Martyn Pig Teaching resource sheets - Pearson Schools

37 downloads 168 Views 534KB Size Report
Model reading three extracts from the novel, focusing on the purpose in reading the text, narrative voice, what we learn about Martyn Pig and what the author ...
TEACHER’S BOOKLET Pearson Education Limited, Edinburgh Gate, Harlow, Essex, CM20 2JE England and Associated Companies throughout the World © Pearson Education Limited 2005 The right of Dr Helen Bulbeck to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act of 1988. Extracts from Martyn Pig © 2002 Kevin Brooks We are grateful to the following for permission to reproduce copyright material: The Random House Group Limited for ‘Pigeons’ from Differences by Richard Kell, published by Chatto & Windus. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the Publisher or a licence permitting restricted copying in the United Kingdom issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London, W1T 4LP ISBN 1405 828102 First published 2005

ISBN 1-405-82810-2

9 781405 828109

Introduction Aim This resource provides materials to support the teaching of framework objectives through the reading of Martyn Pig. Reading can be a shared, social activity and it is important that pupils are given the opportunity to talk and write about their reading. Emphasis is placed on the promotion and development of reading as a thinking process, as pupils are asked to reflect on the reading strategies they use and encouraged to consolidate their use in a range of contexts. These reading strategies include the ability to predict, speculate, ask questions and pass comment, as well as being able to recognise how a writer creates images or narrative voice and stirs the reader’s sympathies. Many of the activities encourage pupils to develop the evaluative, analytical and critical skills that are required of Year 9 pupils as they progress towards Key Stage 4.

The lesson outline The lesson outline provides a structure for teaching ‘at a glance’. It is intended to provide a framework and can be adjusted to suit your circumstances. The structure enables you to cover a longer text while maintaining pace. Assessment focuses are addressed and framework objectives are taught explicitly and clearly placed within the context of the book and the lesson structure. There will be issues about coverage, but it is more important that pupils are able to explore their reading through talk and other interactive approaches, rather than sitting passively as the whole book is read to them, or worse, being asked to ‘read around the class’. It may be necessary to expand the number of lessons outlined here, so that the chapters that are the focus of the lesson outline can be read and prepared in between. This means that the focus can be on teaching and exploring pupils’ responses to what they have read. Approaches for progressing through the book include: • pupils or teacher recapping previous chapters that may not have been read • jigsaw reading (groups are given a section or chapter to read and then the group reports back) • use of prepared summaries or diagrammatic representations of the plot • reading at home, if appropriate. It is also important to allow pupils to control their own reading. If they want to read on, let them; re-reading chapters and revisiting prior reading may highlight things that were missed before.

Reading journals While some pupils will eagerly share their impressions about texts they have read, others feel less comfortable in class discussions, and will keep their thoughts to themselves. In an effort to encourage all pupils to think more about what they read and to share their observations and opinions confidently, some teachers use reading journals to great advantage. Reading

2

journals provide pupils with the opportunity to reflect, speculate and express their immediate responses to their reading. They can be an essential tool in tracking how pupils are responding to the text. Pupils can make a wide variety of entries in a reading journal, including: • noting responses • questions arising • mind-mapping and other graphic representations (tension graphs, timelines) • jotting down words and phrases that need clarifying, or that they could ‘steal’ for their own writing • keeping track of the plot. Most pupils will need support if they are to write with clarity and understanding, even if they are just making notes. For example, if pupils are asked to delve into characters’ motivations and choices, this kind of response will need to be modelled for them. You can also provide key words and phrases to prompt critical responses from pupils, for example: ‘I wonder what this means …’ ‘This bit reminds me of …’ ‘If it was me, I would …’ ‘I was surprised when …’ Assessing the reading journal It is important that pupils regard the journal as part of a continuing dialogue with the teacher and with each other, rather than work that is to be marked. However, there are three stages that reflect critical thinking and reading and these could be used as a teacher checklist for assessment: 1 A literal encounter with the text – the pupil’s responses are superficial and tend towards recount. 2 Analysis and interpretation – the pupil’s responses are more reflective, for example empathy with a character is reflected in the journal. 3 Synthesis and evaluation – the pupil is able to make links within and beyond the text. It is important to remember that more challenging content on its own does not always improve pupils’ critical thinking. Equipping pupils with the right vocabulary and the methods by which they can appraise their learning and progress is a critical part of the process. How often should pupils write in their journals? Less is more! Writing in journals several times a week will soon become tedious and pupils will find that they have nothing new to add. It is much better to ask for fewer responses, and ones that require deeper engagement, so that pupils are writing for themselves and not for the teacher. It may be worthwhile establishing routines so that pupils know when they are expected to make an entry. For example, pupils could be asked to reflect every lesson on the reading strategies that they have used, and make a brief note about them, including reference to the text.

Overview of objectives The notion of literacy being embedded in objectives involves much more than the basic acquisition of skills. The objectives selected here focus on enabling pupils to read as readers in order to deepen their understanding and appreciation, and to read as writers so that they can identify typical features and explore how writers gain impact. This is the point at which the bridge between reading and writing is made – when the pupil has the ability to step outside the body of a text and look at it as a writer. The objectives listed below encompass the ability to recognise, understand and manipulate the conventions of language and develop the pupils’ ability to use language imaginatively and flexibly in the narrative context. Objectives (and pupils) benefit from being explicitly taught and from being identified and deployed in context. Other objectives can also be taught (through starter activities), but it is up to the teacher to decide where the priority lies and to adapt the resource materials according to the needs of the pupils.

Year 9 Word W7 Layers of meaning

Sentence Sn3 Degrees of formality Sn4 Integrate speech, reference and quotation

Reading R1 Information retrieval R2 Synthesise information R5 Evaluate own critical writing R6 Authorial perspective R7 Compare texts R9 Compare writers from different times R10 Interpretations of text R12 Rhetorical devices R13 Evaluate own reading R15 Major writers R18 Prose text

Writing 8Wr8 Experiment with conventions Wr11 Descriptive detail Wr12 Effective presentation of information Wr16 Balanced analysis Wr17 Cite textual evidence

3

4

Reading AF3 & AF6 • W7 Layers of meaning • R2 Synthesise information • R6 Authorial perspective

Reading AF5 & AF6 • R12 Rhetorical devices

1

2

Writing AF3 • Wr11 Descriptive detail • Wr17 Cite textual evidence

AFs and objectives

Lesson

Lesson outline Starter/Introduction

Development

Wednesday, Exploring narrative style: pages 17–32 characterisation • Text annotation • In pairs, pupils explore the conventions of descriptive • Empathise writing when introducing a • Pass judgements character. Teacher planner 2.1 • Take feedback on the features identified, creating a diagnostic framework.

Exploring narrative style: characterisation • Use the framework to build a bridge between reading and writing. Through modelled, shared and independent writing, pupils write a description of a character. Teacher planner 2.1 Pupil worksheet 2.2 • Guided teaching with a lower-attaining group who are insecure with characterisation.

Wednesday, Ways into the text Reading journals pages 1–17 • Introduce the use of the reading • Remind pupils of the reading strategies • Predict journal as a way to reflect on that good readers use. Teacher planner plot, character, ideas and 1.2 • Pass comments questions. • Model reading three extracts from the • Speculate novel, focusing on the purpose in reading • Working in groups of four, pupils • Hear a voice the text, narrative voice, what we learn anticipate what the novel will be • Establish a about Martyn Pig and what the author about. Pupil worksheet 1.1 relationship with wants the reader to think. Teacher the narrator planner 1.2 • Pupils read further extracts, focusing on using reading strategies, what they learn about Martyn Pig, what they feel about Martyn Pig and how the author makes them feel. Teacher planner 1.2 • Guided teaching with a lower-attaining group.

Lesson focus

Homework • Read pages 32–45.

Plenary • Pupils share their final paragraphs. In pairs, ask pupils to peer review their writing, using the diagnostic frame.

Homework • Write down two examples of the way that a writer can ‘speak’ through a text (e.g. tone, character, inference and deduction, etc.).

Plenary • Ask pupils to share their insights from reading the extracts.

Plenary and Homework

5

4

Reading AF4 • R18 Prose text

3

Reading AF2, AF3, AF4 & AF5 • R7 Compare texts • R13 Evaluate own reading

Writing AF3 • Wr12 Effective presentation of information

AFs and objectives

Lesson

Homework • Pupils make notes in their reading journals about the questions discussed in the plenary.

Plenary • Discuss with the class: What effect can a leitmotif have on a text? Which reading strategies have been used to explore leitmotif?

Thursday, pages Narrative style: leitmotif 46–60 • Use the poem ‘Pigeons’, by • Infer Richard Kell, to explore with pupils the concept of leitmotif. • Deduce Pupil worksheet 4.1 • Pass comments • Establish a relationship with the narrator

Leitmotifs and characterisation • Ask the class: What are the leitmotifs in Martyn Pig? How do the leitmotifs enhance the character of Martyn? • Pupils draw a mind-map of the character of Martyn, adding some leitmotif quotations. Pupil worksheet 4.1 • Guided teaching with a lower-attaining group who are insecure with the concept of leitmotif.

Structure • Finish reading ‘Wednesday’. • Pupils explore the structure of the first chapter, as a starting point for tracking the structure of Martyn Pig. Teacher planner 3.1 • NB Keep this work for later use in Lesson 5 when there will be a joint plenary for the work done in lessons 3 and 5.

Wednesday, pages 32–45 • Interpret patterns • Re-read

Form or structure? • Explore with pupils the differences between form and structure. Teacher planner 3.1

Plenary and Homework

Development

Starter/Introduction

Lesson focus

6

Reading AF2 & AF4 • R10 Interpretations of text • R18 Prose text

Reading AF2, AF3 & AF6 • Sn4 Integrate speech, reference and quotation

5

6

Writing AF2 & AF3 • Wr16 Balanced analysis • Wr17 Cite textual evidence

AFs and objectives

Lesson

Friday, pages 78–91 • Relate to your own experience • Empathise • Reinterpret

Thursday, pages 60–77 • Ask questions • Speculate • Rationalise • Reinterpret

Lesson focus

Development

Plenary and Homework

Themes: right and wrong • Pupils explain the values and emotions revealed in a range of quotations about right and wrong. Teacher planner 6.1

Plenary Writing a formal essay • Moving from modelled to shared, then to • Pupils share their paragraphs with their independent writing, pupils write a formal peers and explain to essay on the question: Was Martyn right each other how to to kill his father? Teacher planner 6.1 integrate point, example, Pupil worksheet 6.2 and explanation. • Guided teaching with a lower-attaining group who are less secure with writing a formal essay.

Homework • Martyn says, ‘I made some tea, and then I told her what we were going to do.’ (page 77). What has he planned for them to do? • NB Keep these predictions until you have read to the end of the book.

Structure in the novel Plenary Structure in the novel • Pupils compare the structure of individual • Ask pupils to discuss • Revisit the structure maps chapters with the structure of the novel as what they have learnt created in Lesson 3. Ask the a whole. Pupil worksheet 5.1 about form and class: How has the plot structure. What developed in the second chapter, techniques have they Thursday? used to help their understanding of structure?

Starter/Introduction

7

Reading AF3 & AF6 • R10 Interpretations of text

7

Starter/Introduction

Saturday, pages Themes: fate Reading AF6 & AF7 122–48 • R7 Compare texts • In pairs, ask pupils to discuss what is meant by and to explore • R9 Compare writers from • Empathise the concepts of ‘fate’ and • Pass judgements different times ‘universality’. Teacher planner • Interpret • R15 Major writers 9.1 patterns

9

Writing screenplays • In groups, pupils rewrite the episode of Aunty Jean’s visit in the form of a screenplay, focusing on farce and black humour. Teacher planner 7.1

Development

Plenary • Ask pupils to feed back and explore patterns in the language used, e.g. colour. • Ask pupils to reflect on the reading strategies used in this lesson and how they have learnt to focus on language.

Plenary • Ask groups to share their screenplays. Ask pupils to discuss: How has the text changed from its original form? Has anything been lost? Has anything been gained?

Plenary and Homework

Plenary Themes: fate • As a class, discuss how • Pupils compare quotations on the theme the word ‘universality’ of fate from Martyn Pig with those from applies to fate. How other texts by a range of authors, focusing ‘fateful’ is Martyn Pig? on the extent to which Kevin Brooks’ views are similar to those of other authors. • Pupils identify which Teacher planner 9.1 Pupil reading strategies they worksheet 9.2 used to explore the quotations. • Guided teaching with a lower-attaining group who are less secure with exploring theme.

Saturday, pages Narrative style and structure Narrative style: the beach 107–22 • In pairs, ask pupils to discuss • Pupils trace how the use of language • Re-read how the final section of Friday reflects Martyn’s character/mood and the contrasts with Aunty Jean’s visit, themes of the novel through a card sort • Reinterpret considering tone and pace. How activity focusing on adjectives and • Summarise does this section set the reader adverbs. Teacher planner 8.1 • Rationalise what up for the next chapter? Teacher Pupil worksheet 8.2 is happening planner 8.1 • Guided teaching with a lower-attaining • Interpret group who are less secure with narrative patterns style.

Reading AF4, AF5 & AF6 • W7 Layers of meaning • R6 Authorial perspective • R12 Rhetorical devices • R13 Evaluate own reading

Friday, pages Form: screenplays 91–106 • Ask pupils to define the key • Re-read words screenplay, black humour and farce. Teacher planner • Reinterpret 7.1 • Summarise • Agree the conventions of • Rationalise what screenplay writing. Teacher is happening planner 7.1 • Relate to your own experience

Lesson focus

8

Writing AF2 & AF3 • Wr8 Experiment with conventions

AFs and objectives

Lesson

8 Characterisation: Alex • Pupils discuss the clues in the chapter Monday which show that Martyn may have misjudged Alex. Pupil worksheet 11.1 • Guided teaching with a lower-attaining group who are less secure with exploring characterisation.

Characterisation: Alex Monday, pages 163–92 • Pupils explore Alex’s character and what Martyn thinks of Alex. • Empathise Pupil worksheet 11.1 • Pass judgements • Interpret patterns • Ask questions

Reading AF3 & AF6 • R1 Information retrieval • R6 Authorial perspective • R13 Evaluate own reading

11

Writing AF2 • Sn3 Degrees of formality

Narrative style: internal dialogue • Explore with pupils how we know that these extracts reflect internal dialogue. Using a grid of features of spoken grammar, pupils identify which features are used in the internal dialogue on pages 149–152 and which are used in the conversation on page 154. Pupil worksheet 10.1 • Pupils write a paragraph of internal dialogue in which they write their thoughts as they happen. Pupil worksheet 10.1

Sunday, pages Narrative style: internal 149–62 dialogue • Ask pupils to skim read pages • Empathise 149–152, identifying which • Pass judgements sections are descriptions of • Interpret Martyn’s actions and which patterns reflect his internal dialogue. Ask • Use reading to pupils how they know which is inform writing which.

Development

Reading AF5 & AF6 • Sn3 Degrees of formality • R5 Evaluate own critical writing • R12 Rhetorical devices

Starter/Introduction

10

Lesson focus

AFs and objectives

Lesson

Plenary • We only ever see Alex through Martyn’s eyes. This is not a view to be trusted. Discuss what reading strategies we need to use to see beyond the narrator’s viewpoint, so that we don’t fall into this trap.

Homework • Write a further paragraph of internal dialogue in the next 24 hours.

Plenary • In pairs, pupils share examples of their writing and explore the effects created. How many of the features of spoken grammar have been used?

Plenary and Homework

9 Endings and beginnings • Ask pupils to update the structure map of the whole text that was last updated in Lesson 5. • In small groups, ask pupils to discuss the following questions: - To what extent do you think the author plotted and planned the fine detail of the narrative? When he began, did the writer know exactly where the plot would go and how it would end? Or did the writer start with an idea and enjoy the journey his imagination took while following this idea? - How is the ending linked to the beginning? - In what ways has reading this novel developed your understanding of what you read and how you read?

Epilogue, pages 236–45 • Interpret patterns • Ask questions • Re-read • Reinterpret

Reading AF2 & AF4 • R1 Information retrieval • R13 Evaluate own reading • R18 Prose text

14

Endings and beginnings • Revisit the predictions made in Lesson 5 and discuss the extent to which pupils’ predictions were accurate. Pupil worksheet 5.1

Plenary Subgenres of crime fiction: the caper story • Ask pupils to share their mind-maps and explain • Introduce the idea of subgenre, and the how the chapter fulfils caper story as a subgenre of crime fiction. the criteria of a caper • Pupils explore how this novel fulfils the story. criteria of a caper story by creating a mind-map of the chapter Christmas Day. Teacher planner 13.1 Homework • What loose ends in the plot are still to be tied up?

Christmas Day, Genre: crime fiction pages 216–35 • In pairs, ask pupils to write a • Pass judgements definition of crime fiction and to identify the key features of the • Interpret genre. Teacher planner 13.1 patterns • Ask questions • Relate to previous reading experience

Reading AF6 & AF7 • R12 Rhetorical devices • R18 Prose text

Characterisation: Martyn Plenary • Model reading an extract, reflecting on • Discuss with the class Martyn’s character and the reader’s how helpful annotating response to him. Teacher planner the text was in the exploration of Martyn’s 12.1 character. How might • Pupils read and annotate further extracts, this technique help them considering their feelings about the when reading texts in character of Martyn. the future? • Ask pupils to re-read page 212 and consider the dilemma of right and wrong faced by Martyn. Does Alex’s betrayal help the reader to form a view of Martyn? • Guided teaching with a lower-attaining group who are less secure with exploring characterisation.

13

Plenary and Homework

Tuesday, pages Characterisation: Martyn 193–215 • Discuss what Martyn means by • Text annotation ‘outside real’. Teacher planner 12.1 • Empathise • Pass judgements

Development

Reading AF3 & AF6 • R6 Authorial perspective • R13 Evaluate own reading

Starter/Introduction

12

Lesson focus

AFs and objectives

Lesson

Pupil worksheet 1.1

Lesson 1 Anticipation guide

1 In groups of four, use the information below to anticipate what you think Martyn Pig will be about. You will need to: • preview, speculate, hypothesise, predict, discuss, ask questions and make guesses • look for patterns. A Reviews of the book ‘Gripping plot twists … fresh and edgy … will have tremendous teen appeal.’ (School Library Journal) ‘A breathless read … the macabre details are as compelling as the edgy realism.’ (Booklist) ‘What sets it apart for me, aside from the originality of the story, is the quality of the writing. It's sparsely done, beautifully crafted, but full of depth and savage mystery.’ (Marc Lambert, Former Assistant Director (Children & Education) of Edinburgh International Book Festival) ‘Inventive, original and distinctively alarming. A very fine first novel.’ (Michael Morpurgo, children’s author) ‘Hard-boiled, wide-eyed and despite its downright grisly subject matter laugh-aloud funny.’ (Publishers Weekly) B Chapter headings Wednesday Monday

Thursday Tuesday

Friday Christmas Day

Saturday Epilogue

Sunday

C Book jacket and the back cover blurb Martyn is resigned to having a lousy Christmas: his mum’s gone, his best friend Alex is going out with an idiot, and he hates his dad. What he didn’t foresee is the nasty accident that leaves him with a real problem on his hands. Before he knows it, Martyn finds himself on a rollercoaster of deceit, mystery and betrayal. Martyn loves detective stories, but he never meant to end up starring in one himself. D The first and last lines ‘It’s hard to know where to start with this.’ ‘I put the letter down and looked out of the window. It was starting to snow.’ E From Amazon.co.uk Customers who bought this book also bought: Lucas by Kevin Brooks Kissing the Rain by Kevin Brooks You Don’t Know Me by David Klass Stone Cold by Robert Swindells The Defender by Alan Gibbons A Northern Light by Jennifer Donnelly.

10

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Teacher planner 1.2

Lesson 1 Teaching objectives

• W7 Recognise layers of meaning in the writer’s choice of words, e.g. •

connotation, implied meaning, different types or multiple meanings. R6 Comment on the authorial perspectives offered in texts on individuals, community and society in texts from different cultures.

Focus • Ways into the text.

What do we learn about Martyn Pig? Remind pupils of the reading strategies that good readers use when reading fiction: When getting ready to read, we need to: • preview, speculate, predict, discuss, ask questions and make guesses about a text to make sense of it • find organisational patterns. When engaging in reading, we need to: • think about how we read – understanding how we read is called metacognition • read between the lines – infer and deduce • visualise, see images • hear a voice • sort out ideas • make connections, re-read and reinterpret • make meaning from texts • empathise, feel • establish a relationship with the narrator and the author. When reacting to reading, we: • respond to what we read differently, depending on our own experiences and insights • make judgements • draw conclusions. Model reading the three extracts below and make links between them, focusing on: • the purpose in reading the text • hearing a narrative voice • what we learn about Martyn Pig • what the author wants the reader to think.

Extract 1: page 1 Use of the first person immediately anchors the reader in the narrative voice. Use of ‘suppose’ and ‘could’ suggests that the narrator is not obliged to tell us if he doesn’t want to.

11

I suppose I could tell you all about where I was born, what it was like when Mum was still around, what happened when I was a little kid, all that kind of stuff, but it’s not really relevant.

Colloquial, informal style.

Direct address to the reader engages us.

She isn’t around any longer and she isn’t important to him, nor is his past.

Lesson 1

Teacher planner 1.2 (continued)

Extract 2: page 36 Use of this conjunction tells us that Martyn is speculating. Unusual, biological term – suggests his mother didn’t have a choice.

If he hadn’t been my father, you know, if he hadn’t impregnated Mum, then I would never have been born. I wouldn’t have existed. And he would still be alive. It was his fault that I existed. He made me. I never asked to be born, did I? It was nothing to do with me.

Why not use ‘lived’? ‘Existed’ suggests that he hasn’t really lived.

What does this mean? Is his father dead? This means he has no mother or father. Use of italics adds emphasis and emotion – he feels angry. Typical teenagespeak.

Extract 3: page 111 This extract links back to Extract 1 – he hasn’t done much that is worth remembering.

It felt strange being out of the house. Exciting, but a little scary, too. I wasn’t used to it. My world consisted of my house, the street, school, and the occasional trip to town. Anywhere beyond that was an adventure. Pathetic, really.

He does not feel good about himself.

Use of the list in this order reflects the way children often think. How old is Martyn? Words like ‘impregnated’ (in Extract 2) suggest he is a teenager, not someone younger.

Give each pair of pupils one of the extracts below. Ask pupils to explore their extract, considering: • which reading strategies they are using • what they learn about Martyn Pig • what they feel about Martyn Pig • how the author makes them feel.



Christmas meant nothing to us. It was just a couple of weeks off school for me and a good excuse for Dad to drink, not that he ever needed one. I hate waiting for someone to turn up. I can’t understand why anyone should be late for anything. Unless something disastrous happens there’s no reason for it. No reason at all. I’m never late for anything.

She kissed me again before she left. Just a peck on the cheek, and then she was gone. I watched her cross the empty street and follow the pavement down towards her house, a slight dark figure stooped against the falling snow. The touch of her kiss on my cheek grew colder with every step she took. It’s no good wishing things were different, wishing you could turn the clock back, wishing you had another chance, because things aren’t different, you can’t turn the clock back, you don’t get another chance. I went on. ‘And a cigarette end, too. Remember? You dropped one on the kitchen floor. That went in the sleeping bag as well. Hairs and cigarette ends. Your hairs, your cigarette end. It’s amazing what the police can do these days. Hairs, cigarette ends, fingerprints, DNA. Forensics, it’s amazing stuff.’

12

Lesson 2

Teacher planner 2.1

Teaching objectives • R12 Analyse and discuss the use made of rhetorical devices in a text. • Wr11 Make telling use of descriptive detail, e.g. eye-witness accounts, sports •

reports, travel writing. Wr17 Cite specific and relevant textual evidence to justify critical judgements about texts.

Focus • Characterisation.

Starter Give each pair of pupils one of the character descriptions below to read and annotate. As they read, pupils should create a list of the key features of effective character descriptions. Model reading the first extract, if necessary.



Martyn’s father, Billy: page 4 He could have been quite a handsome man if it wasn’t for the drink. Handsome in a short, thuggish kind of way. Five foot seven, tough-guy mouth, squarish jaw, oily black hair. He could have looked like one of those bad guys in films – the ones the ladies can’t help falling in love with, even though they know they’re bad – but he didn’t. He looked like what he was: a drunk. Fat little belly, florid skin, yellowed eyes, sagging cheeks and a big fat neck. Old and worn out at forty. Aunty Jean: pages 4–5 Dad’s older sister. A terrible woman. Think of the worst person you know, then double it, and you’ll be halfway to Aunty Jean. I can hardly bear to describe her, to tell you the truth. Furious is the first word that comes to mind. Mad, ugly and furious. An angular woman, cold and hard, with crispy blue hair and a face that makes you shudder. I don’t know what colour her eyes are, but they look as if they never close. They have about as much warmth as two depthless pools. Her mouth is thin and pillar-box red, like something drawn by a disturbed child. And she walks faster than most people run. She moves like a huntress, quick and quiet, homing in on her prey. Father Christmas: page 8 In town, outside Sainsbury’s, the scariest Father Christmas I’d ever seen was slumped in the back of a plywood sleigh. He was thin and short. So thin that his big black Santa’s belt wound twice around his waist. Stiff black stubble showed on his chin beneath an ill-fitting, off-white Santa beard and – strangest of all, I thought – a pair of brand new trainers gleamed on his feet. When he Ho-ho-ho’d he sounded like a serial killer. Six plywood reindeer pulled his plywood sleigh. They were painted a shiny chocolate brown, with glittery red eyes and coat-hanger antlers entwined with plastic holly. Alex: page 14 I watched the way her eyes blinked slowly and I watched her mouth say Thank you and I watched the coalblack shine of her hair as she took the bus ticket and rolled it into a tube and stuck it in the corner of her mouth. I watched her hitch up the collar of her combat jacket and I saw the bright white flash of her T-shirt beneath the open folds of her jacket as she strolled gracefully to the back of the bus. Alex: page 15 Nice. She looked nice. Pretty. Kind of scruffy, with straggly black hair sticking out from a shapeless black hat. She wore battered old jeans and a long red jumper. I liked the way she walked, too. An easy lope. Alex’s mum: page 16 She was quite tall, for a woman. Sort of dumpy, too. Medium-tall and dumpy, if that makes any sense. Her hair was black, like Alex’s, but short. And her face was sort of grey and tired-looking, like her skin needed watering. She wore faded dungarees and a black T-shirt, long beady earrings, and bracelets on her wrists.

13

Teacher planner 2.1 (continued)

Lesson 2

Take feedback on the features pupils have identified and create a diagnostic framework with pupils, using the model below as a prompt. This will be used to support pupils’ own writing. Yes

No

A little

Word level Nouns/noun phrases to add detail Repetition of key words for emphasis Some action verbs and many linking verbs, e.g. is, has, are, have Consistent use of tenses Descriptive language, including similes and metaphors Sentence level Topic sentences Variety of sentence types, including use of subordination to develop ideas and simple sentences for effect Adverbs and adverbial phrases Adjectives and adjectival phrases Appropriate amount of detail Connectives for sequence, comparison, cause and effect First person or third person according to audience and purpose Punctuation Punctuation used to clarify meaning, particularly at the boundaries between sentences and clauses Words in lists

Development Explain to pupils that they are going to use this framework to build a bridge between their reading and their own writing. They will write an effective introduction to a character of their choice. Using the planning frame on Pupil Worksheet 2.2, model how to plan the writing and, if necessary, model writing the start of the first paragraph. Below is an annotated example of the start of a description of a mother. Words in a list create a minor sentence.

Non-referent pronoun used to hook the reader. Simple sentence. Use of conjunction for dramatic effect in a minor sentence.

She was the mother from hell. Loud, domineering, manipulative. And fat. So fat that even the largest belt wouldn’t meet round her middle. Not that she had a middle. No, she was more the Michelin mould – rolls of lard layered like tyres on a race track. You know, the ones the cars bounce off as they round the corner.

Use of simile for visual effect Contraction adds to informality.

Subordination adds detail and contrasts with the simple and minor sentences.

Direct address appeals for agreement from the reader.

Conjunction to link with the previous sentence. Repetition for effect.

Minor sentence emphasises informality.

Dash acts as a pause.

Move to shared writing. Pupils write the first sentence of the second paragraph, using the diagnostic frame as a prompt. They should complete the paragraph together. Support a guided group who are less secure with character description. Pupils should then work independently to write a third paragraph.

14

Pupil worksheet 2.2

Lesson 2 Exploring characterisation

You have read and annotated a description of one of the characters from Martyn Pig. In pairs, you are now going to take the ideas from your reading and use them to write your own effective introduction to a character. To achieve a level 5, you will need to: • show control of the narrative by commenting on characters • use paragraphs to mark the main divisions in the narrative • vary sentence types and lengths, including the use of subordination to develop ideas • use simple sentences for effect • make links between paragraphs, e.g. repetition of vocabulary, adverbials • use figurative language to involve the reader and build the character • use the full range of punctuation. 1 Jot down key ideas about character descriptions from the starter activity in a planning frame. You can use a copy of the planning frame below to help you, or you could use a different type of plan. Paragraph 1 First impressions – what is the character like? Paragraph 2 Use language to create detail and manipulate the reader’s response. (Use the diagnostic frame to help you here.) Paragraph 3 Concentrate on the way the character moves or speaks. 2 Think about the style of the language that you will need to use. Your teacher will model the opening paragraph for you. 3 Working in pairs, write the second paragraph of your character description. 4 Working on your own, write the third paragraph. 5 Share your third paragraph with your partner. Use the diagnostic frame created earlier in the lesson to discuss: • what is effective about your description • an area you need to improve.

15

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Teacher planner 3.1

Lesson 3 Teaching objectives

• R18 Discuss a substantial prose text, sharing perceptions, negotiating common •

readings and accounting for differences of view. Wr12 Exploit the potential of presentational devices when presenting information on paper or onscreen, e.g. font size, text layout, bullet points, italics.

Focus • Form and structure.

Starter Group pupils into pairs and label each pair A or B. Ask the ‘A’s to decide on a working definition of what we mean by the ‘form’ of a text and the ‘B’s to decide on a working definition of ‘structure’. Each ‘A’ pair should then join with a ‘B’ pair to share their definitions and work together to refine them. Ask groups to apply their definitions to a text they have read recently and explain the form and structure of this text. Each group should then feed back to another group (moving from fours to eights).

Development Ask pupils to explain the difference between a short story and a novel. Explain that novels tend to be much more complex in structure than short stories. The structure of a novel will consist of a precipitating incident, followed by rising action, then reversals, anti-climaxes, setbacks and events in any number, before the actual climax and then the dénouement. In the novel, the dénouement tends to be longer than that of a short story because of the complexity of the plot and the need to unravel everything. With all the complications, it can take longer for the writer to get the characters back to ‘normal’ and to show the results of the climax. Below is an example of a diagrammatic structure for a typical novel:

Climax Reversals and anti-climaxes

Falling action

Rising action Precipitating incident

Dénouement

Explain that the structure of Martyn Pig is slightly more complicated because Martyn also weaves in flashbacks so that the story is not sequential. Using sugar paper, ask pupils to use a diagrammatic approach to plot the structure of the first chapter, Wednesday (pages 1–45). To help them do this, they should: • skim read the chapter again and separate out the events that began a year ago, the week before Christmas, from the flashbacks much further back from Martyn’s past. This can be done through the use of sticky notes. • draw a line similar to the one above that reflects the tension in pages 1 to 45. • above the line, trace the events of the story that began a year ago. The sticky notes could be stuck on to the sugar paper. • below the line, note the flashbacks from much further back in Martyn’s life, e.g. the name calling, the custody battle. These sheets can be added to and displayed around the classroom as ‘work in progress’. They will also act as good memory joggers when pupils are reflecting on the structure of the whole novel. NB Keep this work for later use in Lesson 5, when there will be a joint plenary for Lessons 3 and 5.

16

Pupil worksheet 4.1

Lesson 4 Context As a group we have:

• • • •

revised reading strategies and used them as a way into the novel explored our initial impressions of Martyn built a bridge between your reading and your writing begun to think about the structure of Martyn Pig.

Now you are going to explore leitmotif.

Objectives • R7 Compare texts • R13 Evaluate own reading.

1 In pairs, read the poem below. As you read it, highlight any references to water, whether they are direct or indirect. Indirect references might just suggest water. How many references can you find? 2 What is the effect of the references to water in this poem? ‘Pigeons’ by Richard Kell They paddle with staccato feet In powder-pools of sunlight, Small blue busybodies Strutting like fat gentlemen With hands clasped Under their swallowtail coats; And, as they stump about, Their heads like tiny hammers Tap at imaginary nails In non-existent walls. Elusive ghosts of sunshine Slither down the green gloss Of their necks in an instant, and are gone. Summer hangs drugged from sky to earth In limpid fathoms of silence: Only warm dark dimples of sound Slide like slow bubbles From the contented throats. Raise a casual hand – With one quick gust They fountain into air.

17

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Lesson 4

Pupil worksheet 4.1 (continued)

This use of references is called leitmotif. A leitmotif is a repeated expression, event or idea used to unify a piece of writing. 3 What are the leitmotifs in Martyn Pig? Look at the quotations below. Highlight any ‘unifying’ references you can find in them. Horrible tinny Christmas musak … synthesised sleigh bells and chirpy pianos, groany old singers … A great swirling mess of sound searing its way into my head … chattering machine guns, talking animals, wailing police car sirens, dee-dur dee-dur dee-dur … the constant sound of thousands of people … all talking, jabbering away, yammering rubbish to each other – scuffle scuffle scuffle, blah blah blah, scuffle scuffle scuffle. It’s there all the time, the sound of too much everything, but no one ever listens to it. Pounding on the window. Gusting against the glass. Louder and louder. It wouldn’t stop. I couldn’t get it out of my head. It was so loud. So insistent. Pounding, pounding rain. Louder and louder and louder, like a thousand angry fingers rapping on the window. Most people, they just keep yapping all the time, even when there’s nothing to say. Talking for the sake of it, spouting rubbish. Making noise. What’s wrong with silence? Listen to it, it’s beautiful.

4 Martyn spends a lot of time watching and looking out of windows. This is another leitmotif in Martyn Pig. Skim read pages 46–60. How many examples can you find of Martyn looking out of windows, or referring to windows? 5 Join with another pair to make a group. Compare your ideas. 6 Draw a mind-map of the character of Martyn. Add in some of the leitmotif quotations. How do the leitmotifs enhance his character?

18

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Pupil worksheet 5.1

Lesson 5 Structure in the novel Work in small groups.

1 Revisit your structure diagrams of the first chapter. Update these to include the events in the second chapter, Thursday. 2 Now you are going to compare the structure of individual chapters with the emerging structure of Martyn Pig as a whole. Using the grid below, map in the events of Thursday. Set the scene Introduce a problem (precipitating incident) Complication (rising action) Crisis (climax) Adjustment (falling action) Resolution (dénouement) 3 How far do you think the structure of this chapter will reflect the structure of the whole novel? Why is it important that some chapters have this underpinning structure? 4 Throughout the novel, Martyn creates and tries to carry out plans to deal with his situation, which keeps changing. All of the events in the novel stem from the precipitating incident – his father’s death. In a copy of the grid below, list the actions and events that Martyn has planned, and those that he hasn’t planned. Update this as you read the rest of the novel. Precipitating incident: Martyn’s father’s accidental death Planned actions or events on Martyn’s plans

Unplanned actions or events

Impact of unplanned actions or events

Not to tell the police

Bequest of £30,000

Provides him with new opportunities

To tell Alex

5 At the end of Thursday, Martyn says, ‘I made some tea, and then I told her what we were going to do.’ What has Martyn planned for them to do? Make a prediction based on the paragraph on page 77 beginning, ‘Later, after Alex had left …’. Keep this prediction until you have finished reading the book to see how close your prediction is to what actually happens.

19

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Teacher planner 6.1

Lesson 6 Teaching objectives

• Sn4 Integrate speech, reference and quotation effectively into what they write. • Wr16 Present a balanced analysis of a situation, text, issue or set of ideas, •

taking into account a range of evidence and opinions. Wr17 Cite specific and relevant textual evidence to justify critical judgements about texts.

Focus • Writing a formal essay.

Starter Pupils work in pairs. Give each pair two of the quotations from Martyn Pig below about right and wrong. Ask pupils to take one quotation each and explain to their partner the values and emotions it reveals.



Look, he was already dead. I couldn’t change that. I didn’t mean it to happen, it just happened. It happened. All I was trying to do was make the best of it. I wasn’t harming anyone. I wasn’t hurting anybody. You can’t hurt the dead, can you? I was just looking out for myself, that’s all. What’s wrong with that? You think that any of this really matters? You think I care what happens? To me, to anybody, to anything? I know it. I know. I know that nothing matters. That’s what makes me strong.

‘Good, bad. Right, wrong. What’s the difference? Who decides?’ ‘But what we’re doing – it’s against the law.’ I shrugged. ‘What’s the law? It’s only someone’s opinion.’ ‘It’s only wrong if you think it’s wrong. If you think it’s right, and others think it’s wrong, then it’s only wrong if you get caught.’ None of us has any control over what we do. If you’re good, you’re good – if you’re bad, you’re bad. I have no right to judge anything – a fly, a rat, a tapeworm, whatever.

Development Distribute Pupil worksheet 6.1 and use it to guide pupils through the writing task: ‘Was Martyn right to kill his father? Support your answer with reference to the quotation you have read.’ Model how to plan a response to the question. If necessary, model writing the opening to the first paragraph. Topic sentence introduces the theme. Portrays Martin as a victim.

Martyn’s father, Billy, is portrayed as an unpleasant, bullying drunk, who lacks the skills of a father. He has a history of physical and mental abuse of Martyn, so it is not surprising that Martyn repeatedly had to defend himself against his bullying father.

Repetition of ‘bullying’ reinforces the first sentence.

Use of adverb emphasises Martin’s position.

Relative clause expands the idea.

This sounds more formal than ‘I am not surprised’ because it begins with an impersonal pronoun.

Next, move to shared writing. Pupils write and share the next sentence of the first paragraph, using a quotation from the book to support their view. Complete the paragraph as a shared activity. In pairs, pupils write the second paragraph, including quotations and using the grid on the pupil worksheet as support. Work with a guided group needing additional support with composing a response. Independently, pupils write the third paragraph.

20

Pupil worksheet 6.2

Lesson 6 Writing a formal essay

You have been asked to present a case defending Martyn’s actions. To do this, you are going to plan and write a short piece of reflective writing in response to the question: Was Martyn right to kill his father? Support your answer with reference to the extract you have read. To achieve a level 5, you will need to: • show an understanding of Martyn and his behaviour • analyse the features and effect of language • show an understanding of ideas, themes and issues • illustrate your points with evidence from the text, picking out key words or phrases • show a considered personal view. 1 Highlight the important words in the question. 2 Jot down key ideas from the starter activity on a copy of the planning frame below. (You can use a different planning format if you wish.) Was Martyn right to kill his father? Support your answer with reference to the quotation you have read. Paragraph 1 Introduce the topic. Describe the relationship between Martyn and Billy, his father. Paragraph 2 Show an understanding of the issue. Illustrate your points with evidence from the novel. Paragraph 3 Your own personal view

21

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Pupil worksheet 6.2 (continued)

Lesson 6

3 Think about the style of language that you will need to use to write a formal response. Your teacher will model the opening sentences for you. 4 Include quotations from Martyn Pig in your writing to support your ideas. Use the grid below to help you link the points you want to make with evidence from the text and an explanation of the effect on you, the reader. POINT: What the character does It/He

appears seems uses says

tries is does speaks

EXAMPLE: Evidence from the text For example, when it says ‘…’ For instance, when it describes Aunt Jean/Father Christmas/Martyn’s father as ‘…’ This is illustrated when … This is highlighted when … EXPLANATION: What effect this has on you, the reader This/which creates the/an impression of/that … shows that … emphasises that … makes me feel that … suggests that … 5 Work in pairs to write the second paragraph, then working on your own, write the final paragraph explaining your personal view. 6 Share your final paragraph with a partner. Explain to your partner how you have integrated point, example and explanation in your paragraph.

22

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Lesson 7

Teacher planner 7.1

Teaching objectives • R10 Comment on interpretations of the same text of idea in different media, using •

terms appropriate for critical analysis. 8Wr8 Develop an imaginative or unusual treatment of familiar material or established conventions, e.g. updating traditional tales.

Focus • Screenplays.

Starter Ask pupils to work in pairs to define screenplay (a script for a film, including descriptions of scenes and some camera directions); black humour (the treatment of serious topics, e.g. death, in a humorous way to create a disturbing or macabre effect); and farce (a humorous play or scenario in which funny or unlikely things happen – the humour often comes from the physical situations characters find themselves in). Use the extract below to agree the conventions of screenplay writing. Sean is walking across the field. All over, there are pupils reading copies of the official school magazine. He is the editor. One girl, FRANNIE DUBOIS, is laughing hysterically. She is young and beautiful. Sean stops and stares at her. A friend of Frannie’s is reading over her shoulder, a look of shock on her face. Conventions include: • Use of present tense • Clear, direct writing • Vertical writing (not much on one line) • Short paragraphs, each representing one camera shot • Simple sentences • No rhetorical devices.

Development Ask pupils to skim read the description of Aunty Jean’s visit on pages 91–101. Pupils work in small groups. Give each group a section of these ten pages to work on. Using the conventions discussed in the starter, pupils should write a screenplay version of their section. They should consider how they can emphasise the elements of black humour and farce in this section of Martyn Pig.

23

Lesson 8

Teacher planner 8.1

Teaching objectives • W7 Recognise layers of meaning in the writer’s choice of words, e.g. • • •

connotation, implied meaning, different types or multiple meanings. R6 Comment on the authorial perspectives offered in texts on individuals, community and society in texts from different cultures. R12 Analyse and discuss the use made of rhetorical devices in a text. R13 Review and develop their own reading skills, experiences and preferences, noting strengths and areas for development.

Focus • Narrative style.

Starter Pupils skim read the final section of Friday (pages 102–106). Ask pairs to discuss: • How does this contrast with Aunty Jean’s visit? Think about the tone and pace. • How does this section set the reader up for the next chapter?

Development Most of the adjectives and adverbs used in pages 109–120 are listed on Pupil worksheet 8.2. (Words that have been used adjectively are also included.) Make a set of these word cards for each group of three to four pupils. For less able pupils, the number of words could be reduced. Ask pupils to cluster the cards into groups and to think about the following questions: • What are the moods that emerge? • How does the language reflect the themes in the novel? • How does the language reflect Martyn’s character? Pupils should discover and agree the criteria for grouping the cards through discussion. Ask pupils to re-read this section and, using ‘Post-it’ notes, map in the changes to Martyn’s mood, thinking about how the author has used language to reflect how Martyn feels. Pupils can then transfer the notes to their reading journals. The same activity could be repeated with nouns from this section.

24

25

long

empty

weather-faded

false

exciting

curved

bunged-up

walking

happy

still

flesh-pink

sudden

awesome

solid

sticky brown

tight

strange

meaningless

small

clean

ramshackle

plastic

fresh

icy

blue

old

momentous

salty

dead-looking

coloured

pathetic

long

lazy

steep

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

heavy

blameless

dark

coast

silent

long-legged

frozen

alien

big

paper-thin

woolly

cold

doddery

fantastic

brown

fish-mouthed

fresh

rusted

funny looking

straight

menacing

unintelligible

countless

hostile

symmetrical

blind

fat

thick

down

wild

half-dead

hot

lucky

silver

candle-white

good

blurred

shapeless

unique

alone

soft

dull black

calm

unwelcoming

lonely

clean

thin

smeared

small

corrugated

cob faded

narrow

muddy

sticky out

great

bad

formless

shingle

abominable

indeterminate

white

pale grey

fine

raw

clinking

pretty

black

aluminium grey

tiny

gutted

high

dull grey

shiny

cross-legged

snow-filled

colourless

immeasurable

serene

rubbery

dry

open

distant

sleepy

low

wet brown

hidden

hard-packed

wind whipped

bone dry

falling

beautiful

alive

lifeless

creamy-white

drunk

pale

ghoulish

ragged

ghosts

grey-white

sensible

hard

shiftless

mad

sandy

mashed

✁ Lesson 8

Pupil worksheet 8.2

Lesson 9

Teacher planner 9.1

Teaching objectives • R7 Compare the presentation of ideas, values or emotions in related or • •

contrasting texts. R9 Compare themes and styles of two writers from different times. R15 Extend their understanding of literary heritage by relating major writers to their historical context, and explaining their appeal over time.

Focus • Themes.

Starter Working in pairs, ask pupils to define fate (an event, or a course of events, that will inevitably happen in the future) and universality (the quality of being universal, of existing everywhere). Display these definitions around the room. Encourage pupils to discuss the concept of fate, using the following questions as prompts: • How important is fate to you? • Do you believe that your destiny is mapped out for you, or do you think that you have some control over your destiny? • How important is fate to Martyn? • Does he believe that he has control over the events in the novel? Pupils update the grid from Pupil worksheet 5.1 on the planned and unplanned events in Martyn’s life.

Development In pairs, ask pupils to skim read the quotations on Pupil worksheet 9.2. Each pupil should select one quotation and explain what it means to their partner. Ask pupils to identify which quotations are from Martyn Pig and which are from a different source. (Answers – 1: Martyn Pig, page 148; 2: Thomas Hardy; 3: Franklin D. Roosevelt; 4: Martyn Pig, page 103; 5: Henry Miller; 6: Horace; 7: Martyn Pig, page 60; 8: Martyn Pig, page 36; 9: Martyn Pig, page 49; 10: John Dryden; 11: Martyn Pig, page 50; 12: Martyn Pig, page 64). Pupils should then explore the links between the quotations, e.g. highlight similar meanings, repeated words.

26

Lesson 9

Pupil worksheet 9.2

Fate

27

1

I put my hands in my pockets and looked up at the stars. Everything is determined, the beginning as well as the end, by forces over which we have no control.

2

Once victim, always victim – that's the law!

3

Men are not prisoners of fate, but only prisoners of their own minds.

4

Nothing. No life, no point. Too many people with nothing to say and nothing to do and nowhere to go. Grey souls. Waiting for it all to end. This is it, this is what I have.

5

We create our fate every day we live.

6

With equal pace, impartial Fate Knocks at the palace, as the cottage gate.

7

Look, he was already dead. I couldn’t change that. I didn’t mean it to happen, it just happened. It happened.

8

Does there have to be a reason for everything?

9

What happened next, I suppose you’d call it fate. Whatever that is.

10

All human things are subject to decay And when fate summons, monarchs must obey.

11

Everything is determined, he said, the beginning as well as the end, by forces over which we have no control. It is determined for the insect as well as for the star. Human beings, vegetables or cosmic dust, we all dance to a mysterious tune, intoned in the distance by an invisible piper.

12

Things don’t just happen, do they? They have effects. And the effects have effects. And the effects of the effects have effects. And then the effects of the things that happen make other things happen, so the effects of the effects become reasons. Nothing moves forward in a straight line, nothing is straightforward.

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Lesson 10

Pupil worksheet 10.1

Internal dialogue The sections of the novel that reflect Martyn’s internal dialogue can be identified because the grammar is different. Spoken English has its own form of grammar, a bit like the way text messaging has developed its own characteristic grammar. The grid below details some characteristic grammatical features of spoken English. Feature

Explanation

Examples

Interjections

Expressions of emotion

Wow! That’s great!

Phatic phrases

Words and phrases that we use as ‘fillers’.

Hello, how are you?, Fine thanks

Heads

Used at the beginning of sentences to let us know what is being talked about.

That boy, you know, Steve …

Tails

Used at the ends of sentences or clauses to reinforce or echo what has been said.

I’m going out tonight, I am

Ellipsis

Parts of the sentence are omitted because we assume the listener knows what we are talking about.

A: Are you going to the party on Friday? B: Yeah, of course [I'm going].

Discourse markers

Words or phrases used as 'punctuation' to mark boundaries in conversation between one topic and the next.

Anyway, so, right, now, okay, I mean, you know

Adverbs and adverbials

Often used at the end of an utterance.

It’s not a bad film but I didn’t like the violence, though.

Incomplete sentences

Speakers often use single words or self-contained phrases to convey meaning.

Think

Tag question

A short question added to the end of a statement.

I’m intelligent, aren’t I? He is, isn’t he?

Deictics

These make sure that the listener knows what, where and to whom you are referring.

He, she, it, they

‘Wh-’ questions

These questions show that the speaker is engaged with what is being said. The speaker is often seeking clarification to ensure that there is a shared understanding of what has been said.

What do you mean? Why can’t …?

1 Look again at the sections of internal dialogue you picked out. Which features of spoken English can you find? What effect do they create? 2 Read Martyn’s conversation with Mrs Freeman on page 154. Which features of spoken English can you find in the conversation? What effect do they create? 3 Imagine that you have been asked to do something that you’d rather not do, e.g. walk the dog in the rain, or do your homework when there’s a big football game on television. Write a paragraph of internal dialogue that reflects your thoughts as they happen. 28

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Lesson 11

Pupil worksheet 11.1

Alex When Alex is asked what she wants to be at the beginning of the novel, she says: ‘The murderer’s beautiful mistress.’ (page 27) At the end of the novel, Alex writes, in a letter to Martyn: ‘Badness is a relative thing … something’s only wrong if you think it’s wrong … if you think it’s right, and others think it’s wrong, then it’s only wrong if you get caught.’ (page 245) 1 Working in pairs, spend one minute writing down on a mind-map as many words as you can to describe Alex’s character from your point of view. Think about: • the two quotations above • your understanding of Alex’s character • the way she reacts to events in the novel. 2 With your partner, discuss whether you like Alex. Join with another pair to make a four and share your ideas. 3 Imagine that you are Martyn. Using a different colour, add words to your mind-map that Martyn would use to describe Alex. Are they same or is there a difference between your opinion and Martyn’s opinion of Alex? 4 In your group, skim read pages 166–192. You may want to divide these pages between you. As you read, note down any phrases or actions which suggest that Martyn may have judged Alex wrongly. 5 Thinking about the quotations above, discuss the following questions: • What clues are there in Monday that there is more to Alex than Martyn thinks and that he may have misjudged her? • To what extent is Alex ‘the murderer’s mistress’? • Do we ever see Alex in any other way, apart from through Martyn’s eyes? • On pages 165–166, Martyn describes how he felt when he once killed a bird. He says, ‘It left me cold. Ashamed. Scared. Dirty and bad.’ Do you think that Alex would have felt the same way? 6 Martyn’s opinions about Alex may not give us, the reader, the full picture about Alex’s character and we should be careful not to judge her on this alone. What reading strategies do we need to use to see beyond the narrator’s viewpoint, so that we don’t fall into this trap?

29

© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Teacher planner 12.1

Lesson 12 Teaching objectives

• R6 Comment on the authorial perspectives offered in texts on individuals, •

community and society in texts from different cultures. R13 Review and develop their own reading skills, experiences and preferences, noting strengths and areas for development.

Focus • Characterisation.

Starter Write the following quotation from page 212 on the board: ‘It was too much. Too real. It was real real. Not just … well, not just whatever other real I’d been living in for the last week. It was outside real.’ Ask pupils to discuss the question: What does Martyn mean by ‘outside real’? Draw out the idea that he has been living in an unreal world – one based on detective novels and murder mysteries. Explain that this chapter is a crucial turning point for Martyn. He has to face up to the reality of what he has done, and, more importantly, of being betrayed by Alex. It is this betrayal that makes him physically sick, not the fact that he has killed his father.

Development Model reading the extract below from page 193, using annotation and underlining to highlight: • what we learn about Martyn’s character • what we feel about him. Reinforces the point made in the preceding sentence.

Remind pupils that Martyn wrote this with hindsight. Past tense and the adverbial ‘that’ used to describe how Martyn was feeling. This suggests that, with hindsight, he should have been more worried than he was. Shows that he was trying to reassure himself. Use of modals suggests he is speculating. Change to present tense to explain his stupidity. He goes on to justify why he continues to believe Alex will turn up.

30

I wasn’t that worried when she didn’t show up the following morning. Not at first anyway. Annoyed, maybe. But not worried. Alex was often late. She could never understand why it bothered me. ‘I’m here now, aren’t I?’ she’d say. She was right, in a way. If you like someone enough, it doesn’t matter how long they keep you waiting – as long as they turn up in the end, it’s all right. I can’t help it, though. I hate waiting for someone to turn up. I can’t understand why anyone should be late for anything. Unless something disastrous happens there’s no reason for it. No reason at all. I’m never late for anything. Repetition for emphasis – her behaviour is inexcusable. This links back to ‘Annoyed, maybe’.

Use of italics sounds sanctimonious – Martyn may be cross with himself at this point.

Use of an adverb reinforces the idea that he is trying to reassure himself. Adverbial phrase tells us Martyn is still trying to convince himself, but isn’t sure. Strong statement at the end of this paragraph tells us that Martyn still falsely believes that he was right not to worry. With hindsight, we know differently.

Lesson 12

Teacher planner 12.1 (continued)

Divide the chapter up into sections and allocate these to pairs to be annotated, following the example above. Ask pupils to discuss the following questions: • What do you feel about Martyn? • Do you want him to ‘get away with murder’? Ask pupils to re-read page 212. This is where Martyn faces the truth for the first time. Does it change our view of him? Does Alex’s betrayal help us to form a view of Martyn? Select pairs to feed back their ideas to generate a discussion.

31

Lesson 13

Teacher planner 13.1

Teaching objectives • R12 Analyse and discuss the use made of rhetorical devices in a text. • R18 Discuss a substantial prose text, sharing perceptions, negotiating common readings and accounting for differences of view.

Focus • Crime fiction genre • Subgenres of crime fiction.

Starter In pairs, pupils write a definition of crime fiction (a genre of fiction that deals with crimes, their detection, and with criminals and their motives). Discuss how crime fiction differs from other fiction genres, e.g. historical, romantic, science, fantasy, horror. Discuss the key identifying features of crime fiction. Ask pupils to decide on five key features and share these with another pair. (The number could be reduced for lower ability pupils). Examples include: • The catalyst event is a crime. • The setting is plausible and described in detail. • There is a dénouement (a resolution or ‘unknotting’). • There are twists and turns in the plot. • There are dangerous moments and cliff-hangers. • The action is fast paced. • A criminal case is built up.

Development Introduce the idea of ‘subgenre’. Pupils work out what ‘subgenre’ means from their knowledge of language. Explain that crime fiction has several subgenres, e.g. detective fiction, legal thriller, forensic fiction, ‘whodunnit’. Pupils may link their ideas to other books they have read or films they have seen. The caper story is another subgenre of crime fiction. The typical caper story involves one or more crimes (especially thefts, swindles, or occasionally kidnappings) perpetrated by the main characters in full view of the reader. The actions of the police or detectives attempting to prevent or solve the crimes may also be included, but are not the main focus of the story. The caper story is different from other crime fiction subgenres in its use of elements of humour, adventure, or unusual cleverness. Ask pupils to discuss how Martyn Pig fulfils the criteria of a caper story. Pupils create a mind-map of Christmas Day, exploring how this chapter fulfils the criteria of a caper story and, therefore, crime fiction. They should include examples from this chapter, using the following prompts: • Characters: How do the characters in Martyn Pig fulfil the expectations of a caper story? To what extent are the policemen stereotypes? • Language and narrative style: Is the lexical field of this chapter related to crime fiction? Look at adverbs, adjectives, and noun phrases. • Setting: How does the description of the setting fulfil the reader’s expectations for crime fiction? • Plot: Are there the twists and turns that you would expect? • Pace: Is the action fast paced? Does Martyn feel the situation is out of control?

32