Year 9

Extend range of language and use it

appropriately.
Fact and opinion
• Provide estate agent’s blurbs, holiday brochures, sports reports for learners to look
at and underline facts and opinions in two different colours. Establish that opinions are
evident through adverbs (e.g. generally, usually), modal verbs (e.g. could, should),
emotive vocabulary (e.g. starvation) and assertion (e.g. living here is very pleasant).
• Put learners into groups of four. Ask them to write an entirely factual description of
their village/town, conveying the essential facts about where they live. The audience
will be people who don’t know the village/town and have no idea what it is like. Their
reports could include information on: size of village/town, size of population, types of
houses, public services (schools, police, courts, etc.), arts/leisure facilities, places of
worship, businesses/industry, shopping, places to eat/drink, natural features (parks,
rivers, beaches, etc.). Afterwards, ask them how difficult they found it to stick to the
facts.*
 Fact and opinion
• Provide estate agent’s blurbs, holiday brochures, sports reports for
learners to look at and underline facts and opinions in two different
colours. Establish that opinions are evident through adverbs (e.g.
generally, usually), modal verbs (e.g. could, should), emotive
vocabulary (e.g. starvation) and assertion (e.g. living here is very
pleasant).
 FACT
• is true
• can be proved

OPINION
• what someone thinks or believes
 • Pizza is delicious.
• Pizza comes from Italy.

• Top Gear is rubbish.

• Top Gear is a TV programme
about cars.
Stunning Richmond Hill Beauty with a sea view !
A unique and beautifully looked after semi-detached freehold home offering
2 bedrooms, large en-suite bathroom, a private courtyard garden with a
built-in braai and modern kitchen.

The unusual part of this home is that the owners have converted the loft
space creating a huge upstairs area, which can be utilised as a second
lounge / bedroom / art studio, which also has a sea view.

This is a home with stunning features and must be seen to be appreciated.

Walk to dinner in Stanley Street....
This delightful home is situated in the trendy and friendly community of Richmond
Hill. Very deceptive from the street, it is surprisingly large and yet cosy at the same
time. Its warm atmosphere is enhanced by a fireplace, the perfect winter spot for
cuddling up with a good book. The main bedroom has it's own en-suite bathroom
offering a shower, basin and toilet. There is also a lovely family bathroom with a
gorgeous tub. The kitchen has a large interleading pantry with built in shelves and
cupboards. The back patio is enclosed and is used as a study creating even more
space and this area leads out to a private back courtyard with a built-in braai just
made for fun weekend gatherings with family and friends. A single garage offering
parking from the rear add to its appeal. A large outside laundry, storage room and
outside toilet offer loads of storage space or this could even be turned into an
entertainment area. Move-in ready, don't let this special home pass you by. This is a
must view, call me today to set up your appointment for you.
Strict health protocols are in place to ensure your safety
Our small, adults-only ships will whisk you past pinch-yourself landscapes,
stopping in the heart of a destination. And that’s the beauty of river cruising. The
landmarks are usually a stroll away and you’ve got the option of relaxing on
board or venturing off to explore. We’ve cherry-picked the crème de la crème of
the continent, from big cities like Budapest and Vienna, to hidden gems like
Cochem and Durnstein. Plus, we give you £120 experience credit per person, per
seven days to spend how you want – whether it’s on our walking tours or wine
tastings. We know the journey’s just as important as the destination, so our ships
flaunt chic, up-to-the-minute interiors, two restaurants, and two lounges for
drinks and nightly entertainment. You won’t find any inside cabins, either, so
views are guaranteed. Plus, you can expect the same great TUI service. What’s
more, we’ve got some exciting plans for summer 2022. First off, TUI Maya will be
going All Inclusive as standard. And we’re adding two new itineraries, Legends of
the Rhine and Treasures of the Main, which explore the Rhine Valley and Bavaria.
Groups of two. Write an entirely factual description of your
village/town, conveying the essential facts about where you live. The
audience will be people who don’t know the village/town and have no
idea what it is like. Your reports could include information on: size of
village/town, size of population, types of houses, public services
(schools, police, courts, etc.), arts/leisure facilities, places of worship,
businesses/industry, shopping, places to eat/drink, natural features
(parks, rivers, beaches, etc.). Afterwards, ask them how difficult they
found it to stick to the facts.
Demonstrate control of a wide variety of sentence types
used for intended purpose and desired effect.
Transforming writing
• Explain that learners will practise applying their knowledge of different styles of writing to adopt
aspects of texts they read and use it to skilfully adapt their writing. Through close study of the
language features, they will apply what they know in order to transform a text. They should see
‘writing in the style of’ as a way of extending their writing repertoire and confidence. It is part of
finding a confident style and ‘voice’ as a writer.
• Ask learners to plan and write in response to a given starting-point, for example:
1 Write a story which involves two friends are in danger.
2. Write a story where a secret is discovered.
3. Write a story where something is lost.
• Introduce the following guidelines for the writing:
• The audience for the writing is the learner’s peers.
• Learners should use what they found from their investigation of readers’ interests during Unit 1C.
• They should also remember to address the advanced skills they encountered in Units 1A and 1B.
• Support learners to recall the skills through reviewing their own work and (in pairs) discussing
what they recall through looking back. You could turn these ideas into a list that learners can refer
to as they are writing.
Transforming writing
Explain that learners will practise applying their knowledge of different
styles of writing to adopt aspects of texts they read and use it to
skilfully adapt their writing. Through close study of the language
features, they will apply what they know in order to transform a text.
They should see ‘writing in the style of’ as a way of extending their
writing repertoire and confidence. It is part of finding a confident style
and ‘voice’ as a writer.
Transforming writing
You to plan and write in response to a given starting-point, for
example:
1 Write a story which involves two friends are in danger.
2. Write a story where a secret is discovered.
3. Write a story where something is lost.
Homework.
Please note the following guidelines for the writing:
• The audience for the writing is the learner’s peers.
 Understand ways in which writers modify and adapt phrase and sentence structures
and conventions to create effects, and how to make such adaptations when
appropriate.
Different texts from different cultures
• Provide a short list of novels from different cultures and traditions, e.g.
- Of Mice and Men by John Steinbeck (USA 1937)
- To Kill a Mocking Bird by Harper Lee (USA 1960)
- Tsotsi by Athol Fugard (South Africa, written 1958–62 during apartheid)
- The Kite Runner by Khaled Hosseini (USA/Afghanistan 2005)
- Q & A by Vikas Swarup (India 2005; the book behind the film Slumdog Millionaire)
- Rani & Sukh by Bali Rai (UK/BME 2004)
- Does My Head Look Big in This? / Where the Streets Had a Name by Randa Abdel-Fattah (Australia/Palestine 2005/2008)
• Put the class into groups of four and allocate different novel titles to different groups. Groups are going to research online
to produce the following:
- Overview: plot, characters, setting, theme summarised in three short paragraphs.
- Sociocultural background: the political situation in which the book was written/set and the beliefs/values of the culture.
Learners write notes, e.g. as five bullet points or set out in a table/diagram. Alternatively, they could use a KWL grid, i.e.
What I Know, What I Want to know, What I have Learnt.
Split groups into pairs. Each pair undertakes some research separately (if learners are using the internet then make sure
they are aware of how to search safely and effectively). They then confer and agree on what should be included in their
three-paragraph overview and in their five bullet points or table/diagram/grid on sociocultural background. Their work
must demonstrate that they have used information retrieval skills, e.g. skimming, scanning. If appropriate, specify particular
DARTS (Directed Activities Related to Texts) activities for the retrieval of information (see the Teacher Guide, Section 3:
Teaching Approaches).
Different texts from different cultures
• Provide a short list of novels from different cultures and traditions, e.g.
- Of Mice and Men by John Steinbeck (USA 1937)
- To Kill a Mocking Bird by Harper Lee (USA 1960)
- Tsotsi by Athol Fugard (South Africa, written 1958–62 during apartheid)
- The Kite Runner by Khaled Hosseini (USA/Afghanistan 2005)
- Q & A by Vikas Swarup (India 2005; the book behind the film Slumdog
Millionaire)
- Rani & Sukh by Bali Rai (UK/BME 2004)
- Does My Head Look Big in This? / Where the Streets Had a Name by
Randa Abdel-Fattah (Australia/Palestine 2005/2008)
Put the class into groups of four and allocate different novel titles to different
groups. Groups are going to research online to produce the following:
- Overview: plot, characters, setting, theme summarised in three short
paragraphs.
- Sociocultural background: the political situation in which the book was
written/set and the beliefs/values of the culture. Learners write notes, e.g. as five
bullet points or set out in a table/diagram. Alternatively, they could use a KWL
grid, i.e. What I Know, What I Want to know, What I have Learnt.
Split groups into pairs. Each pair undertakes some research separately (if learners
are using the internet then make sure they are aware of how to search safely and
effectively). They then confer and agree on what should be included in their
three-paragraph overview and in their five bullet points or table/diagram/grid on
sociocultural background. Their work must demonstrate that they have used
information retrieval skills, e.g. skimming, scanning.
 Use a range of features to shape and craft sentences that have individual merit and
contribute to overall development of the text, e.g. embedded phrases and clauses that
support succinct explanation; secure control of complex verb forms; use of antithesis,
repetition or balance in sentence structure.
Literary and linguistic features of holiday brochures
• Revision: give learners a list entitled Literary and linguistic features of holiday brochures.
Include the following on the list: rhetorical question, personal pronoun, alliteration, different
sentence types – statement, question, command, exclamation, (persuasive) verb, modal verb,
(persuasive) adverbial, noun phrase, conjunction, varying sentence length, emotive words,
simile, metaphor, tricolon, and repetition. Ask learners to give an example/explanation for
each feature and term. Alternatively, learners could write a definition for each, putting a
question mark against anything they are unsure about. Discuss and clarify the meaning of any
term they are unsure about, so that everyone has a set of correct examples/definitions. Ask
them to stick the sheet with the list into their exercise books.
• Still working in their groups, learners complete the grid below on at least two holiday
brochures. Ask one learner from each group to report back on what they found within one
minute. Focus on similar features across both texts. Collect in the grids for assessment
purposes.*
Literary and linguistic features of holiday
brochures
rhetorical question,
personal pronoun,
alliteration,
different sentence types –
statement,
question,
command,
exclamation,
(persuasive) verb,
modal verb,
(persuasive) adverbial,
noun phrase,
conjunction,
varying sentence length,
emotive words,
simile,
metaphor,
tricolon,
specialist language
repetition.
Rhetorical question
A question asked in order to create a dramatic effect or to make a point
rather than to get an answer.
Rhetorical questions are a useful technique in persuasive writing. As
there is nobody to answer the question, a rhetorical question is usually
designed to speak directly to the reader.
Personal pronoun
A personal pronoun is a short word we use as a simple substitute for
the proper name of a person. Each of the English personal pronouns
shows us the grammatical person, gender, and number. I, you, he, she,
it, we they, me, him, her, us, and them are all personal pronouns.
Alliteration
The occurrence of the same letter or sound at the beginning of
adjacent or closely connected words.

Peter Piper picked a peck of pickled peppers. ...

A good cook could cook as much cookies as a good cook who could
cook cookies.
Sheep should sleep in a shed.
Different sentence types
statement, question,
command, exclamation
(Persuasive) verb / Modal verb
(Persuasive) adverbial
Sentence adverbs work a treat in persuasive writing, especially
speeches and report, but also in formal letters. They convey the writer’s
attitude, but in a formal way – and in a way that can make the writer’s
opinion sound more like a fact.
Regrettably, the city lacks the funding to host a marathon
Shockingly, there are still pockets of poverty in our country.
Supposedly (not supposably), divorce is declining in this country.
Interestingly, most pupils preferred the old-fashioned textbooks.
Controversially, the law applied only to men born after 2000.
Noun phrase
A noun phrase is usually assembled centering a single noun and works
as a subject, an object or a complement in the sentence.

• I like to swing the bat hard when I am at the crease. (An object)

• Reading novels is a good habit. (A subject)
• The probability of happening that match is not much. (A subject)
• We are sorry for her departure.
Conjunction
A word used to connect clauses or sentences or to coordinate words in
the same clause.
Varying sentence length
A subtle, but very effective way, to make your writing deadly and
monotonous is by never varying sentence length. One
short sentence after another makes your prose sound choppy,
childish, or like a bad imitation of Hemingway. Conversely, all
"long" sentences can make your writing hard to read.
However, using all "medium"-length sentences doesn't work, either.
Sentences that are all about the same length (and often follow the
same grammatical pattern) create monotony. A longer sentence,
such as the one I'm creating here, serves to offer more details, to
focus in, to probe an idea more thoroughly, or--perhaps--to present
a powerful description. A short sentence gets to the point.
Emotive words
Adjectives - Appalling, Wonderful, Heavenly, Magical and Tragic.

Abstract Nouns - Freedom, Pride, Justice, Love and Terror.

Verbs - Destroyed, Vindicated, Saved, Betrayed and Adored.

Simile
A figure of speech involving the comparison of one thing with another
thing of a different kind, used to make a description more emphatic or
vivid (e.g. as brave as a lion ).
Metaphor
A metaphor is a figure of speech that is used to make a comparison
between two things that aren't alike but do have something in
common. Unlike a simile, where two things are compared directly using
like or as, a metaphor's comparison is more indirect, usually made by
stating something is something else.

• “All the world's a stage, and all the men and women merely
players. ...
• “Art washes away from the soul the dust of everyday life.” ...
Tricolon
A tricolon that is only three successive words is also known as a
hendiatris. Examples include: Veni, vidi, vici.; Citius, Altius, Fortius; and
Wine, Women and Song
Repetition
Repetition is a literary device that involves intentionally using a word or
phrase for effect, two or more times in a speech or written work. For
repetition to be noticeable, the words or phrases should be repeated
within close proximity of each other. Repeating the same words or
phrases in a literary work of poetry or prose can bring clarity to an idea
and/or make it memorable for the reader.
•
Antony speaks at Caesar’s funeral
• Friends, Romans, countrymen, lend me your ears.
I have come to bury Caesar, not to praise him.
The evil that men do lives after them;
The good is oft interrèd with their bones.
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious.
If it were so, it was a grievous fault,
And grievously hath Caesar answered it.
Here, under leave of Brutus and the rest
(For Brutus is an honourable man;
So are they all, all honourable men),
Come I to speak in Caesar’s funeral.
He was my friend, faithful and just to me,
But Brutus says he was ambitious,
And Brutus is an honourable man.
He hath brought many captives home to Rome,
Whose ransoms did the general coffers fill.
Did this in Caesar seem ambitious?
When that the poor have cried, Caesar hath wept;
Ambition should be made of sterner stuff.
Yet Brutus says he was ambitious,
And Brutus is an honourable man.
You all did see that on the Lupercal
I thrice presented him a kingly crown,
Which he did thrice refuse. Was this ambition?
Yet Brutus says he was ambitious,
And sure he is an honourable man.
I speak not to disprove what Brutus spoke,
But here I am to speak what I do know.
You all did love him once, not without cause.
What cause withholds you, then, to mourn for him?—
O judgment, thou art fled to brutish beasts,
And men have lost their reason!—Bear with me;
My heart is in the coffin there with Caesar,
And I must pause till it come back to me.
 Deploy a range of punctuation and grammatical choices to
enhance and emphasise meaning, aid cohesion and create a
wide range of effects.
Using dialogue
• Determine how much learners know and understand about writing dialogue correctly, possibly via a quiz, or by
having learners correct an extract of dialogue with deliberate errors or missing punctuation). This will make it
possible to focus as appropriate on whichever aspects of dialogue need attention.
• Explain that dialogue can be a quick and effective way of moving the plot along. The example which follows could
be used to illustrate this or, alternatively, an example from a short story studied, e.g. Charles by Shirley Jackson, The
Rocking-Horse Winner by D.H. Lawrence or The Necklace by Guy de Maupassant (for the last two, see
www.classicshorts.com).
• Learners write the beginning of a story where two characters have a dialogue in which they decide – for a particular
reason – to go somewhere.* For example:
‘Oh I’m so bored,’ moaned Katy, throwing herself down on the bed, nearly knocking me over. ‘There’s never anything
to do around here. I wish something exciting would happen.’
‘Yes,’ I agreed. ‘We need to find something to do, or we’ll just end up spending the whole summer holidays moping
about, getting bored.
We both sat for a moment in silence, staring miserably out of the window.
Suddenly, Emily jumped up. ‘I’ve got it! Why don’t we go and explore that old run down house on the other side of
the city? It’s supposed to be haunted.’
‘What a great idea! Let’s do it. We can be there in half an hour …’
Determine how much learners know and understand about writing dialogue correctly, possibly via a
quiz, or by having learners correct an extract of dialogue with deliberate errors or missing
punctuation). This will make it possible to focus as appropriate on whichever aspects of dialogue
need attention
.
A lesson in how not to
do grammar
or
Wrongs my
Grammar taught me!
Grammar
Detectives
GSI
Ask yourself:
-What have I learned that I didn’t know
before?
-What can I do with that knowledge?
-Is my grammar better than, as good as,
or about the same as
the examples I have seen?
-What can I do next to improve?
Word document
Dialogue can be a quick and effective way of moving the plot along. The example which follows
could be used to illustrate this or, alternatively, an example from a short story studied, e.g. Charles
by Shirley Jackson, The Rocking-Horse Winner by D.H. Lawrence or The Necklace by Guy de
Maupassant (for the last two, see www.classicshorts.com).

Charles by Shirley Jackson,

Write the beginning of a story where two characters have a dialogue in which they
decide – for a particular reason – to go somewhere.* For example
(Homework)

‘Oh, I’m so bored,’ moaned Katy, throwing herself down on the bed,
nearly knocking me over. ‘There’s never anything to do around here. I
wish something exciting would happen.’
‘Yes,’ I agreed. ‘We need to find something to do, or we’ll just end up
spending the whole summer holidays moping about, getting bored.
We both sat for a moment in silence, staring miserably out of the
window.
Suddenly, Emily jumped up. ‘I’ve got it! Why don’t we go and explore
that old run-down house on the other side of the city? It’s supposed to
be haunted.’
‘What a great idea! Let’s do it. We can be there in half an hour …’
There are several ways of setting down what people say and various reasons for doing it. Here, we
are thinking of characters speaking to each other in fiction.
Here are some tips for making it interesting:
1. Vary the shapes of your sentences by moving the words that tell the reader who is speaking.
For example, you could write any of the following:
l ‘We’re going to be late’ said Jack.
l Jack said, ‘We’re going to be late.’
l ‘We’re going,’ said Jack, ‘to be late.’

2. Use alternatives to said, such as shouted, whispered, wondered, declared and laughed. There
are many options.

3. Remember that quite often, especially if only two characters are involved, you don’t need to tell
the reader who is speaking.

4. Dialogue can be realistic and lively if you, the narrator, add other information alongside what
people are saying.

5. Make the characters say things that show what they’re like as people. Look carefully at this
piece of dialogue from Stay Where You Are. And Then Leave by John Boyne. It illustrates all fi ve of
the points above. Notice too how the passage is punctuated
.
‘Mum!’ said Ale, tugging at her sleeve. ‘Where’s Dad?’
‘He’s away at the war, isn’t he?’ she snapped, turning on him now, her voice
growing cold. ‘He’s away at this blessed war.’
‘He never writes any more.’
‘He can’t at the moment.’
‘Why can’t he?’
‘Because he’s fighting.’
‘ en how do we know?’
‘How do we know what?’
‘How do we know that he’s all right?’
‘Of course he’s all right, Al e. Why wouldn’t he be all right?’
‘Maybe he’s dead.’
And then a terrible thing happened. Margie threw down her sewing, jumped
out of her seat and slapped Al e, hard, across the face.
From Stay Where You Are And Then Leave by John Boyne (2013)
Remember that good punctuation makes your writing clearer.
 Your turn to write
Perhaps your characters are lost in a jungle or desert, are desperately
worried about the non-arrival home of a parent from work, are
planning a robbery – or anything else you wish. Use the tips as
guidelines for making the dialogue vivid. Pay attention to the rules for
punctuating dialogue as shown in the extract opposite. Think of a
situation and then write a piece of fictional dialogue between two
people.
Spell correctly throughout a substantial text,
including ambitious or complex polysyllabic words.
Different readers
• Taking a short non-fiction extract for young children and/or teenagers, show how language and
presentational features accommodate audience and purpose:
- young children: large, colourful illustrations to help with reading/understanding; straightforward
vocabulary largely of two syllables; repetition; technical words explained or illustrated; sentence
structure often simple or compound; simple connectives used to connect ideas, e.g. and, so, then
- teenagers: less illustration, but if used more modern/cartoony; photos of other teenagers; some
slang; short sentences; sub-headings in the form of rhetorical questions; bright colours; few words
explained; a range of sentence types; longer sentences, with connectives, e.g. if, although.
• Put learners into pairs. Ask them to write the beginning of an information text for young
children, e.g. on the weather, and/or teenagers, e.g. saving money.
• Ask selected learners to read out the beginning of their information texts. Use these to make
teaching points.
• Learners could complete their non-fiction text and, using IT, build in appropriate presentational
features.*
Taking a short non-fiction extract for young children and/or teenagers,
show how language and presentational features accommodate audience
and purpose:

- young children: large, colourful illustrations to help with

reading/understanding; straightforward vocabulary largely of two
syllables; repetition; technical words explained or illustrated; sentence
structure often simple or compound; simple connectives used to
connect ideas, e.g. and, so, then
ONCE UPON A TIME a girl named
Cinderella lived with her stepmother and
two stepsisters. Poor Cinderella had to
work hard all day long so the others
could rest. It was she who had to wake
up each morning when it was still dark
and cold to start the fire. It was she who
cooked the meals. It was she who kept
the fire going. The poor girl could not
stay clean, from all the ashes and cinders
by the fire.
- teenagers: less illustration, but if used more modern/cartoony; photos
of other teenagers; some slang; short sentences; sub-headings in the
form of rhetorical questions; bright colours; few words explained; a
range of sentence types; longer sentences, with connectives, e.g. if,
although.
Write the beginning of an information text for young children, e.g. on
the weather, and/or teenagers, e.g. saving money.

Examples of information texts:

Biographies.
Reports.
Essays.
Newspapers.
Magazines.
Textbooks.
Instruction manuals.
Homework Assignment
Make increasingly significant contributions both
as solo speakers and as members of groups.
Sentence and punctuation skills requiring focus
• Sentence construction, including fronted clauses/adverbials; embedded
phrases/clauses; prepositional phrases; complex nouns; positioning of
detail/clauses within the sentence, and the difference made to meaning;
impact of different sentence lengths and types.
• Punctuation range – commas in parenthetical clauses; colons; semi-colons;
brackets; dashes. (You may want to revisit appropriate units in the Stages 7 and
8 schemes of work.)
• Vocabulary – vocabulary notebook; ways of adding to and enhancing
vocabulary.
• Spelling – see Stages 7 and 8 schemes of work.
Sentence construction, including fronted clauses/adverbials; embedded phrases/clauses;
prepositional phrases; complex nouns; positioning of detail/clauses within the sentence,
and the difference made to meaning; impact of different sentence lengths and types.
Fronted clauses/adverbials
Embedded phrases/clauses
What is an
embedded
clause?
An embedded clause
adds information to a
sentence.

It adds information by
‘sandwiching’ it into
the sentence.
We use a comma followed by the word
who, which, that or with to introduce
an embedded clause.

The ferocious dog barked noisily

through the hole in the fence.

The ferocious dog, who was trying to

scare away the burglars, barked
noisily through the hole in the fence.
 The ferocious dog, who lived next
door, barked noisily through the hole
in the fence.
The cloaked man, who has a voice as
deep as thunder, sat in the corner of
the dark room.

The barren landscape, with only a

few sheep visible on the horizon, was
a lonely place to be.
 The ferocious dog, who lived next
door, barked noisily through the hole
in the fence.
The cloaked man, who has a voice as
deep as thunder, sat in the corner of
the dank room.

The barren landscape, with only a

few sheep visible on the horizon, was
a lonely place to be.
 The young girl skipped happily
through the woods.

The haggard old lady struggled her

way across the road.

The courageous dog chased the

criminal 5 miles down the road.
Prepositional phrases

What is a preposition?
 Prepositions are words which
describe the position of
something, the time when
something happens and the
way in which something is
done.
 The prepositions ‘of,’ ‘to’ and
‘for’ have some additional
functions – they can be used
form something else.
Preposition Functions Example of use
Position  The cat is under the
table.
 He is sitting on the
chair.
 The pencil is in the
Time 
box.
Thea class starts at 8
o’clock.
 I am going to Spain on
Wednesday.
How something is done  We travelled by car.
 We crossed the
Channel in a ferry.
Possession  The book belongs to
Marcus.
 The door of the house
is red.
These are very simple examples; you can be
very ambitious with prepositional phrases.
Examples of prepositions:

Let’s create some

example sentences
together.
What are prepositional phrases?
Prepositions become part of a prepositional phrases when an object
follows it.
Let’s identify the prepositional phrases in the following sentences:

1. The bracelet in the shop window is the one I want.

2. We stayed at the cabin by the river.
3. The shop on the corner sells sandwiches.
4. I adopted a black cat with white paws.
5. When you get to the traffic lights, take a left.
6. We climbed up the hill to see the view.
7. It annoys me when people talk during films.
8. Beth looked under the bed to see if she could find her necklace.
 Complex nouns
A compound noun is formed from two words, and occasionally three , to
create a single new idea.
For eg. Earrings, frying pan, tin opener, sunglasses, T-shirt, toothbrush,
hair dryer......etc.
• Some of them are written as one word , eg. Bedroom, postman, ..
• Some of them are written with a hyphen(-) , eg. Make-up, T-shirt.......
• • Most of them are written as two words, eg., bus stop, cash machine.......
p.s. The main stress is usually on the first part, post office, income tax,
but sometimes it is on both parts eg.
• Science fiction, mother tongue
A) USING THE GIVEN WORDS FORM COMPOUND NOUNS:
*Hair , writing, traffic, baby, travel, film, bus, dish, brother, box, rock,
waiting, tooth, chat,

*Room, ache, office, star, sitter, room, cut, paper, jam, driver, washer,
agent, room, in-law,
B) WRITE COMPOUND NOUNS ABOUT THE TOPICS BELOW:

MONEY
KITCHENS
JOBS
ROADS/ TRANSPORTS
THINGS WE WEAR
Impact of different sentence lengths and
types.
 Types of Sentences
Type of Sentence Example

• Short, simple sentence for drama Tom ran.

• Compound sentence (joined with
connective) for flow
• Complex sentence to add extra
information.
Tom ran and Kitty walked.
The dog bolted, because he had
eaten all the sausages.
• Write a simple sentence and a complex
sentence that flow together to create an
interesting text.
 Punctuation range – commas in parenthetical clauses; colons; semi-colons;
brackets; dashes. (You may want to revisit appropriate units in the Stages 7 and
8 schemes of work.)
 Commas in parenthetical clauses
A parenthesis is an extra bit of information added into a sentence. This
piece of information is kept separate from the main sentence by putting
commas around it.
For example: My aunt, my Mum’s oldest sister, is coming to stay.
The part of the sentence between the commas can be left out and the
sentence will still make sense.
 John the small girl the class teacher

Susan waving a flag wearing red shoes

Sara marked all the Math books ran down the road

Abdulla using a calculator played skipping

Mohammed scored the winning goal cheered the team

AlMaha using a whistle the footballer

Azwa answered the door answered all the sums

 Colons
A colon can be used to introduce a list but it must have an independent
clause before it.
1. There was one obvious reason for the fire: the faulty wiring.
2. The following cars are the most popular: Hondas, Toyotas, and Fords.
3. Marcia and Hugh have two lovely daughters: Page and Eliza.
 Semi-colons
Rule 1: The semi-colon can be used instead of a full stop.
Where could you add a semi-colon to these sentences?
The rabbit had been sadly neglected it was in an awful state.
John opened the drawer it was empty.
The wedding invitations have all been sent out two hundred guests are
expected.
Tom was very clever and worked hard he deserved to pass all his SATs.
Sally’s birthday is in November John’s is in September.
Rule 2: The semi-colon can be used in a descriptive list.
Usually we use commas in a list however, when we describe each item
in the list, the sentence is much longer meaning that a semi-colon is
more appropriate.  

(Before) At the circus we saw a clown, a lion, a fire eater and an eight
year old acrobat.

(After) At the circus we saw a clown juggling with swords and daggers;
a lion who stood on a ball; a fire eater with flashing eyes; and an eight
year old acrobat.
 Brackets
We use brackets to add extra information into the sentence.

For example:
The spaceship (designed by the Lakka aliens) was extremely fast.
The spaceship was extremely fast.

When we take the brackets away, the sentence should still

make sense.
Put brackets into the sentences below:

Ellie my older sister lives in Manchester.

Jupiter the largest planet is made of gas.
The twins Ben and Billy have just played their first football match.
The ambulance which had sirens blaring and lights flashing moved
swiftly through the traffic.
The student who was new to the school got lost to her first lesson.
Put the brackets in the correct places:
Lionel Messi an Argentinian football player plays for Barcelona.

The alien aged 14 and not very good at driving smashed into the house.

Denver and Max Denver’s cousin went to the shopping centre. They
had £10 in pound coins between them. Max was hungry he hadn’t
eaten all day so he bought a sandwich with halloumi a type of cheese
to eat. They had to be back home by dinner time 6:30 pm or else they
would be in trouble.
 Dashes
Dashes are used when you want to add parenthetical statements in
your sentence. A dash can be used instead of the brackets. However, it
is advised that you should use brackets when writing formally. This is
because dashes are more informal.

Examples

He might come to the movie night - you never know.

Continue to be aware of spelling errors and
correct them.
Different readers, different views
• Learners conduct some small-scale research into books (or types/genres) popular with learners across the school
(perhaps they could devise a questionnaire to find which books are popular). From the results, they find the top ten
favourite books. This first research could be followed up by some qualitative research, e.g. they could conduct
interviews with a range of learners (spanning gender and age) to discover more about their feelings about a
particular book on the top ten list.
• Put learners into pairs, one who likes a particular book, the other who doesn’t. Using the book review format
previously (see Stage 8 Scheme of Work, Units 2A and 2B) learners each write their review. They could first collect
what they consider to be successful examples of book reviews form newspapers/magazines/online. Learners
compare their written reviews.*
• Investigate national bestselling book charts: in pairs, learners conduct some research by asking 40 people, e.g.
other learners, neighbours and family members, whether they have read any of the books on a particular book chart.
They present the results orally using a speaking frame provided, for example:
- The focus of our investigation was to …
- First of all we asked …
- There were some difficulties experienced because …
- However, once the results were collated, we found out that …
- This shows … - If we had a bigger sample and more time, we would …
Use speaking and listening as a method of preparing for
written assignments, exploring a wide range of subject
matter with precision and effect.
• Read out the work of selected learners, pointing out features of successful practice.
• Explain how character can also be conveyed through dialogue, with appropriate examples,
such as:
- reporting verbs showing how they speak: shrieked, muttered, said softly
- speech trailing off: ‘I don’t know …’ , ‘I’m not sure …’
- revealing character’s ‘type’ or age: ‘My dear chap …’ , ‘Hey, man, what’s up?’
- stammering/hesitating: ‘Well … er, you know … er … it’s …’’
- speaking in fragments: ‘No. Yes. I mean, no. What?’
- interrupting themselves: ‘I couldn't – wouldn't – I mean, who would? – ever consider doing
that’’
- revealing feelings: ‘Hi, Zahur! Do you want to see my new phone?’ Suma asked, smiling. ‘No.’
Zahur glowered. ‘I'm busy.’
Use speaking and listening to build up increasing personal
confidence, managing and manipulating the content of their
presentation.
Structure
• Explain that learners need to be very clear about exactly what their argument is, how they
intend to convince their audience, and who that audience is. Arguments are about trying to
persuade the audience to come over to the writer’s/speaker’s point of view. The first paragraph
of an argument should give an overview of the argument and the writer’s stance. This makes it
clear what the reader/audience can expect.
• Ask learners to write the first paragraph of an argumentative essay for a particular audience,
e.g. the school council, that homework should be banned. In groups of four, learners read aloud
their respective first paragraphs.
• Next, ask groups to alter this beginning so that it is attention-seeking or provocative, e.g.
addressing the audience directly, using shock tactics. Invite selected learner from each group to
read the two different beginnings.
• As a class, discuss the following:
- What makes for an effective provocative opening?
- Which opening would be more suitable for a school council audience?
- What type of audience would a provocative beginning be more suitable for?
Question and respond to others, shaping the direction
and content of their talk with well-judged contributions.
• Tell learners they are going to write a provocative beginning for a speech to the class on the topic
We should be allowed to choose our teachers.
- Explain that one way to structure an argument is to prove the point of view expressed in the
opening across the next 4–5 paragraphs, a point per paragraph. Learners should think of the
paragraphs as amplified topic sentences, i.e. the topic sentence will be the key point which the rest
of the paragraph must prove. So, make a point; supported it with evidence (proof); and offer an
explanation to back up the evidence. The evidence can be a fact or statistic, a
comment/explanation, an opinion (often disguised as a fact), or a personal anecdote.
Remind learners of the different planning formats, e.g. mind maps, paragraph plans. When ready,
learners write the beginning of their speech.
• Introduce the notion of counter-argument. Show examples of paragraphs which bring in and deal
with counter-arguments. When they are clear about counter-arguments, learners write a paragraph
bringing in – and dealing with – a counter-argument.
• Ask a learner to read out one paragraph. Model how this can be transformed with the addition of
linking words and phrases between sentences and paragraphs, e.g. however, although, moreover,
Work in groups for a variety of purposes, such as
taking decisions and planning and organisation.
• Suggested poems
• A Case of Murder by Vernon Scannell • Blackberry Picking by Seamus Heaney
• Child on Top of a Greenhouse by Theodore Roethke
•Daffodils by William Wordsworth •Father’s Hands by Paul Cookson
• How do I love thee? by Elizabeth Barrett Browning
• I Like That Stuff by Michael Rosen • [in Just-] by E.E. Cummings
• Jabberwocky by Lewis Carroll
• Jaguar by Ted Hughes • Listen Mr Oxford Don by John Agard
• Macavity by T.S. Eliot
• Mid-Term Break by Seamus Heaney • Nettles by Vernon Scannell
• Prince Kano by Edward Lowbury • Search for my Tongue by Suja Bhatt
• Sonnet 18 by William Shakespeare
• Ten Things Found in a Shipwrecked Sailor’s Pocket by Ian McMillan
• The Lake by Roger McGough • The Thought Fox by Ted Hughes
Note: Some of these poems may have been used in Stage 8 Unit 2C. Ensure learners study
a variety of poems during Lower Secondary.
Explore complex ideas and issues in drama, establishing roles
and applying dramatic approaches with confidence.
• See Previous
Evaluate meaning and impact of a range of features in
own and others’ discourse, including broadcast media.
Researching to find the facts
• Present a debate question, e.g. ‘Social media is a positive tool for
effective communication.’ Split the class into ‘for’ and ‘against’. Each
group will research, read and use texts and extracts to generate
comments on social media use; critical or positive, according to their
assumed position.
• Explore the impact of bias and how we can identify it in a text. This
should include consideration of who is producing the text, what
language they are using, how balanced the structure of the text is, etc.
Use this as a way to challenge learners to consider the impact of
attitude and what may be considered important. Draw
 Shape and craft language within paragraphs, and structure ideas
between them, to achieve particular effects with purpose and
audience in mind.
Reflection and target setting
• Ask learners to look back across the year and brainstorm a list of the
main skills they have learnt. The learning objectives should be a guide for
supporting learners to identify a thorough list.
• Learners should consider each skill and RAG rate them according to
how confidence they feel about each one:
• Red – I do not feel confident with this skill at all
• Amber – Sometimes I do not feel confident with this skill
• Green – I feel confident applying this skill.
• Learners use their ratings to set their personalised targets for revision.
This should be emphasised and explicitly focussed on during the following
suggested activities.