument, delivering your
language and evidence. Make notes on your reasons why. speech, try not
to speak too
1 10 quickly, even if
not persuasive very persuasive you feel nervous.
•
Consider the process you went through to research, plan,
write and deliver your speech.
•
How would you improve on your performance next time?
Summary checklist
I can identify explicit and implicit information in a text.
I can listen and analyse what I hear, giving reasons for my views.
I can plan, write and deliver a persuasive speech, thinking
carefully about what will persuade a specific audience.
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Check your progress
Answer the following questions to check what you have learnt in this unit.
1 List some ways a writer might establish a strong sense of place/setting at
the opening of a story.
2 Give some examples of contracted words.
3 Define and give examples of proper nouns, abstract nouns and adjective-noun
combinations.
4 List some language features you would expect to find in a factual newspaper
article/film review.
5 What structural features would you find in a newspaper article/film review?
6 What advice would you give to a speaker about how to present an effective speech?
Project
1 As a class, you are going to prepare for a debate. Agree on five learners to
take part. Then, choose five historical figures who are considered admirable
for some reason.
2 These five learners will compete for their historical figure to appear on a new
banknote. Two rounds will be used to gradually select the winner.
3 In round 1, each speaker gives a short persuasive speech explaining why they
should be remembered in this way.
4 For round 2, as a class, prepare some questions. Each person in the debate
should try and answer some of these sample questions:
• Why is your character special?
• What are your achievements?
• What have you contributed to the world or a particular country?
• Why should we admire you?
• Can you tell us about your character’s work?
• Can you tell an anecdote proving that your character should be admired?
• Can you give more detail about a particular point in your speech?
5 At the end of the speeches, have a class vote on which learner was most
persuasive. Remember – you should not vote on who you like best, but rather
on how well were the arguments were presented.
6 As an award, this famous person’s picture will appear on a new banknote to
mark their huge contribution.
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4 Small but perfect
In this unit, you will read a range of texts that explore the idea of
the miniature: things that are very small. Humans have always been
fascinated by what tiny things can reveal about the world at large.
Here you will find big ideas shown on a perfectly small scale.
You will need to look carefully to notice the details!
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4.1 Flash fiction
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4 Small but perfect
1 The writer uses time to structure the story. Summarise what has
happened to this family in a few sentences, using your own words.
Sequence the narrative structure by using words connected with
time such as ‘first’, ‘next’, ‘then’. Begin:
The family enjoyed their beautiful land, filled with nature. . . .
Writing tip
Check that your comments on the family’s past uses the past
tense (e.g. ‘they were’).
Make sure that you are writing about the woman, travelling in
a boat, in the present tense (e.g. ‘she is’).
2 Which two words reflect the mood of the speaker? Give reasons for
your answer, using quotations to support your choice.
hungry sad
desperate
3 Reread the first two paragraphs of the flash fiction story. The writer
uses figurative language to express ideas in the story. For example,
the figs are used as a symbol, representing the family’s feelings
about their country and its fate. Find two quotations about the figs
and explain what each one suggests. For example:
nothing like it anywhere : This suggests that the writer feels
her country is unique. She misses it.
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4.1 Flash fiction
4 Now find a quotation about the last fig tree and explain what it
symbolises about the writer’s feelings for her country and its fate.
5 Consider the way images carry meaning in this story. What do
you think this line suggests about the link between the tree and
the man?
The last fruit was ripe on its branches and the leaves had almost gone,
the day the rebels took him away.
Reading tip
When selecting quotations, try to find the shortest possible
phrase that captures what you are trying to say. This will keep
your analysis precise and focused.
6 This story ends with the symbol of the fig as a flower that has
turned inwards. In pairs, discuss what this image suggests about
the female narrator.
7 In flash fiction, big ideas are expressed in a few words. What can
you work out about the social and historical context of the story?
In pairs, discuss the big ideas in this refugee story.
Summary checklist
I can describe the features of a flash fiction story.
I can identify symbols and descriptive images in a text.
I can analyse how a writer uses symbols
and images for effect.
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4 Small but perfect
Getting started
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4.2 Small but precious
2 Look at these objects. You are going to use them as a starting point
for creating believable stories to convince a listener.
Choose two objects and write down an outline for a possible story
about each one. Use your imagination to answer these questions.
a Where did it come from?
b Why might it be important to someone?
c Who might own it now and be telling its story?
d Where it is kept now?
e Is it connected with a secret? If so, what?
f What emotion might it symbolise to its current owner? Why?
g Which of your five senses could help you describe your object?
3 In pairs, take it in turns to explain the imaginary background of the
objects. Use your voice, eye contact and gesture to bring the story of
the object to life. Once you have both explained your objects, decide
which of them would work best as a flash fiction story.
Self-assessment
• Which item was the most effective in convincing your partner?
• Why do you think this worked so well?
• How did you use your voice, eye contact and gesture to
make your meaning clear or appear more convincing?
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4 Small but perfect
Writers often tell stories that stretch over a period of time. For time connectives:
example, a narrator might start by explaining what happened words and
50 years ago, then move to another time period, before finally phrases used to
explaining how they feel about things ‘now’. Time connectives show how events
such as ‘then’, ‘next’, ‘before’, ‘after some time’ or ‘years later’ in a story are
are sometimes used to support the reader’s understanding of the sequenced and
sequence of events and how they are linked. linked by time
4 You are going to write a flash fiction story about the object you
selected. To write your story, you need to consider your item’s past
and present. Remind yourself of the way time is used to structure
the story ‘One in Twenty-Three’. The memories of lost times in
their homeland are described before the present time in the boat.
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4.2 Small but precious
noun phrase The stone lay on the beach expanded noun phrase, using
sense of touch to develop the
speaker’s attitude to the piece
The rough stone, its surface like sand
paper, lay alone on the beach. expanded verb phrase,
suggesting that the speaker views
the stone with some sadness,
almost suggesting it is lonely
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4 Small but perfect
Peer assessment
Read your story to a partner and listen to their story.
Assess whether your partner has included the following features.
Place a tick under red or amber or green in a copy of the grid to
show how confidently you heard each aspect.
Summary checklist
I can use my imagination and speaking skills to create
a convincing story.
I can use time connectives to help a reader understand
a sequence of events.
I can build description in my writing using expanded noun
and verb phrases.
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4.3 Haiku poetry
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4 Small but perfect
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4.3 Haiku poetry
‘Marriage’
Read this poem, written in 1916 by William Carlos Williams. Williams
was an American poet who was famous for using and adapting the
ancient haiku form.
[1] Establishes topic [2] Comment on [3] Comment on the form and [4] Use of the terminology
of the poem the title its use for a moment in time ‘image’ central in haiku poems
‘Seaview Haiku’ focuses on the idea of a view of the sea with windsurfs sailing
on it. The title immediately establishes the topic of this moment. The poet
uses the haiku form to capture the seaside moment using two images. He uses
the image of the w‘ indsurfs’ linked to the natural image of ‘butterflies’ and w‘ ings’.
This helps the reader picture the ‘bright’ colours of the windsurfs as well as
their shape as f‘olded’. Foster uses the natural image of butterflies to suggest
how the windsurfs naturally fit in with this seaside moment.
[5] Use of short quotations from [6] Comment about the [7] Explanation of the [8] Comment suggesting
the poem to support points effect on the reader way the images work the poet’s intention
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4 Small but perfect
Now write your own paragraph to analyse the poem ‘Marriage’, using
Writing tip
the sample answer to help you.
Remember to
Summary checklist comment on your
reading of the title,
I can explain how haiku poems are structured. form, structure,
I can discuss poems and express personal opinions. language and
I can use quotations to support explanations. images in
‘Marriage’. Include
short quotations.
Getting started
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4.4 Writing imagist poetry
2 Read your haiku series aloud. Each person should read their
own haiku stanza. Discuss which images or pairs of images stand
out as evidence that you have looked at your surroundings in
careful detail.
Imagist poetry
In the early 20th century, imagist poets developed the haiku form into
short poems that focus on a single everyday item. These poems captured
a single moment or idea in just a few words.
Read these two poems by William Carlos Williams, the poet who wrote
‘Marriage’ in Session 4.3. Then, answer the questions that follow.
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4 Small but perfect
a red wheel
barrow
I have eaten
the plums
that were in
the icebox
and which
you were probably
saving
for breakfast
Forgive me
they were delicious
so sweet
and so cold
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4.4 Writing imagist poetry
Self-assessment
Read back over your work and ask yourself the following
questions:
• Are all the spellings correct?
• Have I chosen each word precisely?
• Do any need to be changed?
Edit your work to improve your writing.
6 As a class, read your work aloud and listen for powerful word
choices and images in the poems you hear. Note down any that you
particularly like and explain why. Share your ideas as a class.
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Summary checklist
I can identify the features of haiku and explain how they have
changed over time.
I can use ideas from the natural world to write a haiku poem.
I can include details, images and symbols to enhance my
poetic writing.
Look at this dialogue. The two reporting verbs are underlined. reporting verb: a
How many replacements can you suggest for these verbs? Make verb that conveys
a list in pairs. the action of
speaking – used
‘What time do you call this?’ yelled the teacher. with both direct
‘I’m sorry, sir. I slept in,’ whispered Chen. and reported
speech
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4.5 Miniature art
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4.5 Miniature art
Self-assessment
Look back at the Getting started activity to remind yourself of
the rules for punctuating direct speech. Did you punctuate your
response correctly? Which aspects were accurate? Did you use:
• speech marks
• correct punctuation before the reporting verb
• correct punctuation inside the speech marks and at the end
of the sentence?
Prefixes perform different functions in English and can change prefix: letters
meanings to varying degrees. For example, the prefix ‘sub-’ added to the
suggests something below. For instance, when ‘sub-’ is added to beginning of a
‘heading’ in ‘subheading’, it refers to a heading beneath another word to make
heading. The subheading covers a smaller section of the piece a new word with a
of writing. Other prefixes reverse the meaning of the root word. different meaning
For example, if you add ‘ab-’ to ‘normal’ to create ‘abnormal’, root word: the
then the original meaning is reversed. Be careful not to confuse basic form of a
prefixed words with words that look like they have prefixes. word that other
For instance, the word ‘subject’ only exists in English as a word words with
meaning ‘topic’. related meanings
are based on
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4 Small but perfect
37 Shabtis were first put in tombs in 1985 BC. Yet ever since the
first humans were buried, small figures were deposited in
tombs. Early figures were rough and inelegant, but as time
progressed, these figures became more attractive and
unusual in design. Shabtis sometimes represented their
owners. It was thought that they helped them in the
afterlife. In modern times, shabtis which had been
unearthed were often brought home by travellers.
It’s unsurprising that many museums in the West have
shabtis on display.
Summary checklist
I can summarise information from an information article.
I can understand how writers use topics to organise texts.
I can use prefixes to widen my vocabulary.
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4.6 Perfect pastimes
Getting started
Can you remember any of the materials and special tools Willard
Wigan used to create his art? Think about your own hobbies and
interests, such as sport, craft, baking or music. What equipment
and specialist terms do you use to describe them? Make a list
of the words. Read them out to a partner. How long does it take
them to guess your hobby?
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4 Small but perfect
3 Interview the person you have chosen. Make notes to record the
information you find out about them and their hobby. Record your
interview if you are able to, but make sure you have permission and
the right equipment. Try to find out about the specialist language
linked to their hobby.
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4.6 Perfect pastimes
4 What facts about Wigan are used to interest the reader in the first
three paragraphs? On a copy of the article, underline the words and
phrases about Wigan that suggest he is a fascinating character.
5 The voice of the article reveals a positive attitude towards Wigan
in the lead paragraph. With a partner, list words and phrases that
show this attitude.
6 Look carefully at the layout of the article. Write down examples of
the following structural features.
• title – the heading at the top of an article
• introduction – the opening paragraph of an article
• questions and answers – interviewer questions followed by
answers from the interviewee
• images – used to illustrate the text
• captions – information about each image
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4 Small but perfect
Peer assessment
In pairs, evaluate each other’s work. On a scale of 1−10, where
1 is less successful and 10 is very successful, how far did your
partner achieve success with the following? Be prepared to
explain your decision.
• an engaging introduction
• interesting headings and subheadings offering information
of interest
• a clear structure, using questions and answers
• subject-specific vocabulary to convey their knowledge of
the topic.
Summary checklist
I can plan and conduct an interview using questions to gain
information.
I can describe the layout features of a non-fiction article.
I can write a non-fiction interview article to engage a reader,
using specialist vocabulary.
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Check your progress
Answer the following questions to check what you have learnt in this unit.
Check
1 Write a your
definitionprogress
of the term ‘symbol’. Use an example.
Answer
2 theanfollowing
Give example questions to check
of an expanded what
noun you have
phrase and learned in thisverb
an expanded unit.phrase.
1
3 What
What are
are key features of
the features of aadventure
haiku? stories?
Give some examples of events that happen in adventure stories.
4 Give an example of an imagist poem and describe its features.
2 What type of characters do you find in adventure stories?
5 Give two ordinary
Are they examplespeople
of prefixes
or dowhich reverse
they have the meaning
special of a happens
skills? What word. to them?
6
3 Describe theways
Name three mainyou
features of aan
can keep non-fiction
audience interview
interestedtext.
when relating an anecdote.
4 Using examples, explain what alliteration and sibilance are.
Project
5 List three ways that a writer can create suspense.
In groups, put together your own anthology of haiku poems. Using what you have
6 Explain what you know about writing accounts of adventures.
learnt from this unit as well as extra research work in groups of two or three:
How has your writing improved?
• write an introduction to give a definition and history of the haiku poem form
• find and read a range of haiku poems
• agree on 5–10 poems that you would like to include in your anthology
• think carefully about the images and ideas they present, and choose or
design appropriate illustrations for each poem.
You might like to include a range of ancient and modern poems. You could choose
one or two haiku written in other languages with their translations. You could
use some very short poems that are based on the haiku form but are not in strict
haiku form.
Present your introduction and anthology to the class and read out your poems as a
group. When you present, you might use pictures to illustrate your readings.
The order of your tasks might be:
1 Use the internet and library to research some haiku poems.
2 Discuss what you have found with your group.
3 Agree on a definition, as a group.
4 Agree on which pages will be completed by each group member.
5 Agree on what could be used on the front page to illustrate and introduce
your collection.
6 Write up your poems with any designs.
7 Rehearse the readings of your poems before your final performance.
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5 Unusual education
In this unit, you will read about different types of schools and
education. You will consider ideas about uniform and school rules.
You will also read drama and fiction set in schools.
Getting started
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5.1 Unusual schools
39 Lumiar schools are not the same as other schools. They do not
have lessons and timetables. The adults are very different to
the ones you’ll find in other schools – in most schools, teachers
teach whole classes. Some of the adults who work at Lumiar
are more like advisors and coaches, who work with individual
students. They support the students’ progress and help them to
choose projects to work on. The other adults are there to serve
as experts – they have particular talents in areas such as music
and engineering. The students can arrange meetings with these
experts when they need specific help in a certain subject.
Students are not assessed through exams, but through a
learning portfolio that records their achievements and skills portfolio: a record
throughout their time at school. At any point, students can of achievements
decide to use the library for independent study and play. and skills
If you attend a Lumiar school, your day
will start with students and staff deciding
how and where they would like to work.
The school has plenty of space but no
traditional classrooms. Once a week, an
assembly known as ‘The Circle’ is held. All
staff, students and parents attend and talk
about anything from new project ideas to
behaviour issues. Additionally, The Circle
is also time when student success
is celebrated.
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Language focus
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5.1 Unusual schools
4 Read the extract again and make notes on the following questions.
a How is School of One similar to the Lumiar Institute?
b How is it different from the Lumiar Institute?
5 In small groups, discuss the two schools (Lumiar Institute, São
Reading tip
Paulo, Brazil and School of One, New York City, USA). Which
one would you like to attend? Why? As you talk, develop your When comparing
discussion with details from the text and your own experiences. two texts, it can
be helpful to
6 Most schools are different from the two you have read about here. create a table
Think about the ways you learn in your school. In pairs, make to keep track of
bullet-point notes on what typical lessons are like, how they are similarities and
organised and how you are assessed. differences. Make
sure you record
7 Write a 200-word account of how your school works. Use your the information in
notes from Activity 6 and the extracts in this session to help you the right column.
plan and structure your writing. Use formal language and standard
English. Use connectives to help sequence and qualify your points.
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5 Unusual education
Speaking tip
When presenting your views to others, use facts and other
research to support your ideas. A well-argued opinion often
contains information from other sources.
Peer assessment
Swap accounts with a partner and give them feedback.
• How accurately have they described your school?
• Have they explained their points clearly?
• Have they used formal language and standard English?
• Have they used connectives to sequence and qualify
their points?
Summary checklist
I can discuss different types of schools.
I can analyse how connectives are used for different purposes.
I can write a formal account using connectives.
Getting started
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5.2 School uniform
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42 A brilliant decision
I love this new uniform. It feels and looks like designer clothing!
When we first heard the ideas for the uniform, everyone was
so excited. The new clothes were fantastic. They were black
and yellow and we got a new hat to wear. We all loved the hat.
I was so excited I took some photographs. The uniform looked
absolutely brilliant. Even my goldfish liked it! I suggest that
the whole school agrees to wear it and I think they will agree –
when I asked, everyone said they were in favour of it.
43 An expensive uniform
Taimei Elementary School is surrounded by bright, shiny
skyscrapers. The school is in the richest area of Japan.
The neighbourhood is home to many designer shops and
incredibly expensive homes. The school and its headteacher
seem very pleased with the school’s location.
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5.2 School uniform
5 Imagine that you are a headteacher. Your school does not currently
have a uniform but you want to introduce one. You are going to
give a speech to parents to persuade them to support the idea.
Start by planning your speech. Make a bullet-point list outlining
all the reasons you can think of in favour of uniforms. Then write
your speech. Remember that you are speaking to adults in a formal
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5 Unusual education
Writing tip
There are many effective ways to open a speech. You could start
by posing a question to your audience or giving a brief anecdote
to build a relationship with them. You could also start with a
clear, direct statement of what you are going to argue for.
A B
7 Rehearse your speech. Plan how you will vary the volume and pace.
Where will you pause? How much of the speech can you remember?
If you need to read from your script, plan where you will pause to
make eye contact. Use gestures where appropriate. When you have
finished rehearsing, deliver your speech to the class.
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5.3 Homeschooling
Self-assessment
Think back to your speech and assess yourself using the
following questions:
• What persuasive techniques did I use?
• Did I make eye contact and use gestures?
• Did I vary the volume and speed?
• How well do I feel I performed the speech?
Summary checklist
I can identify bias in a text.
I understand how writers use persuasive techniques.
I can deliver a speech using persuasive techniques.
5.3 Homeschooling
In this session, you will:
• explore views and ideas in texts
• plan and deliver a presentation using appropriate media
• consider the appropriate register to use when writing in a
specific context.
Getting started
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5 Unusual education
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5.3 Homeschooling
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My homeschooling disaster
Now read a man called Farouk’s description of homeschooling.
He did not find it such a good experience.
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5.3 Homeschooling
Summary checklist
I can evaluate views and ideas in texts.
I can plan and deliver a presentation using appropriate media.
I can use the appropriate register when writing.
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Getting started
Wonder
Read the first extract from the novel Wonder by R. J. Palacio, which tells
the story of August Pullman, known as Auggie. He was born with a
facial deformity. Auggie has been homeschooled.
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5.4 A new challenge
Her boy stuff isn’t so hot, though. She once tried to draw
me a Darth Vader, but it ended up looking like some weird
mushroom-shaped robot. I haven’t seen her draw anything in
a long time. I think she’s too busy taking care of me and Via.
I can’t say I always wanted to go to school because that
wouldn’t be exactly true. What I wanted was to go to school,
but only if I could be like every other kid going to school.
Have lots of friends and hang out after school and stuff
like that.
I have a few really good friends now. Christopher is my best
friend, followed by Zachary and Alex. We’ve known each
other since we were babies. And since they’ve always known
me the way I am, they’re used to me. When we were little,
we used to have playdates all the time, but then Christopher
moved to Bridgeport in Connecticut. That’s more than an
hour away from where I live in North River Heights, which is at
the top tip of Manhattan. And Zachary and Alex started going
to school. It’s funny: even though Christopher’s the one who
moved far away, I still see him more than I see Zachary and
Alex. They have all these new friends now. If we bump into
each other on the street, they’re still nice to me, though.
They always say hello.
I have other friends, too, but not as good as Christopher and
Zack and Alex were. For instance, Zack and Alex always invited
me to their birthday parties when we were little, but Joel and
Eamonn and Gabe never did. Emma invited me once, but I
haven’t seen her in a long time. And, of course, I always go to
Christopher’s birthday. Maybe I’m making too big a deal about
birthday parties.
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5.4 A new challenge
Self-assessment
Consider your group reading of the extract from Wonder.
• How accurately did you read the unseen extract aloud?
• Were there any words you struggled to pronounce?
If so, which ones?
• Did you read ahead effectively?
Summary checklist
I can identify explicit and implicit information.
I can read an unseen text aloud and read ahead in a text.
I can locate quotations to support a point.
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5.5 Precepts
In this session, you will:
• revise prefixes and practise dictionary skills
• discuss and interpret ideas in a text
• use colons for a specific reason.
Getting started
In the next part of Wonder, Auggie describes a lesson at his new school.
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5.5 Precepts
He wrote all that on the chalkboard and then turned around and
faced us.
’So, what are some really important things?’ he asked us.
A few kids raised their hands, and as he pointed at them, they
gave their answers, which he wrote on the chalkboard in really,
really sloppy handwriting: sloppy: careless
and messy
RULES. SCHOOLWORK. HOMEWORK.
’What else?’ he said as he wrote, not even turning around.
’Just call things out!’ He wrote everything everyone called out.
FAMILY. PARENTS. PETS.
One girl called out: ’The environment!’
THE ENVIRONMENT.
He wrote on the chalkboard, and added:
OUR WORLD!
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Language focus
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5.6 The Last Class
Continued
Peer assessment
In small groups, swap your precepts.
• What have other members of your group chosen to focus
on? Do you agree with their precept? Why?
• Have they used punctuation accurately?
• What could you add to their precept?
Summary checklist
I can apply my knowledge of prefixes and use a dictionary to
identify unfamiliar words.
I can discuss and interpret ideas in a text.
I can use colons for particular reasons.
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5 Unusual education
What are the main differences between reading a story and prose: the form of
reading a drama script? Think about how those text types are language found in
laid out and how the stories are told. What do you find in drama novels and non-
scripts that you do not find in prose stories? Which text type do fiction texts such
you prefer? Share your ideas with the class. as articles, written
in paragraphs
rather than verse
In groups of four, read aloud the text from a play called The Last Class.
51 Extract 1
Morning. A street with heavy rain. Two schoolgirls are walking
quickly.
Sisi:
(angrily) I can’t believe this! First day back at school.
My hair will be ruined!
Chen: And we’re in Mr Ling’s class. He’s meant to be really
old – and strict.
Sisi: Really? That’s not what my brother said.
Chen: What do you mean?
Sisi: My brother said he was brilliant . . . in a strange way.
Chen: Really? Cool.
Inside a classroom. Mr Ling is looking out of the window at the
rain. He is 60 years old and well dressed.
Mr Ling:
(to himself) Another set of students. Another new
year. (Thoughtfully) My last year.
Mrs Zhou, the head teacher, enters. She is small and stern.
Mrs Zhou: Good morning, Mr Ling. Can I remind you about our
conversation last year?
Mr Ling looks up.
Mr Ling: Which one?
Mrs Zhou: Concerning that screen and its oddity. oddity:
(Mrs Zhou points to a fabric screen hanging on strangeness
the wall). activate: to turn
Never activate it again. on
Mr Ling: But the students love it.
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5.6 The Last Class
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52 Extract 2
After lunch. Mrs Zhou enters. The class falls silent.
Mrs Zhou: Good afternoon class. I trust you are relishing relishing: really
your studies. enjoying
Most of the students nod.
Mrs Zhou:
(sternly to Mr Ling) At the end of the day, can
you reposition your desk so we can dispose of
the screen?
Mr Ling: Certainly, Mrs Zhou.
Mrs Zhou leaves and the students start to murmur.
Chen: Mr Ling, can I ask you a question?
Mr Ling: Of course. What is it?
Chen: It’s about the screen.
The class falls silent.
Mr Ling:
(quietly) It’s just an old screen, that’s all.
It needs removing.
Sisi raises her hand.
Sisi: My brother says that the screen is . . . strange.
The class are utterly still. Mr Ling continues to smile, unflustered. unflustered: calm
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5.6 The Last Class
Sisi: My brother said he loved being in your class and the
screen was the highlight of the year. But he wouldn’t
tell me any more. He just said ‘Wait until you’re in
Mr Ling’s class’.
Chen:
(pleading) Please show us how it works.
Mr Ling looks thoughtful. At that moment, the rain starts again.
Even heavier this time. Mr Ling looks at the class and smiles.
Mr Ling: Well, I suppose it can’t hurt. But you must promise
to follow my instructions very carefully.
The students nod excitedly. Mr Ling returns to his desk, turns
on a switch and the screen begins to glow. The rain outside
becomes heavier and the sky darkens.
Mr Ling: Okay. Leave your seats and come to the front of
the room. Place one hand on the screen and close
your eyes.
4 Look at the way the writer has used dialogue in this extract.
Which character uses the most formal language? What does this
suggest about their character and status? Find an example of
formal dialogue.
Key words
5 In pairs, discuss what the stage directions show about the
characters’ feelings at different points in the extract. stage directions:
words in a script
6 Drama scripts are structured in different ways to prose. Exploring
that explain what
dramatic structure means looking at the following things: is happening on
• the order of events and actions stage or tell the
actors how to
• exits and entrances of characters move and speak
• who speaks most and who is silent props: articles or
• how stage directions and props are used. objects used on
the set of a play
Explain the effect of the following events and devices in the script. or film
How do these help the audience understand the action?
a the entrance of Mrs Zhou
b the screen as an onstage visual prop
c the heavy rain and dark sky.
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5 Unusual education
7 Write the next part of the script and then perform it in groups.
Show what happens with the screen. You might choose to introduce
a new character.
Summary checklist
I can use movement and gesture to bring a script to life.
I can explain how punctuation is used to create different effects.
I can comment on how drama texts are structured to create
meaning.
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Check your progress
Project
Imagine that you have been asked to design a new school. You can choose
the design and appearance of the school, as well as the rules and learning
styles that will apply in it. You will design your school in groups and present
your ideas to the class.
Start by deciding what type of school you want. Will it focus on certain
subjects only? What age will the learners be on admission and how many?
What type of education do you want your learners to have?
Next, think about the building and types of classroom. Draw a map of the
school site and a typical classroom. Will you have any special areas? How
much of the site will be green space? What PE facilities and food areas will
you have?
You should think carefully about the rules and precepts of your school. Will
you have a uniform? What would a typical school day consist of? What rules
and rewards will you put in place? You could also design a uniform or even
ideas for a website. Your school will also need a name.
Once you have decided on your ideas, you must present them to the class.
Imagine you are speaking to the local authority and your task is to persuade
them to give you the money to build and run your school. You must provide
them with key information and persuade them that your ideas are the best.
Think carefully about how you present your ideas. You could use maps,
drawings and IT.
When you have all presented your ideas, decide as a class whose school
should be built.
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6 Life stories
In this unit, you will read accounts of significant moments in people’s
lives, from birth through to old age. You will read about the joys and
problems of childhood and consider dramatic events in a range of
non-fiction texts.
Getting started
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6.1 Childhood poems
1 There are four visual images in the second stanza. Make a quick
Key words
sketch of each one. In pairs, discuss the meanings of these images.
Which ones are literal, and which use figurative language? visual image:
an image which
2 Which lines in the poem reveal the speaker’s feelings about the child? appeals to the
On a copy of the poem, make notes to explain what the lines mean. sense of sight
rhythm: a regular,
Language focus repeating pattern
of sound or ‘beat’,
Rhyme and rhythm are key features of poetry. When writing common in music
about rhyme and rhythm, make sure you link them to the and poetry
meaning of the poem and always show how they support the
ideas in the poem. For example, the poem ‘Night Mail’,
by W. H. Auden is about a train travelling through the night
carrying letters and packages.
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6 Life stories
Continued
Here are two lines from the poem:
Letters of thanks, letters from banks,
Letters of joy from girl and boy
The rhythm of the lines sound like a train speeding along a track.
Notice how the rhyme also makes the poem ‘gallop’. Together,
the rhythm and rhyme give a sense of speed and urgency to the
poem. They support the ideas and content of the poem.
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6.1 Childhood poems
4 Make a list of what the mother does and what ‘the young’ do
according to the poem.
5 In groups, discuss whether:
• you feel sorry for the speaker
• you think this is a serious or a comic poem
• you enjoy the poem or not.
6 This poem uses the fire as a symbol. Although it has a literal
meaning (a real fire features in the description), fire also has a
symbolic meaning. The speaker describes how she starts the fire
in the morning, but that the seed of the fire gets feeble and cold.
Make brief notes on what the fire might symbolise.
7 Reread both poems: ‘Lullaby’ and ‘The Song of the Old Mother’.
They explore issues relating to parents and children, but they do so
in different ways. Write a summary explaining:
• what each poem shows about family life
• the different ways each poem is written – think about rhyme
and features of language.
8 Think back to your discussions in the Getting started activity,
considering what makes readers choose particular texts to read.
Which of the two poems would you select to be included in a book
of poems for people your age and why? Write 100 words explaining
which poem you think is best and why it should be included.
Summary checklist
I can read an unfamiliar text aloud with accuracy.
I can explain the meanings of symbols in poems.
I can comment on how readers decide what they
choose to read.
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6 Life stories
6.2 Growing up
In this session, you will:
• explore the different ways writers create voices
• create content for a particular audience
• consider the effectiveness of a partner’s writing.
Getting started
Malala
Read this extract from a biography of a Pakistani girl called Malala
Yousafzai.
In 2012, while on the bus going home from school, Malala was shot by
Taliban militants. Malala is well known for her human rights work and
her support for female education.
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6.2 Growing up
crisps. Doesn’t sound like a good reason to fall out, does it?
Her other brother, Atal, is a lot younger – six years younger.
And even more annoying. Together, the three of them
did things that lots of young people do. They played
cricket, tag, and even knocked on people’s doors
and ran away.
So did Malala enjoy growing up with
brothers? Does any girl?! Wouldn’t she rather
have spent time painting her nails and
chatting with a sister? It seems not. She and
her brothers were really close, spending
long hours playing outside. Maybe that’s
why Malala isn’t a gentle, make-up and
jewellery kind of girl . . .
Malala’s parents are from villages in
Pakistan. After her mother, Toor Pekai, met
her father, Ziauddin, they moved to Swat
Valley. In the north of that area is a large city,
Mingora, and it was here that Malala was born
in 1997. To many, Swat Valley is the most beautiful
place in the world: its hills are a fabulous green; its
mountains staggering; its river clearer than glass.
1 Create a spider diagram to record all the things you find out about
Malala and her family in this extract. You could start:
Malala and
her family
Brother
Doesn’t like
Khushal is two
make up and
years younger
jewellery
than her
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6 Life stories
2 Malala’s life story involves serious events, but this extract contains
Reading tip
humour. Humour can sometimes be harder to identify in writing
than in spoken words. In this extract, humour is created by the The voice of a
narrator’s voice and how the information is put together. text is reflected
in the vocabulary
For example:
and grammar
But Malala isn’t a fighter. Well, she is, but only with her brothers! choices that a
writer makes.
The first sentence makes a bold statement. The second sentence When exploring
reverses the idea in a comic way and gives an image of her arguing voice, consider
with her brothers. The reader is likely to recognise this sort of how formal the
common behaviour and ‘hear’ the humour in the voice. language is,
as well as how
Write an explanation of the humour in the following examples.
difficult (complex)
a They argue about everything from cricket to crisps. the word choices
and sentence
b She’ll beat you at cricket. In fact, I wouldn’t even bother structures are.
picking up the bat.
Language focus
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6.2 Growing up
3 Write a paragraph about the voice in the extract from the biography
of Malala. Think about how the words and sentence structures create
a playful, friendly voice. Start by considering whether the words in the
first four paragraphs are complex or not.
4 The tone and voice change in paragraph 5. What do you notice
about the sentences and punctuation here? Do you think this is
connected to the content? If so, how? Discuss your ideas in pairs.
5 Write an account of your own family relationships using a similar
voice and sentence structures, as in the extract from Malala's
biography. Write about 300 words. You could mention:
• fun facts about yourself
• some lighthearted comments about your family
• some information about where you live.
6 The intended audience is another important factor affecting how
a text is written. The paragraph structures and language in the
extract suggest it is meant for older children and young teenagers.
It contains some detail, but not much. For example:
To many, Swat Valley is the most beautiful place in the world: its
hills are a fabulous green; its mountains staggering; its river clearer
than glass.
Writers use different voices depending on their audience. Compare
the extract about Malala to this article about Swat Valley, written
for an adult audience. Make a list of the extra information you find
in this new extract. Compare lists in pairs.
56 Swat Valley
Those who visit Swat Valley, the paradise in north Pakistan,
will never forget it. From its beautiful pine forests to its
snow-covered peaks, it will stay long in the memory. Originally
known as Uddiyana (meaning ‘garden’), Swat is a place of
orchards, waterfalls and streams. The capital city is Saidu Sharif
and its twin city, Mingora, is home to the region’s oldest and
most historic market. In summer, the temperature is a very
pleasant 23 degrees.
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Peer assessment
In pairs, swap your answers to Activities 5 and 7 and evaluate
each other’s work.
• Can you tell the difference between your partner’s responses
to each activity?
• Is the voice appropriate to each audience?
• Have they used a variety of sentence types and punctuation
accurately and effectively?
• How could they improve their writing?
Summary checklist
I can identify different ways in which writers create voices.
I can create content for specified audiences.
I can comment on the effectiveness of a partner’s writing.
Getting started
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6.3 Leaving home
1 In pairs, discuss how it would feel to leave home. What would you
miss about your home and family?
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6.3 Leaving home
6 Here are three views about the mother. Which one do you agree
Listening tip
with? Discuss your ideas with a partner.
When judging
views, try to
A The mother listen to a range
does not seem to of different
C sources to help
care as her son
leaves home. you understand
different
viewpoints. This
The mother is will help you to
sad and worried and form your own
does not want him ideas, too.
to leave.
The mother
seems to accept her
son leaving, but is
quietly sad.
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Summary checklist
I can comment on the features of autobiography.
I can give a critical response to a text.
I can shape the structure of a piece of writing.
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6.4 Becoming a parent
Getting started
Letter to Daniel
Read the first part of Letter to Daniel by
Fergal Keane. The writer is expressing his
feelings about the birth of his son. He works
as a foreign correspondent – someone who
writes articles about life in other countries.
The letter is addressed to his son.
58 Extract 1
Daniel Patrick Keane was born on
4 February 1996.
My dear son, it is six o’clock in the morning on the island of
Hong Kong. You are asleep cradled in my left arm and I am
learning the art of one-handed typing. Your mother, more tired
yet more happy than I’ve ever known her, is sound asleep in the
room next door and there is a soft quiet in our apartment.
Since you’ve arrived, days have melted into night and back winding: patting
again and we are learning a new grammar, a long sentence a baby’s back to
whose punctuation marks are feeding and winding and nappy get rid of trapped
changing and these occasional moments of quiet. wind
We had wanted you and waited for you, imagined you and ploughing: used
dreamed about you and now that you are here no dream metaphorically
can do justice to you. Outside the window, below us on the here to mean
harbour, the ferries are ploughing back and forth to Kowloon. cutting through
Millions are already up and moving about and the sun is slanting the water
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6 Life stories
through the tower blocks. I can see the trail of a jet over Lamma
Island and, somewhere out there, the last stars flickering towards
the other side of the world.
Reading tip
When answering questions about language choices, remember
to focus on their effect. As a starting point, consider how the
language influences the way the reader thinks about the thing
being described.
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6.4 Becoming a parent
4 Writers often shape their sentences and use punctuation for different
effects. In the final paragraph of this extract, Keane writes:
Outside the window, below us on the harbour, the ferries are ploughing
back and forth to Kowloon.
The two clauses beginning with the prepositions Outside and below Key words
show what is happening, but they also have a rhythm that ‘shapes’
preposition: a
the sentence as you read it. The use of commas here aids this word or group
rhythm. of words used
Write a sentence in the same style, using commas accurately. before a noun or
pronoun to show
For example, you could describe what you can see outside the
place, direction,
classroom window. time (e.g.
‘above’, ‘below’,
Language focus ‘under’, ‘in’)
Writers use embedded clauses – clauses placed in the middle embedded
of sentences – to add detail and explanation to their writing. clause: a clause
Commas are usually used to separate embedded clauses. placed in the
For example: middle of a
sentence
As I walked down the lane, which was something I did every
evening, I thought about you.
When I returned home, familiar though it was, I felt I didn’t
belong there.
5 Look at the last sentence of the extract. The writer embeds the
clause somewhere out there in the middle of the sentence. In pairs,
discuss what effect this has. Start by thinking about how the tone
would change if the clause was removed:
I can see the trail of a jet over Lamma Island and, somewhere out
there, the last stars flickering towards the other side of the world.
I can see the trail of a jet over Lamma Island and the last stars
flickering towards the other side of the world.
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59 Extract 2
In a world of insecurity and ambition and ego, it’s easy to be insecurity: lack
drawn in, to take chances with our lives, to believe that what we of security;
do and what people say about us is reason enough to gamble uncertainty
with death. Now, looking at your sleeping face, inches away ego: self-interest
from me, listening to your occasional sigh and gurgle, I wonder
how I could have ever thought glory and prizes and praise were
sweeter than life.
6 In pairs, discuss what the writer means by I wonder how I could have
ever thought glory and prizes and praise were sweeter than life.
7 Using details from this extract, write a 200-word analysis of how
the writer feels about his son and how his life has changed. You
should explore how metaphor and sentence structures are used.
Summary checklist
I can analyse how a writer builds up detail through
grammatical structures.
I can explain how literary and linguistic techniques are used to
create effects.
I can understand how different contexts are reflected in a
personal letter.
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6.5 Exploring the world
Getting started
60 Extract 1
2nd February, 1911
The seductive folds of the sleeping-bag. seductive:
attractive
The small green tent and the great white road.
neigh of our
The whine of a dog and the neigh of our steeds. steeds: sound of
The driving cloud of powdered snow. horses neighing
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6.5 Exploring the world
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6 Life stories
7 Now create your own poem using words from Extract 1 of Scott’s
diary. Think carefully about the overall effect and how you will
organise the words into a poem. Use punctuation such as ellipses
and dashes to clarify meaning and create different effects. Use one
of the lines from the poem as a title.
Peer assessment
In pairs, evaluate and give feedback on each other’s poems.
• Which parts are most effective? Why?
• Do you think your partner should redraft any of their lines?
Why?
8 Swap poems with a different partner and read their poem aloud to
the class. Try to read it through carefully, looking ahead to make
sure you pronounce words as accurately as possible. Once you
have heard all the poems, as a class, choose the three best ones.
Before you do so, discuss how you will judge the winners. Start by
considering what makes an effective poem.
Summary checklist
I can adapt my speech and comment on its impact.
I can analyse how a writer combines different language
techniques.
I can choose and shape the structure of a poem.
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6.6 Changing the world
Getting started
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6.6 Changing the world
The second is an end to the debt crisis for the poorest countries.
The third is to deliver much more aid and make sure it is of the
highest quality.
We thank you for coming here today. Sometimes it falls upon
a generation to be great. You can be that great generation.
Let your greatness blossom.
Make Poverty History in 2005. Make History in 2005. Then we
can all stand with our heads held high.
Thank you.
Paragraph Function
1 Introduces the speaker and the cause.
2 Provides some personal detail.
3
Key words
3 Speeches like this one have a line of argument. A speech that is line of argument:
meant to inspire listeners might have several ‘strands’ to it, but a set of sequenced
they are carefully organised. The main point of the speech often points intended to
occurs in the later stages of the speech. Mandela’s speech starts persuade
by identifying problems and then suggests solutions.
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Reading tip
When tracking the argument of a persuasive speech, focus on
the main points the speaker is making. Use a highlighter to
isolate the different strands of an argument and explore how
they build on each other.
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6.6 Changing the world
6 Write your own persuasive speech about a topic you feel strongly
about. It could be something personal or about a national or global
issue. Use what you have learnt from this session to structure your
speech. Remember to:
• present a line of argument
• structure your speech
• use language imaginatively.
7 Practise and then perform your speeches in groups. Think carefully
about how you use gesture and other non-verbal methods to
convey your ideas. Adapt your speech to engage and persuade
your audience.
Self-assessment
• Which parts of your speech did you feel worked best?
• How confident were you when you performed it?
• Did you use gesture?
Summary checklist
I can understand the text structure of a speech.
I can use a range of features when writing a speech.
I can deliver a persuasive speech.
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Check your progress
Answer the following questions to check what you have learnt in this unit.
Check
1
your progress
Give an example of a symbol in a poem you have studied.
Answer the following questions to check what you have learned in this unit.
2 Explain what is meant by ‘The intended audience of a piece of writing
1 What are key
determines thefeatures
way in of adventure
which a text isstories?
written’.
Give some examples of events that happen in adventure stories.
3 Describe the differences between literal and figurative language.
2 What type of characters do you find in adventure stories?
4 Write a sentence containing an embedded clause.
Are they ordinary people or do they have special skills? What happens to them?
5 Using examples, explain how you can use your voice to create different
3 Name three ways you can keep an audience interested when relating an anecdote.
effects when reading poetry aloud.
4 Using examples, explain what alliteration and sibilance are.
6 Explain how persuasive speeches are structured.
5 List three ways that a writer can create suspense.
6 Project
Explain what you know about writing accounts of adventures.
How has your writing improved?
This unit has explored the life stories of real people and characters in literature.
You are going to research and present the life story of a person in public life who
has made a difference. This might be a scientist who has made an important
medical discovery, a person who has promoted peace or a young person who is
trying to improve the planet like Greta Thunberg.
Think carefully about the person you choose to research. There are many people
who have done good things, so it might be more interesting to choose someone
who is less well known. Start by researching the person. Find out about
their life story and the positive things they have done.
Present your research in the form of a booklet to show in class.
You should present information in an appealing way. Use pictures,
coloured text boxes and headings to organise your material.
Once everyone has completed their booklet, spend time
in groups reading each other’s work. You should discuss
each of the people you have researched in turn.
Be prepared to justify to your group why your
person is the most significant.
At the end of your discussion, your group must
choose one person (in your group) who you
think has made the most important contribution
to society. Nominate one learner per group to
tell the class which person your group has
selected and why.
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7 ‘The Travel Agency’
In this unit, you will read extracts from a short story called ‘The Travel
Agency’. It is written by Maria Turtschaninoff and is a fantasy story.
You will explore the structure of the story, think about the features of
this genre and analyse the ending.
What types of events take place in fantasy stories? What are the fantasy:
typical characters and settings you find in these stories? In pairs, imaginative
write a list of fantasy stories or films you know. How do these stories, often set
stories usually end? in strange places
with unusual
characters
Reading tip
Read as many books as you can that belong to the genre you are
studying. Understanding the conventions of a particular genre
can help you anticipate what might happen and make sense of
events in a story. As you read, ask yourself if the story follows or
challenges the conventions of the genre.
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7 ‘The Travel Agency’
1 Look closely at these pictures. They show scenes from the short
story ‘The Travel Agency’. In pairs, discuss what is happening in
the pictures and who the characters might be. What do you think
the story will be about?
2 Here are some lines from the story. Which one do you think is the
opening of the story and why?
a The receptionist nodded understandingly. ‘It can be confusing
with so many options.’
b Hanna came in and closed the door behind her, setting off the
piercing little entry bell overhead.
c ‘Pictures are often the most accurate starting-off point for
a journey.’
d Hanna saw pictures of ships on stormy seas, of mist-shrouded
mountains and magnificent castles.
3 In pairs, discuss what the sentences (a−d) suggest about the story.
What don’t they tell you? What other information would you like to
know about the story?
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7.1 The picture gallery
64 Extract 1
Hanna came in and closed the door behind her, setting off the piercing: very
piercing little entry bell overhead. Rain hammered against the loud shrill noise
window pane as she peeled off her sopping hood. She looked sopping: very wet
around and, for a second, wished she hadn’t come. Behind a
curved counter of light-blue glass a receptionist with blonde
hair in a neat ponytail was talking on a mobile phone. Hanna’s
trainers left dirty wet footprints on the polished stone floor.
She was definitely out of place.
She picked up a brochure from a display stand and flipped brochure:
through it. a pamphlet or
The blonde receptionist tapped on her phone a few times, small magazine
then put it down and looked at Hanna with a smile. that contains
products for sale
‘Have you decided what you want?’
Hanna looked down at the brochure and opened a page at
random.
‘It’s not easy. And these descriptions, I don’t really get . . . ’
The receptionist nodded understandingly. ‘It can be confusing
with so many options. If you like I can show you round and give
you a bit more information. Maybe that will help you make up
your mind.’
Hanna adjusted the bag on her shoulder and followed silently
behind the receptionist’s clacking heels. She had learnt how
to walk quietly that time she had to escape from the dungeon
maze on the island of Orlam.
They entered a long corridor with several doors, and large oil
paintings hanging in heavy gold frames. The walls were the
same dirty white-grey you find in hospital corridors and schools.
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7 ‘The Travel Agency’
Language focus
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7.1 The picture gallery
Peer assessment
Swap your writing with a partner and compare your work.
• Have you both noted the same points?
• What information could you add?
Summary checklist
I can use language and image cues to predict events in a
fiction text.
I can comment on the narrative events of a fantasy fiction text.
I can produce an imaginative response to a fiction text.
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7 ‘The Travel Agency’
Getting started
65 Extract 2
Hanna stepped into a white room filled with brightly illuminated illuminated: lit up
glass display cases. Inside them, laid out on black velvet, was amulet: a piece of
an assortment of items: rings of various metals, a knife, a pair of jewellery; a charm
shiny red shoes, several books, an amulet that consisted of two
snakes biting each other’s tails and a variety of keys.
‘Some keys will always open to the same destination regardless
of what door you enter through,’ explained the receptionist,
leading Hanna to the display cases. ‘Perhaps you read about
that in the brochure?’ Hanna passed the brochure, now damp
and crumpled, from one hand to the other. ‘While other keys are
more sensitive and require a specific door, or point in time, or
person to turn them. Over here we have the door gallery.’
Hanna looked at each key carefully. There were big ones and
small ones, some shiny-new and some that looked several
hundred years old. But none of them felt right. Neither did the
knife, nor the red shoes.
‘Are you travelling alone?’
Hanna took a step back from the display cases. What if she had
to bring a grown-up along?
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7.2 The keys
Listening tip
Listen carefully to the tone of voice used in spoken texts.
Speakers often give away their intentions and feelings by the
way they speak. For example, advertising speech can often
sound lively and enthusiastic.
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7 ‘The Travel Agency’
Speaking tip
When performing a role play, prepare yourself by thinking
about your character. Before you start, have a firm idea of the
personality of the character you are playing. Try to picture them
in your head and consider their attitudes and character.
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7.3 Hanna’s friend
Summary checklist
I can explain how language is used to persuade.
I can use persuasive language in my own writing.
I can perform a role play confidently and convincingly.
Getting started
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7 ‘The Travel Agency’
1 Here are some things you have found out about Hanna so far:
• When she arrives at the agency, she feels out of place and
wishes she had not come.
• She has come with the intention of making a journey, but
does not know how to find the right one.
• She has been in danger before and had to escape a
dungeon maze.
• She is looking for a specific journey but has not found it in the
paintings or other objects.
What do these details suggest about what might happen in the next
part of the story? Share your ideas with the class.
Now read the next part of the story.
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7.3 Hanna’s friend
Language focus
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7 ‘The Travel Agency’
Peer assessment
Swap accounts with a partner and check how thoroughly they
have written about each point. Copy and complete the table
to indicate how effectively they have written about each point.
Place a tick under red or amber or green.
• Green means they have written in detail.
• Amber means they have offered some detail.
• Red means that they have not written about the bullet at all.
Bullet point
1
2
3
4 Listening tip
When receiving
5 Now feed back your findings to your partner. Explain your verbal feedback,
listen carefully to
judgements, making sure you are polite and kind.
specific advice.
Ask for details
Summary checklist
and examples
I can explain how a writer might use a character to develop to help you
a theme. understand any
I can analyse how a writer presents a heroic character. guidance. Take
notes to help you
I can write an analysis of how a character is presented. remember.
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7.4 The fireplace
Getting started
68 Extract 4
‘Will you be taking much luggage?’ The receptionist’s
voice interrupted her thoughts.
‘I only have this bag.’
‘Good. Sensible, too, travelling light. People rarely need
everything they imagine to be essential.’ The blonde
woman led Hanna back out into the corridor and to
another door.
‘Here we have the larger passage portals.’ She
opened the door.
‘Wardrobes, mirrors, bags . . . ’
Hanna stepped inside. This room looked different
from the boring white rooms they had previously
seen. The walls were decorated in a wallpaper of tree
branches covered with apple-blossom buds. To Hanna’s left
there was an old fireplace that looked as though it had been
out of use for at least fifty years, and from the ceiling there
hung a chandelier draped in a white cloth that filled the room
with a warm filtered light. In front of the fireplace was
a sunken leather armchair and several old suitcases.
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7 ‘The Travel Agency’
1 The writer carefully describes the setting in this part of the story,
which suggests to the reader that the room is important. When
describing the objects in the room, the writer uses different
grammatical structures. Copy out the sentences or phrases into
your notebook (from Extract 4) that describe the following objects.
Leave space around these quotations as you will annotate them in
the next activity.
mirrors
chandelier armchair
fireplace
wardrobe suitcases
Key words
prepositional
phrase: a phrase
2 Label the quotations you have copied out with the correct
that contains a
word classes. For example, one structure is the adjective–noun preposition and
combination ‘old fireplace’, so you could annotate this: describes the
physical location
old fireplace
of an object
(adjective) (noun) noun phrase:
Another structure is a prepositional phrase followed by verb and a a phrase that
noun phrase. Here is an example: contains an
adjective and
On the right-hand wall there hung a series of full-length mirrors describes the
(prepositional phrase) (verb) (noun phrase) qualities of an
object
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7.4 The fireplace
Reading tip
When labelling sentences, start by identifying the main verb.
Then look for nouns and see whether they are accompanied by
adjectives. Use a dictionary to help label any words you cannot
identify yourself.
• What did you find most difficult about labelling the sentences?
• Were any sentences particularly difficult to label? Why was this?
• How could you improve your ability to use grammatical terms?
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Summary checklist
I can use linguistic terms to label groups of words and phrases.
I can use different grammatical structures.
I can predict how a story will end from information given.
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7.5 Time
7.5 Time
In this session, you will:
• use different ways to work out unfamiliar words
• consider the role of a secondary character in a text
• explore writing in a personal voice.
• what you can remember about your first few weeks at school. Remember to
shape your talk
Read the next part of the story. It starts with Hanna thinking about the when offering a
last time she saw Sannala. view – choose
your words
carefully in
69 Extract 5
order to help
Despite numerous attempts, the entrance to the pergola had your partner
never led to another world again. She had tried to dive back understand
into that cold sea and return to Sannala and the Golden Cape, precisely what
until the salty water filled her nostrils and forced her to surface, you mean.
coughing, her throat burning. She had clambered up on the
rocks, slippery with slimy green seaweed, and wept. Sannala
would think she had drowned. Or, even worse, maybe she
thought that Hanna had betrayed her. Abandoned her.
One spring and one summer had passed since then. Hanna had
had a birthday in that time. What if she was too old? Grown-ups
couldn’t travel between the worlds as easily as children.
‘Ah!’ the receptionist lit up. ‘Good question! It is true that
spontaneous travellers have almost always been children.
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7 ‘The Travel Agency’
Some portals, like that wardrobe,’ she pointed, ‘only work for
children, unfortunately. The same goes for holes in the ground.
Experience has shown that young adults can also pass through
the more well-known, reliable portals. Though I’m afraid it is
often the case that the ability to cross over decreases with each
passing year.’ She looked kindly at Hanna. ‘But you are still
young. Then, when it comes to the return journey—’
Hanna interrupted her suddenly. ‘What about time?’
‘Time?’ As the receptionist looked at her, Hanna thought that
her eyes saw too much. She turned around and examined the
fireplace again. The wallpaper to the right of it showed apple
blossoms in full bloom. Weren’t they buds just a moment ago?
‘Yes, time is often different, isn’t it? There and here.’ Hanna
swallowed.
‘It’s true. Many portals are temporally volatile. That is why we volatile:
ask for payment in full prior to departure.’ unpredictable
A bird was sitting on one of the branches. It was turquoise, as
turquoise as that sea had been, back there, in the place she
wanted to return to more than anything. She thought she could
almost hear the bird singing.
‘I heard,’ she said in a small voice, ‘that time goes much faster in
the other worlds than it does here. That one day here can be a
hundred years there.’ In which case there would be no Sannala
any more. Hanna could hardly bear to think of it.
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7.5 Time
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7 ‘The Travel Agency’
Writing tip
When making notes on characters and their attributes, visual
plans such as spider diagrams and tables are effective ways of
recording information. For example, your spider diagram might
start like this:
The receptionist is a
positive and professional character.
She is very helpful towards Hanna and
gives her sensible advice. She likes Hanna
and also feels sorry for her. I think she
will help Hanna to find a way to
travel to find Sannala.
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7.5 Time
Self-assessment
Read your diary entry.
• What type of voice did you choose?
• How well do you think it conveys the receptionist’s personality?
• Which lines are you most happy with?
Summary checklist
I can work out the meanings of unfamiliar words.
I can comment on the role of a secondary character in a text.
I can write in a personal voice.
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7 ‘The Travel Agency’
Getting started
Read the final part of the story. Hanna has sensed that the room has a
portal which might take her to Sannala.
70 Extract 6
She walked hastily out of the room. Her heart was racing,
pounding. She had no time to lose. The receptionist followed
after her, down the corridor and back to the frosted-glass door.
A few clients were visible out in the waiting room. Just when clients: customers
the blonde woman was about to unlock the door she stopped.
Hanna held her breath.
‘Your bag! You left it behind.’
‘Oh, I’m sorry, I’ll run and get it. I’ll just be a second. You have
clients waiting,’ Hanna pointed, ‘I’ll knock when I’m back.’
‘It’s OK, I’ll wait, but do hurry.’
Hanna ran down the corridor and into the room with the fireplace
without making a sound. The receptionist stuck her head round
the door to the waiting room. ‘I do apologize about the wait –
I’ll be with you in just a moment.’ She closed the door again and
followed slowly after Hanna.
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7.6 The beach
When she came back into the room, it was empty. Hanna and
her bag were nowhere to be seen. There was a strong smell
of burnt sugar. The receptionist checked the wardrobe: it was
locked. The doors were closed and hostile. She examined the hostile: unfriendly
mirrors, ran her fingers along the glass and frames, then shook
her head. Finally, she came over to the fireplace. The smell
became more intense. She peered into the fireplace and then
at the wall next to it. The wallpaper showed a wild blooming
forest filled with blue-green birds. Through the branches she
caught sight of a golden beach where two figures were
embracing.
She took her mobile phone out of her pocket at
once and dialled a number.
‘Hi. She found a portal. No, it wasn’t the
fireplace. The wallpaper. It must date back to
when the house was built. Of course,
I’ll make sure it is secured.’
She listened carefully. Then smiled widely.
‘That’s good to hear. Then she should have
plenty of time to put things right. No, I don’t
think we should expect her return.’
She smiled, humbled. ‘Thank you, Alice, that’s
very kind. And I’d just like to say that I think it
is a wonderful thing you are doing. Helping
the ones who . . . Yes, yes. I know.’
And she hung up, without saying goodbye.
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7 ‘The Travel Agency’
‘The Travel Agency’ have a sense of closure? Is it right to say that the
Key word
story has a clear resolution? Think about the characters, the main
problems and desires they have and whether they are resolved. Write resolution: a
two lists: things that are resolved and things that left unresolved. feeling that all
problems have
4 Write a paragraph about the end of ‘The Travel Agency’. You should: come to an end
• summarise what happens at the end
• say whether you think the story has a sense of closure
• say whether you liked the ending or not, and why.
5 Alice is an interesting character, even though she never appears in
person. Earlier in the story, the receptionist says ‘Our owner, Alice
Silwe, bought the entire estate just last year.’ In the final part of the
story, the receptionist says:
‘Thank you, Alice, that’s very kind. And I’d just like to say that I
think it is a wonderful thing you are doing. Helping the ones who . . .
Yes, yes. I know.’
In pairs, discuss why Alice might help others. What do you think
the incomplete phrase Helping the ones who . . . means? Share your
answers with the class.
6 One of the themes of the story is friendship, which is explored
through the relationship between Hanna and Sannala. The
structure of the story moves from friends being separated to
friends being reunited. The writer reinforces the theme through the
receptionist and later Alice, who are supportive towards Hanna.
The revelation at the end about Alice’s kindness in helping to
reunite the girls emphasises ideas about people caring for others.
Look back through all of the story and make notes on:
a how Hanna’s loneliness is presented in the early part of
the story
b at which point Sannala is introduced in the story
c how Hanna and Sannala’s friendship is presented.
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7.6 The beach
Writing tip
When answering essay-style questions, look closely at the words
in the task. Underline the key words and make sure you address
them in your answer. Stay focused on the task throughout your
answer.
• How well did you understand the details of ‘The Travel Agency’?
• Which parts were harder to understand? Why do you think that was?
• How accurate were your predictions about the story?
Summary checklist
I can comment on how a writer ends a story.
I can identify and explain how a theme is developed.
I can give an opinion about the story using examples from
a text.
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Check your progress
Answer the following questions to check what you have learnt in this unit.
1 What types of characters do you find in fantasy stories?
2 Describe the type of language used in advertising brochures.
3 What is a flashback?
4 Give an example of a prepositional phrase.
5 Give two strategies you could use to work out the meaning of unfamiliar words.
6 What do the words ‘closure’ and ‘resolution’ mean?
Project
In groups of four, you are going to research stories with fantastical
elements. This means stories that have characters, events or settings that
are not ‘realistic’. For example, they might be set in a different world to our
own, feature people with special powers or describe impossible events.
There are fantastical stories for every age group: many young children read
stories featuring talking animals. Some teenagers enjoy stories set in dark
places with characters from other worlds. Others enjoy stories set in the
future where science and technology has developed.
Your task is to collect a range of fantastical stories and identify the features
of this genre. You are trying to find out the ‘rules’ of the genre. Research
popular fantastical stories, and then choose a different book each.
After you have read your book, make notes on:
• the range of settings: what types of places and worlds are shown?
Do they operate in different ways to our world?
• the main characters: are they always human? Do they have unusual
powers?
• the storylines: what happens? What challenges are faced by the
characters? Do the stories end happily?
• the themes: what big ideas are explored? What is the writer saying
about life?
You should then talk as a group about your findings. Write a report together
that explains what you have discovered about the features of fantastical
stories. Your report should be organised, using subheadings and contain
examples from the stories you have read.
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8 In the city
In this unit, you will explore how cities are presented in fiction.
You will look at how writers create mysterious and exciting cities as
settings. You will also read descriptions of real places and think about
how cities of the future might be designed.
Getting started
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71 Extract 1
Rush hour in Delhi. Cars, scooters, motorbikes, autorickshaws,
black taxis, jostling for space on the road. The pollution is jostling: pushing
so bad that the men on the motorbikes and scooters have a heist: robbery
handkerchief wrapped around their faces – each time you stop
at a red light, you see a row of men with black glasses and
masks on their faces, as if the whole city were out on a bank
heist that morning.
There was a good reason for the face masks; they say the air is
so bad in Delhi that it takes ten years off a man’s life. Of course,
those in the cars don’t have to breathe the outside air – it is just
tinted: darkened
nice, cool, clean, air-conditioned air for us. With their tinted
windows up, the cars of the rich go like dark eggs down the bangles: jewellery
roads of Delhi. Every now and then an egg will crack open – a worn around the
woman’s hand dazzling with gold bangles, stretches out of an wrist
open window, flings an empty mineral water bottle onto the resealed: closed
road – and then the window goes up, and the egg is resealed. up again
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8.1 The drama of Delhi
Language focus
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8 In the city
Now read the next part of the story. The passenger in the car,
Mr Ashok, is the narrator’s employer.
72 Extract 2
There was a fierce jam on the road to Gurgaon. Every five
minutes the traffic would tremble – we’d move a foot – hope
would rise – then the red lights would flash on the cars ahead of
me, and we’d be stuck again. Everyone honked. Every now and honked: used the
then, the various horns blended into one continuous wail that car horn
sounded like a calf taken from its mother. Fumes filled the air Honda City: a
making a kind of fog around us. make of car
The autorickshaw driver next to me began to cough violently – glared: looked
he turned to the side and spat, three times in a row. Some of the angrily
spit flecked the side of the Honda City. I glared – I raised my fist.
‘It’s like we’re in a concert of spitting!’ Mr Ashok said, looking at
the autorickshaw driver.
Well, if you were out there breathing that acid air, you’d be
spitting like him too, I thought.
The cars moved again – we gained three feet – then the red
lights flashed and everything stopped again.
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8.1 The drama of Delhi
Writing tip
When writing an essay containing a range of examples,
remember to summarise your points – give an overview of
what the examples show when taken all together.
Summary checklist
I can understand how punctuation can be used for effect.
I can analyse the effects created by imagery and figurative
language.
I can explain how writers use language that appeals to
the senses.
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8 In the city
Getting started
Things to do in Doha
Read this extract, which is an informative article from a travel website.
It is about Doha, the capital city of Qatar.
73 Extract 1
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8.2 The delights of Doha
What To Do In Doha
Museum Of Islamic Art: One of the best things to do in Doha is to visit the Museum
of Islamic Art. Even if you do not enjoy visiting museums this one should not be
missed at all!
Entrance to the museum is free of cost and the timings are 9am to 7pm every day
except Fridays. On Fridays, the timings are 1:30pm to 7pm. You may opt for free
guided tours that are available every Thursday and Saturday at 2pm in English and
Arabic, depending on your choice. The entire tour lasts for about 40 minutes.
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8 In the city
Katara Cultural Village: If you want to learn about the culture of Doha, then
the best place to visit is the Katara Cultural Village. It is one of the top tourist
destinations in Qatar and holds several events and festivals throughout the year. The
village is open 24/7, so you can visit Katara at any time of the day.
For many, Doha has always been associated with oil and gas industries, but once you
reach here, you will realize that there is much more! The friendly and helpful locals,
scenic views, and beautiful skylines attract innumerable tourists each year. Despite
being one of the hottest regions in the world, tourists visit Doha for its culture,
beauty, and grandeur. So, pack your bags and visit Doha to discover its soul!
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8.2 The delights of Doha
Peer assessment
In pairs, swap articles. How effective is your partner’s article?
Consider:
• whether it contains plenty of information
• whether they make the city seem appealing Speaking tip
• what advice you could give to improve the article. Listeners react
well to confident
7 Your article has been well received. You have been invited to give speakers and
a talk about the city at a travel show. Use details from your article the good news
is that everyone
as a starting point for planning your speech. Assume that your
can learn to
audience is adult travellers and that you will speak for two minutes. be a confident
The purpose of your speech is to inform but also to persuade the speaker. Speak
audience of the value of visiting the city. Start by identifying which slowly enough
parts of your article you could adapt. for your listeners
to hear every
8 Practise your speech, making sure that you consider: word. Do not
• the length, pace and tone of your speech move around too
much and smile
• how you will engage your listeners naturally at times
• how gestures and media (such as pictures) might help. to show that you
are relaxed.
When you are confident with your speech, deliver it to the class.
• How easy did you find it to convert your article into a speech?
• What did you find the most difficult?
Summary checklist
I can comment on the structure of an informative article.
I can write an informative article for a specific audience.
I can adapt speech for a specific purpose.
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8 In the city
Getting started
The genre of fantasy writing often combines ideas from the real
world with characters, events and settings that seem strange or
different to normal life.
In pairs, make a list of fantasy novels and films you have heard of.
What characters, events and settings do they include?
Neverwhere
Read the extract from the novel Neverwhere by Neil Gaiman, set
in London. The main character, Richard, has found himself in a
mysterious situation. He is below the streets of London with three
strange companions: Hunter, Door and the Marquis.
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8.3 Mysterious London
75 Hunter pulled up the sewer cover, looked into it, warily, climbed down, then ushered Door into
the sewer. Door did not look at Richard as she went down. The Marquis scratched the side of
his nose. ‘Young man,’ he said, ‘understand this: there are two Londons. There’s London
Above – that’s where you lived – and then there’s London Below – the Underside – inhabited
by the people who fell through the cracks in the world. Now you’re one of them. Good night.’
He began to climb down the sewer ladder. Richard said, ‘Hang on,’ and caught the sewer cover
before it could close. He followed the Marquis down. It smelled like drains at the top of the
sewer – a dead, soapy, cabbagey smell. Grey water ran shallow but fast, along the bottom of the
brick tunnel. Richard stepped into it. He could see the lights of the others up ahead, and he ran
and splashed down the tunnel until he caught up with them.
‘Go away,’ said the Marquis.
‘No,’ he said.
Door glanced up at him. ‘I am really sorry, Richard,’ she said.
The Marquis stepped between Richard and Door. ‘You can’t go back to your old home or your
old job or your old life,’ he said to Richard, almost gently. ‘None of those things exist. Up there,
you don’t exist.’ They had reached a junction: a place where three tunnels came together. Door
and Hunter set off along one of them, the one that no water was coming down, and they did not
look back. The Marquis lingered.
‘You’ll just have to make the best of it down here,’ he said to Richard, ‘in the sewers and the magic
and the dark.’ And then he smiled, hugely, whitely. ‘Well – delightful to see you again. Best of
luck. If you can survive for the next day or two,’ he confided, ‘you might even make it through a
whole month.’ And with that he turned and strode off through the sewers, after Door and Hunter.
Richard leaned against a wall, and listened to their footsteps, echoing away, and to the rush of
the water running past . . .
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Peer assessment
Swap notebooks with a partner and read their work aloud to the
class. Listen carefully to each other’s writing.
• Which words and phrases are most effective in describing
the setting?
• How well has the setting created atmosphere?
Summary checklist
I can understand the ways setting is used.
I can explain how a writer creates atmosphere.
I can use language precisely to create an effect.
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8.4 Bringing the city to life
Getting started
A Christmas Carol
76 1 One of the most famous fictional characters is Ebenezer Scrooge. Key word
He appears in A Christmas Carol, written by Charles Dickens. podcast: a spoken
The novel tells the story of how the mean-spirited Scrooge learns recording made
to be a better person. Listen to the podcast about Dickens’s life and available to
answer these questions in your notebook. download from
the internet, often
a Describe Dickens’s childhood.
part of a series
b What did Dickens discover about
the experiences of children in
England?
c Name five countries Dickens visited.
d How did Dickens think people could
help the poor?
Listening tip
When hearing spoken information, listen
out for key nouns, dates and any repeated
words. Focus on grasping the key points of
what you hear. Don’t worry if you don’t
understand every word you hear.
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8 In the city
Reading tip
Texts written a long time ago sometimes use unfamiliar words. Key word
Try to see these words as a positive challenge. Use glossaries, glossary: an
dictionaries and online searches to find out the meaning of alphabetical list of
challenging words. words or phrases
from a text, with
their meanings
Language focus
Writers often describe settings in a way that makes them come Reading tip
to life. For example, they use figurative language such as
personification. Personification means giving human qualities Settings are
to non-human objects. For example: an important
structural feature
• The city belched out poisonous smoke. of a story.
• The road slithered through the city. When reading,
think how settings
One of the main effects of personification is to create a sense
create feelings of
of excitement or threat. For example, writers might personify a
excitement or
large, imposing building as ‘gazing down’ at the narrator.
danger. Think
This might imply that the narrator feels threatened.
how they reflect
values and
3 Dickens uses personification to describe the weather in the city. characters. For
Explain the effect of word choices and use of figurative language example, a story
set on a beautiful
in these examples:
beach might echo
a It was cold, bleak, biting weather the happiness
and freedom felt
b The fog came pouring in by a character.
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8.4 Bringing the city to life
78 It was a September evening, and not yet seven o’clock, but the
day had been a dreary one, and a dense drizzly fog lay low
upon the great city. Mud-coloured clouds drooped sadly over
the muddy streets. The yellow glare from the shop-windows
streamed out into the steamy air, and threw a murky, shifting
radiance across the crowded thoroughfare.
‘City Jungle’
Read this poem by Pie Corbett.
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8 In the city
6 In pairs:
a discuss what is implied by the title of the poem
b debate whether the city is presented in a negative or positive way
c make a list of all the examples of personification in the poem.
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8.4 Bringing the city to life
7 The two poems you have read present the city in different ways.
Make notes on the similarities and differences between these
poems, including:
• what each poem suggests about the city
• the use and effect of figurative language such as
personification.
8 Write your own poem describing a city. Use the sights and sounds
from the earlier prose extracts (A Christmas Carol and The Sign
of Four) and add some of your own. Use techniques such as simile
and personification. You could use the first line of your poem as
the title or choose a title that sums up the setting, like ‘City Jungle’.
Remember to set your writing out in the form of a poem.
Self-assessment
Consider how effective your poem is. Ask yourself:
• Have I set it out like a poem?
• Did I use any language techniques?
• Which lines am I most pleased with? Why?
• Which lines should I redraft? Why?
Summary checklist
I can find out the meanings of unfamiliar words.
I can analyse how a writer uses figurative language to describe
a city.
I can use figurative language to create an effect in a poem.
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8 In the city
Getting started
‘Urban Threats’
Read the first part of an online article titled ‘Urban Threats’.
81 Extract 1
The promise of jobs and prosperity, among other factors,
pulls people to cities. Half of the global population already
lives in cities, and by 2050 two-thirds of the world’s people are
expected to live in urban areas. But in cities two of the most
pressing problems facing the world today also come together:
poverty and environmental degradation.
Poor air and water quality and high energy consumption
are exacerbated by the increasing population density and exacerbated:
demands of urban environments. made worse
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8.5 City problems
Language focus
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8 In the city
82 Extract 2
GRAND CENTRAL STATION, NYC
New York’s Grand Central Station overflows with a sea of
commuters and travellers at rush hour. Every day, 1.3 million commuters:
commuters travel into Manhattan to work for the day and then people who travel
return to their homes at night. for work
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8.5 City problems
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8 In the city
Peer assessment
Consider how effective your debate was.
• Did you take turns effectively?
• Were you polite and respectful?
• Which side had the stronger argument?
Summary checklist
I can understand the origins and meanings of some words.
I can identify whether an article is biased.
I can argue a point of view in a debate.
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8.6 City solutions
Getting started
83 Extract 1
Imagine you are ten years old. You live in a medium-sized city
and want to visit your best friend, a five-minute walk away, so
you can go to the park, another ten minutes’ walk. The problem
is, there’s a big, dangerous road between you and your friend,
and another between them and the park. You ask your parents
if you can walk, they say no, and they are too busy to take you
there themselves. This is the reality for many kids today – but it
doesn’t have to be this way.
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8 In the city
1 What does the writer suggest are the problems of city life
for children?
Writers choose the ‘angle’ they tell things from. One of the key second person:
decisions is whether to use the first-, second- or third-person written as if
perspective. First-person writing makes it seem as if you are addressing the
seeing things through the narrator’s eyes – as a reader, you reader, using the
get direct access to the narrator’s thoughts and ideas. Second- pronoun ‘you’
person perspective is not often used. This is where the writer (e.g. ‘You leap out
addresses the reader as ‘you’. Third-person perspective is of bed and get
where a narrator describes what is happening to characters. In dressed.’)
this perspective, the reader does not hear things from a single third person:
character. Instead, the narrator can explain the action from a written from an
distance. Most stories are written in the third person, although observer’s point
many are told in the first person. of view, using
pronouns such
as ‘he’, ‘she’
2 What perspective is Extract 1 written from? What is the effect
and ‘they’
of this?
Read the next part of the article. It explains the ways in which three
cities have become more child-friendly.
84 Extract 2
Rotterdam: wild spaces for kids
Some school playgrounds have been turned into community
squares – featuring high-quality playable spaces with anything
from community gardening to sporting facilities, allowing kids
to experience life within the wider community.
A community Droomstraat (dream streets) programme allows
residents to bid for and design street improvements, swapping
traffic and car parking for things such as vegetable patches or
public seating.
Bogotá: mapping danger spots
Work to make the city’s public spaces more equitable started equitable: treating
two decades ago with Peñalosa’s ambitious bus rapid transit everybody fairly
scheme, bike lanes, and the introduction of 1,200 parks and and in the same
play spaces. way
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8.6 City solutions
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8 In the city
3 Copy and complete the table placing a tick in the correct column.
Reading tip
Which city . . . Rotterdam Bogotá Vancouver When locating
has a huge playground information
with a place to climb? across an article,
has brightly painted use different
buildings? coloured pens to
highlight linked
lets local people get
information.
involved in projects?
Colour-coding
topics or themes
4 On a large sheet of paper, list the ways these cities have been made will help you
more child-friendly. Use the headings: to keep track
of pieces of
information
nature and
ansport gardening spread over
traffic and tr a long text.
art and decoration play spaces
development
housing and
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Check your progress
Answer the following questions to check what you have learnt in this unit.
Check
1 Explainyour progress
what visual, aural and olfactory images are.
Answer
2 thesome
Give following questions
tips for to an
delivering check what speech.
effective you have learned in this unit.
1
3 What
Explainarehow featurescan
keysettings of adventure stories? feelings and situation.
reflect a character’s
Give some examples of events that happen in adventure stories.
4 Give an example of personification.
2 What type of characters do you find in adventure stories?
5 What does
Are they ‘etymology’
ordinary mean?
people or do they have special skills? What happens to them?
6
3 Explain (with
Name three examples)
ways you canwhat
keepfirst, second and
an audience third person
interested mean. an anecdote.
when relating
4 Project
Using examples, explain what alliteration and sibilance are.
5 List three ways that a writer can create suspense.
Cities develop over many years. The needs of the 21st century are not
6 always
Explain
metwhat you know
by modern about
cities. writing
If you accounts
could designofanadventures.
entire city that was fit for
theHow
21sthas
century, what would
your writing you include?
improved?
In groups, you will design a new city. Assume that the new city is in the country
where you live. You have unlimited money to make the best city you can.
Your city must be a place where all humans feel
happy and safe. You must think carefully about:
• transport
• housing
• work places, including offices and factories
• shopping areas
• pollution and environmental issues
• child-friendly spaces.
Decide how you will present your ideas before
presenting to the class. You could draw plans,
sketches or IT presentations to convey your
ideas. Be prepared to explain how your city will
solve some of the problems that current cities
experience.
Start by discussing ideas. Make notes, plans and think
creatively. What style of buildings will you have? Will they be futuristic?
How will people move around the city? What will your city be called?
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9 Dangers of the sea
In this unit, you will read about villains and victims from three novels
set at sea, and explore ideas about human fears. You will also study
a classic poem about a dramatic journey in which a sailor makes a
disastrous mistake.
9.1 Jaws
In this session, you will:
• explore how writers present antagonists
• consider figurative language in a narrative text
• refine your ability to describe characters.
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9.1 Jaws
Jaws
Read this extract from the novel Jaws by Peter Benchley. In the story,
the antagonist is a shark that brings terror to a seaside town. Here, the
writer describes the shark as it swims around a boat.
85 Extract 1
It stuck out of the water perhaps two feet. The top of the head
was a sooty grey, pocked with two black eyes. At each side of
the end of the snout, where the grey turned to cream white, pocked: marked
were the nostrils – deep slashes in the armoured hide. The armoured:
mouth was open not quite half-way, a dim, dark cavern guarded covered in tough
by huge, triangular teeth. skin, like armour
1 In pairs, identify the words and phrases in the extract that make
the shark seem frightening. Discuss what makes these words and
phrases effective.
Language focus
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9 Dangers of the sea
In the following extract from Jaws, Hooper (one of the main characters
in the novel) has been lowered into the water in a metal cage. He tries to
take some pictures of the shark. It rises towards him.
86 Extract 2
It rose with no apparent effort, an angel of death gliding
towards an appointment.
The fish came closer, silent as a shadow, and Hooper drew back.
The head was only a few feet from the cage when the fish turned
and began to pass before Hooper’s eyes – casually, as if in proud
display of its mass and power. The snout passed first, then the slack: loose
jaw, slack and smiling, armed with row upon row of serrated serrated: having
triangles. And then the black eye, seemingly riveted upon him. a jagged edge
The gills rippled – bloodless wounds in the steely skin. riveted: fixed
The fish continued to move away from the cage. Hooper heard gills: the part of a
faint popping noises, and he saw three straight spirals of angry fish that allows it
bubbles speed from the surface, then slow and stop, well above to breathe
the fish. Bullets. Not yet, he told himself. One more pass for rammed: pushed
pictures. The fish began to turn. through with
The fish rammed through the space between the bars. great force
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9.1 Jaws
Peer assessment
Share your sentences with another pair.
• What types of figurative language have other learners used?
• Which sentences are the most effective? Why?
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9 Dangers of the sea
Summary checklist
I can analyse how writers present antagonists.
I can comment on the effect of figurative language.
I can write effective descriptions of powerful characters.
Getting started
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9.2 Victims and villains
87 Extract 3
The woman rose and walked to where the gentle surf washed
over her ankles. The water was colder than the night air, for it
was only mid-June . . .
She backed up a few steps, then ran at the water. At first her
strides were long and graceful, but then a small wave crashed
into her knees. She faltered, regained her footing, and flung faltered: hesitated
herself over the next waist-high wave. The water was only up untutored:
to her hips, so she stood, pushed the hair out of her eyes, and someone who
continued walking until the water covered her shoulders. There has not been
she began to swim – with the jerky, head-above-water stroke of taught something
the untutored. properly
1 In groups, discuss how the writer has made the woman seem
vulnerable and easy to attack. Consider:
• the time setting
• the effect of the waves on her
• her swimming ability.
One of the structural decisions a writer has to make is which of the
characters has more information or knowledge than other characters.
In most stories, victims are often unaware they are in danger. The writer
also has to decide how much information to give the reader. If a writer
lets the reader know that a character is in danger, it creates tension –
especially if the character is unaware of it. In this next extract from
Jaws, the writer brings the victim and villain together.
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9 Dangers of the sea
88 Extract 4
The fish sensed a change in the sea’s rhythm. It did not see the
woman, nor yet did it smell her. Running within the length of its
body were a series of thin canals, dotted with nerve endings,
and these nerves detected vibrations and signalled the brain. vibrations: shaking
The fish turned towards shore. movements
The woman continued to swim away from the beach, stopping signalled: sent
now and then to check her position by the lights shining from messages to
the house. The tide was slack, so she had not moved up or
down the beach. But she was tiring, so she rested for a moment,
treading water, then started for shore.
The fish closed on the woman and hurtled past, a dozen feet hurtled: moved at
to the side and six feet below the surface. The woman felt high speed
only a wave of pressure that seemed to lift her up in the water
and ease her down again. She stopped swimming and held
her breath.
The fish smelled her now, and the vibrations signalled distress.
The fish began to circle close to the surface. Its dorsal fin broke
water, and its tail, thrashing back and forth, cut the glassy
surface with a hiss. A series of tremors shook its body.
For the first time, the woman felt fear, though she did not know
why. Adrenalin shot through her, urging her to swim faster. She adrenalin: a
guessed that she was fifty yards from shore. She saw the lights chemical released
in the house, and for a comforting moment she thought she saw by the body
someone pass by one of the windows. when someone
The fish was about forty feet away from the woman, off to the is frightened or
side, when it turned suddenly to the left, dropped entirely below excited
the surface, and with two quick thrusts of its tail, was upon her.
2 Read the extract and decide what the woman, the fish and the
reader know and do not know in each paragraph. Copy and
complete a table into your notebook for all six paragraphs.
The first one has been done for you.
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9.2 Victims and villains
3 Look again at the extract and the information you collected in the
table. In pairs, discuss:
a the point at which point the woman realises she is
in danger
b the point at which point you think the fish
‘decides’ to attack
c why the writer lets the woman feel some
comfort in the fifth paragraph
d how the writer suggests what the final attack
will be like.
4 Write a two-paragraph analysis of how the writer
presents the victim and the villain in the extract.
You should write about:
• words and phrases that make the woman seem
vulnerable and in danger
• words and phrases that make the shark seem threatening
• how the writer controls the knowledge of both characters.
Writing tip
When writing a response, it is important to focus clearly on
the question. Bullet points are there to remind you of the
key areas to cover, so make sure you respond to them as you
plan and write your answer. When you have finished writing,
look back at the question and make sure you have tackled all
the points.
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9 Dangers of the sea
Self-assessment
Using different coloured highlighter pens, identify which parts
of your response to Activity 4 address which bullet points.
• Is there an equal balance?
• Are there any bullet points that have not been fully covered?
• If some bullet points haven’t been covered, what could you
add to your answer?
Summary checklist
I can analyse how writers present victim figures.
I can identify how writers control the flow of information
in stories.
I can write an analysis of how victim and villain figures are
described.
9.3 Fear!
In this session, you will:
• analyse the structure of an informative article
• read and interpret the content of an article
• research and deliver a presentation.
Getting started
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9.3 Fear!
89 Extract 1
Why are we afraid of sharks? There’s a scientific explanation.
Sharks aren’t the mindless killers that we’ve made them out
to be.
Sharks, specifically great whites, were catapulted into the public catapulted: sent
eye with the release of the film Jaws in the summer of 1975. The flying
film is the story of a massive great white [shark] that terrorizes murky: dark
a seaside community, and the image of the cover and hard to see
alone − the exposed jaws of a massive shark rising through
upward in murky water − is enough to inject fear
into the hearts of would-be swimmers.
But where did our fear of sharks come from, and
how far back does it go?
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9.3 Fear!
5 Now read the final part of the article. Using your own words,
summarise where human fears come from.
91 Extract 3
Where did this fear come from?
Fear is not necessarily something we’re born with, but it’s
something we have developed over time. Infants aren’t afraid
of snakes and heights, but as adults, our brains become more
sensitive to fearful stimuli. stimuli: things
Think back to how ancient people would have survived in their that trigger a
primitive habitats. They would have avoided tall cliffs and wild specific response
animals because they knew those threats could potentially kill in the body
them, and that’s what kept them alive. They learnt fear as an primitive: basic,
adaptation to protect themselves. rough
‘Fear is something that we’ve inherited from our early ancestors,‘ prone: likely to
Chapman says. ‘[Sharks] are an animal. Biological things like suffer from
animals are something that we’re very prone to fear.‘
Speaking tip
Consider using a range of media when creating a presentation.
You could use pictures or film clips to help your audience
understand the things you are describing, especially if you are
exploring abstract topics such as ideas, feelings and concepts.
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Self-assessment
Think about the effectiveness of your presentation. Consider:
• How well did you use language to explain ideas?
• How effective was the media used?
• What kind of impact did your presentation have on the
audience?
Summary checklist
I can analyse how writers structure informative articles.
I can understand the main points of an article.
I can research and deliver a presentation effectively.
Getting started
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9.4 A tale of a whale
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9 Dangers of the sea
Or one in particular?
Captain Alexandra was known as the hardest-driving, most
risk-taking Captain to sail from our ports. This reputation was
well-earned. She was a veteran of a thousand hunts. Her veteran: someone
Apprentices – the ones who did not die on the Abyss – rose to who has taken
the highest ranks of their own hunting pods. part in a particular
‘Bathsheba!’ the Captain called from what was now below me. experience
‘Has he recovered?’
‘He recovers from his drowning,’ I answered. ‘I don’t know if he
will ever recover from his fright.’
I circled the young male. He still, remarkably, held the disc in
his hand, as if he’d forgotten it in his shock. He watched me, his
eyes wide. I opened my mouth to bring him back –
‘No, please!’ he shouted.
I was so surprised to be addressed directly I paused. Men rarely
bothered to speak to us. They never spoke to Apprentices.
‘You’re going to kill me,’ he gasped.
4 In groups, discuss:
Key words
a how the young male sailor is presented
sympathetic
b how the relationship between Bathsheba and Captain character: a
Alexandra is presented. character that
the reader
5 Usually, stories contain a lot of information about heroic identifies with
characters. This helps the reader understand and relate to the and has a positive
characters’ actions and feelings. As a result, heroic characters response to
are usually sympathetic characters. In choosing to retell a story
from the villain’s point of view, readers are invited to understand
a different point of view. In groups, discuss whether you think
Bathsheba is a sympathetic character. Why or why not?
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9.4 A tale of a whale
6 Make some notes on what you think might happen next in the
story. Remember that:
• Bathsheba is not sure what has happened to the ship
• the sailor is very frightened
• he has a mysterious disc in his hand.
7 Using your notes from Activity 6, write the next part of the story.
Write about 200 and use dialogue. This might be a conversation
between Bathsheba and the Captain, or some words said by the sailor.
Look again at the way Bathsheba speaks before you write your piece to
remind yourself of the rules of setting out direct speech. Look carefully
at where punctuation is placed.
Summary checklist
I can create a picture based on a classic text.
I can interpret a modern version of a classic text.
I can use dialogue effectively in a story.
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9 Dangers of the sea
Getting started
94 Extract 1
‘The ship was cheered, the harbour cleared,
Merrily did we drop
Below the kirk, below the hill, kirk: church
Below the lighthouse top.
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9.5 The Rime of the Ancient Mariner 1
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9 Dangers of the sea
c The wedding guest cannot choose but hear the Mariner’s story.
Speaking tip
What does that mean?
Think carefully how
3 In groups of three, read the first five stanzas aloud. you use the full
Take the following roles: range of your voice
• Person 1 should speak the Mariner’s words (his voice to create different
effects. Changing
is the first in the extract).
the volume and
• Person 2 should read the narrator’s words. tone of your voice
can create mystery,
• Person 3 should perform the wedding guest’s actions.
anger or joy.
Now read on. In the next extract, the Mariner describes sailing into Start by working
a strange setting. Read the poem carefully. out who speaks
at which points,
then perform your
95 Extract 2 reading. As you
And now there came both mist and snow, perform your parts,
use your voice
And it grew wondrous cold:
to create a sense
And ice, mast-high, came floating by, of mystery and
As green as emerald. tension.
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9.5 The Rime of the Ancient Mariner 1
4 Make notes on the weather and scenery in this extract. What effect
is created by these descriptions? Describe the techniques the poet
uses, using accurate terminology.
Now read the next part of the poem. A large sea bird called an albatross
comes to the ship. In the last stanza in this extract, the wedding guest
asks the mariner why he looks so fearful.
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Summary checklist
I can understand the content of a classic poem.
I can comment on the effect of setting in a classic poem.
I can produce a soundscape of a classic poem.
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9.6 The Rime of the Ancient Mariner 2
Getting started
In pairs, discuss what might happen in the next part of the poem.
Remember that the Mariner lives to tell his story despite killing a
bird that brings good luck. Discuss your ideas with another pair.
In the next part of the story, the Mariner suffers because he killed
the albatross.
98 Extract 4
Down dropt the breeze, the sails dropt down,
‘Twas sad as sad could be;
‘Twas: it was
And we did speak only to break copper: an
The silence of the sea! orange colour
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9 Dangers of the sea
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9.6 The Rime of the Ancient Mariner 2
Language focus
99 Extract 5
Within the shadow of the ship
I watched their rich attire:
Blue, glossy green, and velvet black,
They coiled and swam; and every track
Was a flash of golden fire.
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9 Dangers of the sea
A B
Reading tip
When you give a personal opinion on a text, it is important
to refer to specific examples. Selecting a quotation or an event
from the text to prove your point is a key skill in English.
Practise choosing the most useful parts of the text to
demonstrate your point.
Summary checklist
I can understand and comment on the events of a poem.
I can identify and comment on a range of poetic features.
I can evaluate different views of a poem.
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Check your progress
Answer the following questions to check what you have learnt in this unit.
Check
1 your
Give three progress
ways that words are used to describe the shark in Jaws.
Answer
2 the following
Explain questions
how writers to check
can create what
tension byyou have learned
controlling in this unit.
information in their stories.
1
3 What
Explain key features
aredifferent waysof adventure
writers stories? informative articles.
can structure
Give some examples of events that happen in adventure stories.
4 Using an example, explain what a sympathetic character is.
2 What type of characters do you find in adventure stories?
5 Describe the disastrous
Are they ordinary people mistake madehave
or do they by the Ancient
special Mariner.
skills? What happens to them?
6
3 What
Namedo youways
three thinkyou
is the
cancentral
keep anmessage of interested
audience The Rime when
of therelating
Ancientan
Mariner?
anecdote.
4 Using examples, explain what alliteration and sibilance are.
Project
5 List three ways that a writer can create suspense.
Many people are worried by the way the marine world is being affected by the
6 Explain what you know about writing accounts of adventures.
actions of human beings. Issues such as plastic in the oceans, global warming
andHow
the has
wayyour
somewriting
humansimproved?
treat sea creatures are topical issues today.
Research the different concerns people have about the way humans treat
the marine world. Choose one area you feel most strongly about and collect
information such as data, stories and articles about this topic.
Prepare a booklet to inform your class about this topic and advise them how to
change their behaviour to help the environment. Your booklet should be written
and presented in a way that is eye-catching and interesting to read. As well as
providing information, it should persuade readers of the need to change our
attitudes to the natural world.
Your booklet could contain:
• statistics about the marine
environment
• images which show how the
sea has changed over time
• pictures that show the effect
of human behaviour on the
marine world
• key information your readers
need to know.
Remember to structure your text using organisational features to help
your readers. This could be headings, subheadings and bullet points.
When you have finished your booklet, ask your friends to read it.
How informative and effective is it?
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Glossary
alliteration use of the same sound, especially consonants, at the
beginning of several close-together words 21
anecdote a short entertaining story that is usually spoken 16
annotate to add notes to provide extra explanation 61
antagonist a character who creates problems in a story; a ‘bad’
character who stands in the way of the hero 216
assonance repetition of vowel sounds in the middle of words 238
aural image an image which appeals to the sense of hearing 193
autobiography a text in which the writer gives an account of their own
life and experiences 16
backstory the fictional history or background created for a character
in a story or film 72
biased prejudiced for or against a particular person, group
or idea 113
clause a group of words that contain a verb 19
climax the most exciting or important part of something 229
closure the sense of a complete ending to a story 185
colloquial language the type of informal language people use in everyday
speech when addressing people they know well 47
complex sentence a sentence with one main clause and one or more
dependent clauses 18
compound sentence a sentence with two main clauses joined by ‘and, ‘but’, ‘or’ 18
compound-complex a sentence containing a compound sentence that also
sentence has one or more subordinate clauses 38
context the situation within which something exists or happens 10
contractions two or three words that are combined to make one shorter
word with letters left out; the missing letters are indicated
by an apostrophe (e.g. wouldn’t, shouldn’t, you’ll) 47
contrast placing two characters or things together in order to
highlight their differences 35
conventions the ‘rules’ of how a story is told or a piece of writing is
set out 134
coordinating joining words such as ‘and’, ‘but’, ‘or’ 38
conjunction
deliberate misspelling where a word has been spelt incorrectly for a particular
effect, often to sound like spoken English (e.g. ‘cos’ instead
of ‘because’) 66
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dialogue a conversation between two or more people or characters,
written as direct speech 39
direct address speaking directly to any audience using pronouns such as ‘you’ 160
direct speech the exact words a person says, marked by speech marks 61
ellipsis a set of three dots ( . . . ) used to indicate that words have
been left out 26
embedded clause a clause placed in the middle of a sentence 151
etymology the origins of a word 127
evaluate to assess how good or bad something is and identify how to
improve it 69
exaggeration making something seem worse or better than it really is 66
expanded noun phrase a phrase that adds information and detail to describe a noun 89
expanded verb phrase a phrase that adds information and detail to describe a verb 89
explicit information ideas and details that a writer states directly 11
eye rhyme words that look as if they should rhyme but do not
(e.g. rough and bough) 238
fact something that is known to have happened or exist 72
fantasy imaginative stories, often set in strange places with unusual
characters 163
fiction a story about imaginary characters and events 61
figurative language words and phrases with a more imaginative meaning to create
a special effect, such as simile, metaphor and personification 69
first person written from a single point of view, using pronouns such
as ‘I’ and ‘we’ 88
flash fiction a very short work of fiction, which still offers character and
plot development 83
flashback a part of a story that goes back in time to explain an event 173
focal character the character who the reader understands and empathises
with the most in a story 33
formal language the form of English used in more ‘serious’ texts and situations,
such as news reports or official speeches 47
genre a particular type of text (e.g. adventure, comedy,
crime, science fiction) 9
gesture movements of the hands or arms to add emphasis to bring
a story to life 16
glossary an alphabetical list of words or phrases from a text,
with their meanings 202
haiku a form of poetry originating in Japan 91
humour when things are funny, or things that are funny 26
hyperbole exaggerated statements 114
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implicit information ideas and details that readers have to work out for themselves 18
infer to work something out from evidence in a text, rather than
being told it explicitly 60
informal language a more relaxed form of English, used when speaking or in
more casual written texts, such as emails to friends 47
line of argument a set of sequenced points intended to persuade 159
literal the original meaning of a word, as explained in a dictionary 73
lullaby a soothing song sung to a baby 137
metaphor a type of comparison that describes one thing as if it is
something else 147
minor sentence a sentence that does not contain a main verb 191
monologue a story or speech given by one character 14
mood the feeling created by the words, sounds and images in a poem 22
narrative a series of connected events that are written or spoken 134
narrative structure the order in which a writer sets out the events in a story 11
narrator the person telling the story 18
neutral not biased or not having an opinion one way or another 114
non-fiction writing that is about real events and facts 16
non-standard English words and grammatical patterns that fall outside the
conventional forms of English 42
noun phrase a phrase that contains an adjective and describes the
qualities of an object 176
olfactory image an image which appeals to the sense of smell 193
opinion a personal view or judgement about something,
not necessarily based on fact or knowledge 11
pace the speed at which someone speaks or how quickly events
take place in a story 40
personal pronoun a word used to replace a proper noun, such as ‘he’, ‘she’
and ‘they’ 160
personification a type of figurative language in which an object is described
as if it has human characteristics 154
perspective the ‘angle’ that a story or account is told from − whose
‘eyes’ the reader sees it through 183
plot the main events of a story, film, novel or play in sequence
from beginning to end 72
podcast a spoken recording made available to download from
the internet, often part of a series 201
predict say what you think might happen in the future 11
prefix letters added to the beginning of a word to make a new
word with a different meaning 101
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preposition a word or group of words used before a noun or pronoun to
show place, direction, time (e.g. ‘above’, ‘below’, ‘under’, ‘in’) 151
prepositional phrase a phrase that contains a preposition and describes
the physical location of an object 176
proper noun the name of a specific thing, place or person, marked by
an initial capital letter 59
props articles or objects used on the set of a play or film 133
prose the form of language found in novels and non-fiction texts
such as articles, written in paragraphs rather than verse 130
proverb a short, well-known saying, stating a general truth or piece
of advice 82
register how formal or informal written or spoken English is 121
reporting verb a verb that conveys the action of speaking – used with
both direct and reported speech 98
resolution a feeling that all problems have come to an end 186
rhetorical questions questions designed to make a point rather than expecting
an answer 114
rhyme words where the end part sounds the same (e.g. ‘feet’ rhymes
with ‘meat’) 66
rhythm a regular, repeating pattern of sound or ‘beat’, common
in music and poetry 137
root word the basic form of a word that other words with related
meanings are based on 101
scan to look through a text quickly to find particular details 51
script the words in a play, film, etc. 27
second person written as if addressing the reader, using the pronoun ‘you’
(e.g. ‘You leap out of bed and get dressed.’) 212
secondary character a supporting character in the story; not the main character 179
sequence the order of events in a story 35
setting the location of where a story takes place 9
sibilance use of repeated soft consonant sounds for emphasis 21
simile a type of figurative language in which one thing is compared
to something else, using the words ‘as’ or ‘like’ 173
simple sentence a sentence with one main clause 18
slang informal use of language, usually in speech (e.g. ‘lemme’
instead of ‘let me’) 66
stage directions words in a script that explain what is happening on stage or
tell the actors how to move and speak 133
standard English the most widely accepted form of English that is not specific
to a particular region 42
stanza a group of lines of poetry, sometimes called a verse 21
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stereotype a familiar but simplified character type 42
storyboard a series of drawings or images showing the planned
order of images in frames (in films and television) 25
stress place emphasis on (certain words) 138
structural features the way that a text is ordered and organised 67
subordinate clause in grammar, a clause that cannot form a sentence alone
but adds information to the main clause 19
suffix letters added to the end of a word to make a new word
with a different meaning 207
summarise explain the main points in a few words 35
syllable a word or part of a word that has one vowel sound 90
symbol a literal object that stands for or represents something else 84
sympathetic character a character that the reader identifies with and has a positive
response to 230
synonym a word or phrase with the same or similar meaning to
another word or phrase 101
theme the main subject of a talk, book, film, poem, etc. 51
third person written from an observer’s point of view, using pronouns
such as ‘he’, ‘she’ and ‘they’ 212
time connectives words and phrases used to show how events in a story are
sequenced and linked by time 88
tone the way that someone speaks or how a piece of writing
sounds, which helps suggest mood and feelings 14
visual image an image which appeals to the sense of sight 137
voice the way a particular character speaks or thinks in fiction,
or the writer’s tone and point of view in non-fiction 15
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Acknowledgements
The authors and publisher acknowledge the following sources of copyright material and are
grateful for the permissions granted. While every effort has been made, it has not always been
possible to identify the sources of all the material used, or to trace all copyright holders.
If any omissions are brought to our notice, we will be happy to include the appropriate
acknowledgements on reprinting.
Unit 1: Excerpt from Beware Low-Flying Girls by Katherine Rundell. Published by Alma Books,
2017. Copyright © Katherine Rundell. Reproduced by permission of the author c/o Rogers,
Coleridge & White Ltd., 20 Powis Mews, London W11 1JN; Excerpts from Around India in 80
Trains by Monisha Rajesh, reproduced with the permission of Hodder & Stoughton, Copyright
© Monisha Rajesh; ‘Hard is the Journey’ by Li Po (abridged) translator unknown; Excerpts from
Silverfin by Charlie Higson, reproduced with the permission of Hachette Book Group and Curtis
Brown on behalf of the Ian Fleming Literary Estate; Unit 2: ‘Hey You Down There’ by Harold
Rosleth; Unit 3: Excerpt from ‘Film Boy’ by Alexander McCall Smith from Stories of the World
compiled by Federation of Children’s Book Groups; Article ‘Hrithik Roshan says he practices
every day to overcome stammering’, used with the permission of Hindustan Times; Article ‘Thai
cave rescue boys meet hero Zlatan during Ellen interview’ by Hannah Ellis-Petersen, Copyright
Guardian News & Media Ltd 2019; Unit 4: ‘One in Twenty-Three’ by Helen Rye, used with the
permission of the author; ‘Seaview Haiku’ © John Foster included by permission of the author;
‘Over the Wintry’ by Natsume Soseki; ‘Goldfish’ by Jennifer Wong (Chameleon Press); ‘Under
the evening moon’ from The Essential Haiku: Versions of Basho, Buson &Issa edited and with
an Introduction by Robert Hass. Introduction and selection copyright © 1994 by Robert Hass
(Bloodaxe Books, 2013). Used by permission of HarperCollins Publishers and Reproduced with
permission of Bloodaxe Books. www.bloodaxebooks.com; ‘Marriage’, ‘The Red Wheelbarrow’
and ‘This is just to say’ by William Carlos William, from The Collected Poems: Volume I,
1909-1939, copyright ©1938 by New Directions Publishing Corp. Reprinted by permission of
New Directions Publishing Corp., and used with the permission of Carcanet Press; Excerpt from
‘The tiny world of Willard Wigan’, used with the permission of Telegraph; Excerpt from
‘Micro-Artist Willard Wigan talk to us’, used with the permission of TI Media; Unit 5: Excerpt(s)
from Wonder by R. J. Palacio, copyright © 2012 by R. J. Palacio. Used by permission of Alfred A.
Knopf, an imprint of Random House Children’s Books, a division of Penguin Random House
LLC. All rights reserved. Reprinted by permission of R.J. Palacio; Unit 6: John Fuller, ‘Lullaby’
from Collected Poems, published by Chatto & Windus. Used by permission of The Random
House Group Limited; Excerpt from As I Walked Out One Midsummer Morning by Laurie Lee,
by permission of Penguin Random House; Excerpt from Letter to Daniel: Despatches from the
Heart by Fergal Keane, BBC Books 1996 , reproduced by permission of Rogers, Coleridge &
White Ltd.; Excerpt from Mandela, Nelson, speech at the “Make Poverty History” Campaign,
London, 2005, courtesy of the Nelson Mandela Foundation; Unit 7: ‘The Travel Agency’ by
Maria Turtschaninoff, translated by A. A. Prime, abridged, used with kind permission; Unit 8: The
White Tiger by Aravind Adiga Copyright © Aravind Adiga 2008, by Atlantic Books. Reproduced
with permission of Atlantic Books, and reprinted with the permission of The Free Press,
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Glossary and Index
a division of Simon & Schuster, Inc. All rights reserved; ‘Things to do in Doha’, used with the
permission of AS Traveler https://astraveler.com/; Excerpts from Neverwhere by Neil Gaiman,
used with the permission of Headline Publishing Group and Writers House LLC; ‘City Jungle’
by Pie Corbett; ‘Last Night I saw the City Breathing’ by Andrew Fusek Peters, first published
Mad, Bad & Dangerously Haddock, Lion Publishing, 2006; ‘Urban Threats’, NG Image
Collection; ‘What would the ulitmate child-friendly city look like?’ by Laura Laker, Copyright
Guardian News & Media Ltd 2019; Unit 9: extracts from Jaws by Peter Benchley, Copyright
© 1974, Renewed 2002, Benchely IP, LLC. All Rights Reserved. Reproduced with permission
of the Licensor through PLSclear. ‘Why are we arfaid of sharks?’ Elaina Zachos, NG Image
Collection; Text excerpt from page 44-48 from And The Ocean Was Our Sky by Patrick Ness
Illustrated By: Rovina Cai. Used by permission of HarperCollins Publishers and Walker Books
and HarperCollins Publishers.
Cover image: paper sculpture created by Justin Rowe; Inside Unit 1: FlamingPumpkin/GI;
Mark Basarab/GI; Clare Jackson/GI; Piskunov/GI; Eye Ubiquitous/GI; James O’Neil/
GI; Piranka/GI; Westend61/GI; Sean Gladwell/GI; Michele D’Amico supersky77/GI ; Eye
Ubiquitous/Universal Images Group via GI; Unit 2: Edmund Lowe/GI; David Leahy/GI;
Unit 3: Pascal Le Segretain/GI; South_agency/GI; Paoloangius/GI; Debajyoti Chakraboty/
NurPhoto via Getty Images; Moviestore Collection/Shutterstock; EVOK/M.Poehlman/
GI; Burke/Triolo Productions/GI; Lillian Suwanrumpha/GI; Johan Nilsson/GI; Unit 4:
David Levenson/Alamy Stock Photo; Philippe Paternolli/GI; Humbak/GI; Sj Thompson/
GI; Scisettialfio/GI; Heritage Images/GI; Love_Life/GI; Moodboard/GI; Steve_Bramall/GI;
William Helsel/GI; Matteo Colombo/GI; Lacaosa/GI; Enrique Díaz/7cero/GI; Carol Yepes/
GI; Eddy Zecchinon/GI; Werner Forman/GI; AlexD75/GI; Dpa/Alamy Stock Photo x2;
Unit 5: Yann Layma/GI; Pollyana Ventura/GI; John Downing/GI; UniversalImagesGroup/
GI; The Asaji Shimbun via Getty Images; SDI Productions/GI; Ben Molyneux/Alamy Stock
Photo; Lifestyle pictures/Alamy Stock Photo; Fstop123/GI; Jun Sato/GI; blue jean images/
GI; Hill Street Studios/GI; Unit 6: 10’000 Hours/GI; Luke Walker-ICC/GI; Westend61/GI;
Karrar Haidri/GI; Tbradford/GI; emmaduckworth/GI; Westend61/GI; DuKai photographer/
GI; Hulton Deutsch/GI; Yuri_Arcurs/GI; Thomas Imo/GI; Ahmed Areef/EyeEm/GI;
Hanna Franzen/GI; Unit 7: Catherine MacBride/GI; Jonne Seijdel/GI; Ngurah Oka/GI;
Sean Gladwell/GI; Aluxum/GI; Maskot/GI; Unit 8: Instants/GI; Danny Lehman/GI; Walter
Bibikow/GI; Siripong Kaewla-iad/GI; Matteo Colombo/GI; Emad Aljumah/GI; Patryk
Suwala/GI; Mark Lovatt/GI; Duncan1890/GI; Kiyoshi Hijiki/GI; Carl Larson/GI; Travelpix
Ltd/GI; Wilfried Krecichwost/GI; Sorin Rechitan/GI; Max Ryazanov/GI; Unit 9: Rodrigo
Friscione/GI; Wildestanimal/GI; Stuart Westmorland/GI; John M Lund/GI; Anna Phillips/
GI; Science Photo Library-Sciepro/GI; Patrick Sheandell O’Carroll/GI; Whitemay/GI;
George Karbus/GI; copyright Jeff Miller/GI; Duncan1890/GI; Steve Allen/GI; Artur Debat/
GI; Suncan1890/GI x2; cookelma/GI; Sarayut Thaneerat/EyeEm/GI
The author would like to thank the following people for their support: Sarah Elsdon, Florence
Kemsley, Sonya Newland, Rosalyn Scott and Naomi Sklar.
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