29
TEACHER’S BOOKLET Pearson Education Limited, Edinburgh Gate, Harlow, Essex,CM20 2JE England and Associated Companies throughout the World © Pearson Education Limited 2004 The right of Gavin Knight to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act of 1998. Extracts from You Don’t Know Me © 2001 David Klass The original edition of You Don’t Know Me is published in the USA by Frances Foster Books, Farrar, Straus and Giroux First published in Great Britain by Viking 2001 Published by Puffin Books 2002 Sources and acknowledgements We are grateful to all copyright holders whose material appears in this booklet. However in some instances we have been unable to trace the owners of copyright material and we would appreciate any information that would enable us to do so. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the Publishers or a licence permitting restricted copying in the United Kingdom issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London, W1T 4LP ISBN 0 582 84492 4 First published 2004 YOU DON’T KNOW ME 9 780582 844926 ISBN 0-582-84492-4

YOU DON’T KNOW - Pearson Schools and FE Colleges · Extracts from You Don’t Know Me© 2001 David Klass The original edition of You Don’t Know Meis published in the USA by Frances

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TEACHER’S BOOKLETPearson Education Limited, Edinburgh Gate, Harlow, Essex,CM20 2JE

England and Associated Companies throughout the World© Pearson Education Limited 2004

The right of Gavin Knight to be identified as the author of this work has been asserted by him inaccordance with the Copyright, Designs and Patents Act of 1998.

Extracts from You Don’t Know Me © 2001 David Klass

The original edition of You Don’t Know Me is published in the USA by Frances Foster Books,Farrar, Straus and Giroux

First published in Great Britain by Viking 2001Published by Puffin Books 2002

Sources and acknowledgements

We are grateful to all copyright holders whose material appears in this booklet. However in someinstances we have been unable to trace the owners of copyright material and we would

appreciate any information that would enable us to do so.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, ortransmitted in any form or by any means, electronic, mechanical, photocopying, recording, or

otherwise without the prior written permission of the Publishers or a licence permitting restrictedcopying in the United Kingdom issued by the Copyright Licensing Agency, 90 Tottenham Court

Road, London, W1T 4LP

ISBN 0 582 84492 4

First published 2004

YOU DON’T KNOW ME

9 780582 844926

ISBN 0-582-84492-4

Introduction

2

AimThis resource provides materials to support the teachingof framework objectives through the reading of YouDon’t Know Me. Reading can be a shared, socialactivity and it is important that pupils are given theopportunity to talk and write about their reading.Emphasis is placed on the promotion and developmentof independent reading, as pupils are asked to reflecton the reading strategies they use and encouraged totry out new ones. Many of the activities encouragepupils to build a bridge between their reading andwriting. In particular, pupils are encouraged to developthe skills that readers in Year 9 need if they are to meetthe reading and writing demands made of them.

The lesson outlineThe lesson outline provides a structure for teaching ‘at aglance’. It is intended to provide a framework and canbe adjusted to suit your circumstances. The structureenables you to cover a longer text, while maintainingpace. Objectives are taught explicitly and are clearlyplaced within the context of the book and the lessonstructure. There will be issues about coverage, but it ismore important that pupils are able to explore theirreading through talk and other interactive approaches,rather than sitting passively as the whole book is read tothem, or worse, being asked to ‘read around the class’.

Approaches for progressing through the book include:

• pupils or teacher recap previous chapters that maynot have been read

• jigsaw reading (groups are given a section or chapterto read and then the group reports back)

• use of prepared summaries or diagrammaticrepresentations of the plot

• reading at home, if appropriate.

It is also important to allow pupils to control their ownreading. If they want to read on, let them; re-readingchapters and revisiting prior reading may highlightthings that were missed before.

Resources

This unit does not require extensive resources butideally they should be prepared in advance. Groupactivities could be photocopied onto coloured card andlaminated, so that pupils have their own copies forreference. The main resources you will need are: copiesof the text, highlighter and marker pens, ‘Post-it’ notes,sugar paper, reading journals, copies of extracts on OHTand paper for annotation.

Reading journals

While some pupils will eagerly share their impressionsabout texts they have read, others feel less comfortablein class discussions, and will keep their thoughts tothemselves. In an effort to encourage all pupils to thinkmore about what they read and share theirobservations and opinions confidently, some teachers

use reading journals to great advantage. Readingjournals provide pupils with the opportunity to reflect,speculate and express their immediate responses totheir reading. They can be an essential tool in trackinghow pupils are responding to the text. Whilstopportunities for using reading journals are nothighlighted in this resource, it may be worthwhileincorporating the use of reading journals into yourteaching of You Don’t Know Me. For example, pupilscould be asked to reflect every lesson on the readingstrategies that they have used, and make a brief noteabout them, including reference to the text.

Pupils can make a wide variety of entries in a readingjournal, including:

• noting responses

• questions arising

• mind mapping and other graphic representations(tension graphs, timelines)

• jotting down words and phrases that need clarifying,or that they could ‘steal’ for their own writing

• keeping track of the plot.

Most pupils will need support if they are to write withclarity and understanding, even if they are just makingnotes. For example, if pupils are asked to delve intocharacters’ motivations and choices, this kind ofresponse will need to be modelled for them. You canalso provide key words and phrases to prompt criticalresponses from pupils, for example:

‘I wonder what this means …’ ‘This bit reminds me of …’‘If it was me, I would …’‘I was surprised when …’

Assessing the reading journal

It is important that pupils regard the journal as part of acontinuing dialogue with the teacher and with eachother, rather than work that is to be marked. However,there are three stages that reflect critical thinking andreading and these could be used as a teacher checklistfor assessment:

1 A literal encounter with the text – the pupil’sresponses are superficial and tend towards recount.

2 Analysis and interpretation – the pupil’s responses aremore reflective, for example empathy with a characteris reflected in the journal.

3 Synthesis and evaluation – the pupil is able to makelinks within and beyond the text.

It is important to remember that more challengingcontent on its own does not always improve pupils’critical thinking. Equipping pupils with the rightvocabulary and the methods by which they canappraise their learning and progress is a critical part ofthe process. Using a layout such as the one suggestedon page 3 will support pupils when they are developingtheir critical engagement with the text they are reading.Some activities are listed, but these are just suggestions.

3

Literal• Date of entry

• Pages/chapter

• Prior knowledge:– What happened in the last

chapter?– What do you know about …?– Use of KWL grids.

• Sequence key events: – How might the story

continue?– What are the clues?

• Brief summary:– main points– only important/new facts– plot development.

Analysis and interpretation• Personal response:

– reactions– predictions– judgements– comparisons– questions, wonderings– sketches, illustrations– diagrams, tension graphs,

mind maps– interesting vocabulary,

images– cause and effect.

Synthesis and evaluation• Readers make connections

between the text and:– themselves – other texts – other things they know.

• Elements of narrative stylereflected in own writing.

• How have responses developedduring reading?

• How are the elements of thetext a synthesis? (Explorethrough mind-mapping.)

How often should pupils write in their journals?

Less is more! Writing in journals several times a week will soon become tedious and pupils will find that they havenothing new to add. It is much better to ask for fewer responses, and ones that require deeper engagement, sothat pupils are writing for themselves and not for the teacher.

Before,during or after

During orafterreading

Afterreading

Overview of objectivesThe notion of literacy being embedded in objectives involves much more than thebasic acquisition of skills. The objectives selected here focus on enabling pupils toread as readers in order to deepen their understanding and appreciation, and to readas writers so that they can identify typical features and explore how writers gainimpact. This is the point at which the bridge between reading and writing is made –when the pupil has the ability to step outside the body of a text and look at it as awriter. Whilst the majority of objectives selected reflect the development of reading,this does not imply that they should be approached in isolation or taught in areductive way. The objectives listed below encompass the ability to recognise,understand and manipulate the conventions of language and develop the pupils’ability to use language imaginatively and flexibly, in the narrative context. Objectives(and pupils) benefit from being explicitly taught and from being identified anddeployed in context. Other objectives can also be taught (through starter activities),but it is up to the teacher to decide where the priority lies and to adapt the resourcematerials according to the needs of the pupils.

4

Year 9

W7 Layers of meaning

Reading

R1 Information retrievalR6 Authorial perspectiveR7 Compare textsR9 Compare writers from different timesR11 Author’s standpointR12 Rhetorical devicesR13 Evaluate own readingR18 Prose text

Writing

Wr6 Creativity in non-literary textsWr7 ‘Infotainment’Wr12 Effective presentation of informationWr13 Influence audienceWr16 Balanced analysisWr17 Cite textual evidence

Speaking and listening

S&L2 Standard EnglishS&L5 Compare points of view S&L7 Identify the underlying issues S&L8 Evaluate own contributionsS&L10 Group organisationS&L11 Evaluate own drama skillsS&L12 Drama techniques

Word

5

Less

on

1 2

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3•

R13

Eval

uate

ow

nre

adin

g

Rea

din

g A

F5•

R12

Rh

eto

rica

l dev

ices

Wri

tin

g A

F1•

Wr7

Info

tain

men

t

Less

on

fo

cus

•N

arra

tive

stru

ctur

e•

Ded

uce,

infe

r or

inte

rpre

tin

form

atio

n

Ch

apte

rs 1

–3•

Nar

rativ

e vo

ice

•Iro

ny•

Writ

er’s

use

ofla

ngua

ge

Star

ter/

Intr

od

uct

ion

Vis

ual

isat

ion

an

d s

pec

ula

tio

n•

Ask

pup

ils t

o di

scus

s th

e im

pact

of t

he b

ook

cove

r in

pai

rs.

They

shou

ld c

omm

ent

on:

layo

ut,

use

of c

olou

r, sy

mbo

lism

, to

ne a

ndsp

ecul

ate

abou

t pl

ot.

Reco

rdth

eir

idea

s on

a f

lipch

art.

Exp

lori

ng

iro

ny

•A

sk p

upils

to

read

Kam

al’s

lett

erin

pai

rs.

Pup

il w

ork

shee

t2.

1

Dev

elo

pm

ent

•Fl

ick

quic

kly

thro

ugh

the

nove

l and

rea

dou

t so

me

chap

ter

head

ings

. A

sk p

upils

to

disc

uss

wha

t cl

ues

the

chap

ter

head

ings

give

us

abou

t th

e no

vel.

•A

sk p

upils

to

com

plet

e th

e gr

oup

task

on

chap

ter

head

ings

. Pu

pil

wo

rksh

eet

•Sh

ared

rea

ding

of

Cha

pter

1.

•A

sk p

upils

to

answ

er q

uest

ions

on

the

use

of ir

ony.

Pu

pil

wo

rksh

eet

•W

orki

ng in

pai

rs,

ask

pupi

ls t

o w

rite

ale

tter

to

a ce

lebr

ity s

ugge

stin

g a

life

swap

.•

Re-r

ead

alou

d pa

ge 1

to

the

clas

s an

d as

kpu

pils

to

cons

ider

: w

hat

the

tone

of

the

narr

atio

n is

, ho

w w

e ar

e ho

oked

into

the

narr

ativ

e an

d w

heth

er t

he n

arra

tor’s

posi

tion

is c

omic

or

trag

ic.

2.2

1.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk p

upils

to

refle

ct o

nth

eir

expe

ctat

ions

for

the

nove

l in

light

of

wha

tha

s be

en le

arnt

tod

ay.

•A

dd n

ew id

eas

to t

hefli

pcha

rt a

nd s

ave

for

futu

re u

se.

Ho

mew

ork

•Re

ad C

hapt

ers

2–3.

Plen

ary

•Pu

pils

sha

re t

heir

lett

ers

to c

eleb

ritie

s w

ith t

hecl

ass.

•A

sk p

upils

to

com

men

tup

on e

ffec

tive

uses

of

irony

.

Ho

mew

ork

•Pu

pils

res

earc

h th

ebi

ogra

phy

of t

he w

riter

,D

avid

Kla

ss.

Less

on

ou

tlin

e

6

Less

on

3 4 5

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F4•

R12

Rh

eto

rica

l dev

ices

Wri

tin

g A

F2•

Wr1

3 In

fluen

ce a

udie

nce

Rea

din

g A

F4•

R12

Rh

eto

rica

l dev

ices

Rea

din

g A

F3

•R1

3 Ev

alua

te o

wn

read

ing

•S&

L12

Dra

ma

tech

niqu

es

Less

on

fo

cus

Ch

apte

rs 1

–3•

Aud

ienc

e,pu

rpos

e an

def

fect

Ch

apte

rs 4

–6•

Nar

rativ

e vo

ice

Ch

apte

rs 7

–9•

Hyp

othe

sise

and

spec

ulat

e

Star

ter/

Intr

od

uct

ion

Wri

tin

g f

or

effe

ct: a

ud

ien

ce a

nd

pu

rpo

se•

Shar

ed r

eadi

ng o

f th

e fil

m r

evie

wof

Van

Hel

sing

. Pu

pil

wo

rksh

eet

•A

sk p

upils

to

iden

tify

the

conv

entio

ns o

f th

e te

xt t

ype

and

reco

rd e

xam

ples

of

rhet

oric

alde

vice

s.Pu

pil

wo

rksh

eet

Rh

eto

rica

l dev

ices

•Re

calli

ng r

heto

rical

dev

ices

enco

unte

red

durin

g pr

evio

usle

sson

s, a

sk p

upils

to

iden

tify

whe

re t

hey

trie

d to

use

the

mw

ithin

the

ir ow

n w

ritin

g.•

Mod

el r

eadi

ng o

f th

e op

enin

g of

Cha

pter

1 in

ord

er t

o id

entif

yfu

rthe

r fe

atur

es o

f th

e na

rrat

ive

voic

e.A

nn

ota

ted

tex

t

Ro

le o

n t

he

wal

l•

Ask

Pup

ils t

o w

rite

wor

ds o

rph

rase

s ab

out

John

’s ch

arac

ter

on ‘

Post

-it’

note

s.•

Ask

pup

ils t

o pl

ace

thei

r ‘P

ost-

it’no

tes

insi

de a

nd o

utsi

de a

larg

eou

tline

of

John

(on

boa

rd)

– ke

yw

ords

whi

ch d

escr

ibe

John

to

bepl

aced

insi

de t

he o

utlin

e. A

skpu

pils

to

just

ify t

hein

clus

ion/

excl

usio

n of

wor

ds w

ithre

fere

nce

to t

he t

ext.

4.13.

1

3.1

Dev

elo

pm

ent

•G

roup

tas

k: c

olla

bora

tive

writ

ing

of f

ilmre

view

. Pu

pil

wo

rksh

eet

•A

sk e

ach

grou

p to

rea

d al

oud

thei

r fil

mre

view

. En

cour

age

pupi

ls t

o co

mm

ent

onth

e ef

fect

iven

ess

of t

he w

ritin

g.•

Paire

d re

adin

g of

Cha

pter

4.

•A

sk p

upils

(in

tria

ds)

to r

ecap

on

Cha

pter

s4–

5.•

Shar

ed r

eadi

ng (

Cha

pter

6).

•Th

e Pu

pils

to

skim

rea

d th

eir

chap

ter

and

com

plet

e th

eir

grid

on

rhet

oric

al d

evic

es in

use.

Pup

il w

ork

shee

t•

Pupi

ls s

hare

the

ir fin

ding

s w

ith o

ther

s in

the

grou

p.

•Re

ad a

loud

the

plo

t su

mm

ary

of C

hapt

ers

7–9.

Pup

il w

ork

shee

t•

This

less

on f

ocus

es o

n sp

ecul

atio

n so

read

ing

thes

e ch

apte

rs w

ill b

e de

ferr

ed f

ora

whi

le.

•G

roup

tas

k: d

ram

a ac

tiviti

es t

o ex

plor

eJo

hn’s

situ

atio

n. P

up

il w

ork

shee

t5.

1

5.1

4.23.

1

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk p

upils

to

shar

e w

hat

they

fou

nd o

ut a

bout

Dav

id K

lass

.

Ho

mew

ork

•Re

ad C

hapt

er 5

.

Plen

ary

•C

heck

pup

ils’

unde

rsta

ndin

g of

the

iras

sign

ed le

arni

ng a

bout

narr

ativ

e vo

ice,

rhe

toric

alde

vice

s, a

nd t

he e

ffec

tof

the

se o

n th

e re

ader

.

Plen

ary

•A

sk G

roup

s an

d en

voys

to p

rese

nt f

reez

e fr

ames

.•

Pupi

ls d

iscu

ss w

hich

wor

ds o

r ph

rase

s sh

ould

be a

dded

to

or r

emov

edfr

om J

ohn’

s ou

tline

inlig

ht o

f w

hat

has

been

lear

nt t

oday

.

Ho

mew

ork

•Re

ad C

hapt

ers

7–9.

7

Less

on

6

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F4, A

F5 &

AF6

•R

7 C

om

par

e te

xts

•R9

Com

pare

writ

ers

from

diff

eren

t tim

es•

W7

Laye

rs o

f m

eani

ng

Less

on

fo

cus

Ch

apte

rs 1

0–12

•Em

path

ise

•In

terp

ret

patt

erns

Star

ter/

Intr

od

uct

ion

Co

mp

are

trea

tmen

ts•

On

whi

tebo

ards

, as

k pu

pils

to

writ

e th

ree

piec

es o

f ad

vice

the

yw

ould

giv

e Jo

hn a

bout

how

to

hand

le m

eetin

g G

lory

’s pa

rent

son

the

ir fir

st d

ate.

Ask

pup

ils t

odi

spla

y th

eir

whi

tebo

ards

and

elab

orat

e fu

rthe

r.

Dev

elo

pm

ent

Un

der

stan

din

g t

he

auth

or’

s cr

aft

•Sh

ared

rea

ding

of

Extr

act

A (

from

My

Chi

ldho

odby

Max

im G

orky

). Te

ach

erp

lan

ner

•M

odel

act

ive

read

ing,

und

erlin

ing

and

anno

tatin

g th

e te

xt.

•Pu

pils

ann

otat

e Ex

trac

t B

(fro

m M

yC

hild

hood

), fo

llow

ed w

ith p

aire

d re

adin

gof

Ext

ract

C (

from

You

Don

’t K

now

Me)

.•

Pupi

ls r

espo

nd t

o pr

ompt

s in

ann

otat

ions

alon

gsid

e te

xt a

nd t

hen

disc

uss

whe

ther

all t

hree

ext

ract

s ar

e si

mila

r or

diff

eren

t in

term

s of

nar

rativ

e vo

ice,

situ

atio

n, t

one,

lang

uage

fea

ture

s an

d th

e ef

fect

on

the

read

er.

6.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•G

roup

s sh

are

findi

ngs

on E

xtra

cts

A–C

.•

Ask

pup

ils t

o di

scus

sw

hy t

he m

an w

ho is

‘not

my

fath

er’

has

agu

n hi

dden

in h

is s

ock

draw

er a

nd h

ow t

his

mig

ht b

e si

gnifi

cant

to

the

stor

y in

the

fut

ure.

Ho

mew

ork

•Re

ad C

hapt

ers

10–1

2.

8

Less

on

7 8

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3 &

AF6

•R1

8 Pr

ose

text

•S&

L12

Dra

ma

tech

niqu

es

Rea

din

g A

F2 &

AF6

•R6

Aut

horia

l per

spec

tive

•R1

8 Pr

ose

text

Less

on

fo

cus

Ch

apte

rs 1

3–14

•C

hara

cter

deve

lopm

ent

and

mot

ivat

ion

Ch

apte

r 15

•In

terp

ret

patt

erns

•A

sk q

uest

ions

•Es

tabl

ish

rela

tions

hip

with

auth

or a

ndna

rrat

or

Star

ter/

Intr

od

uct

ion

Ro

le o

n t

he

wal

l•

Pupi

ls d

iscu

ss G

lory

’s m

otiv

atio

nfo

r go

ing

on t

he d

ate

with

Joh

nan

d w

rite

sugg

estio

ns o

n ‘P

ost-

it’no

tes.

Ask

pup

ils t

o pl

ace

note

son

a la

rge

outli

ne o

f G

lory

’s he

ad(o

n bo

ard)

. H

ot-s

eat

a se

lect

edpu

pil i

n th

e ro

le o

f G

lory

.•

Focu

s on

exp

lorin

g he

rm

otiv

atio

n fo

r go

ing

on t

heda

te.

Ro

le o

f th

e au

tho

r•

Wor

king

in p

airs

, pu

pils

dis

cuss

hum

orou

s in

cide

nts

in t

heir

rece

nt r

eadi

ng.

•A

lert

cla

ss t

o th

e im

pact

of

sudd

en s

hift

s in

ton

e in

nar

rativ

ew

ritin

g. A

sk p

upils

for

exa

mpl

esfr

om p

revi

ous

inde

pend

ent

read

ing.

Rem

ind

pupi

ls t

o w

atch

out

for

this

in C

hapt

er 1

5.

Dev

elo

pm

ent

•Re

cap

Cha

pter

s 10

–12.

Shar

ed r

eadi

ng (

Cha

pter

13)

. •

Inde

pend

ent

read

ing

(Cha

pter

14)

.•

Sele

cted

pup

il is

aga

in h

ot-s

eate

d as

Glo

ry.

Ask

pup

ils t

o ex

plor

e th

e re

ason

s be

hind

Glo

ry’s

beha

viou

r du

ring

the

date

.

•Sh

ared

rea

ding

(C

hapt

er 1

5).

•M

odel

act

ive

read

ing

expl

orin

g w

ith p

upils

the

follo

win

g:–

the

sym

path

y th

at’s

been

bui

lt up

for

Jo

hn a

fter

his

big

dat

e–

his

vuln

erab

ility

(ag

e, b

are

feet

, lo

nelin

ess,

fea

r)–

the

vici

ousn

ess

of h

is o

nly

prot

ecto

r –

the

know

ledg

e th

at t

he m

an w

ho is

‘no

t m

y fa

ther

’ ca

rrie

s a

gun

– th

e jo

urne

y in

the

bac

k of

the

tru

ck a

nd

the

isol

ated

loca

tions

.

Plen

ary

and

Ho

mew

ork

Plen

ary

•Pu

pils

dis

cuss

whi

ch‘P

ost-

it’ n

otes

sho

uld

bead

ded

to o

r re

mov

edfr

om G

lory

’s ou

tline

inlig

ht o

f w

hat

has

been

lear

nt t

oday

.

Ho

mew

ork

•A

sk p

upils

to

sele

ct t

hree

hum

orou

s in

cide

nts

from

thei

r re

adin

g of

thi

sno

vel a

nd t

o m

ake

brie

fno

tes

on t

hese

.

Plen

ary

•G

roup

tas

k on

aut

horia

lan

d na

rrat

ive

voic

e.Pu

pil

wo

rksh

eet

8.1

9

Less

on

9 10

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3 &

AF6

•S&

L7 Id

entif

y un

derly

ing

issu

es•

S&L8

Eva

luat

e ow

nco

ntrib

utio

ns•

S&L1

1 Ev

alua

te o

wn

dram

a sk

ills

Rea

din

g A

F2 &

AF6

•R1

Info

rmat

ion

retr

ieva

l•

R18

Pros

e te

xt

Wri

tin

g A

F3•

Wr6

Cre

ativ

ity in

non

-lit

erar

y te

xts

•W

r17

Cite

tex

tual

evid

ence

Less

on

fo

cus

Ch

apte

r 16

•In

terp

ret

patt

erns

•Id

entif

y ke

ypo

ints

mad

eex

plic

itly

and

impl

icitl

y•

Con

side

rim

plic

atio

ns in

text

Ch

apte

r 20

•In

terp

ret

patt

erns

Star

ter/

Intr

od

uct

ion

Iden

tify

ing

un

der

lyin

g is

sues

•W

orki

ng in

pai

rs,

ask

pupi

ls t

odi

scus

s w

hat

is h

appe

ning

to

the

narr

ator

and

why

he

feel

s so

pow

erle

ss.

Con

side

r as

a c

lass

who

the

nar

rato

r is

spe

akin

g to

and

the

evid

ence

for

thi

s. A

skpu

pils

wha

t th

e pu

rpos

e be

hind

John

’s na

rrat

ion

is.

Nar

rati

ve s

tyle

Rem

ind

pupi

ls o

f K

amal

’s le

tter

.Pu

pil

wo

rksh

eet

•W

orki

ng in

pai

rs,

pupi

lsbr

ains

torm

ont

o w

hite

boar

dsid

eas

for

an e

ntry

into

an

‘If y

ouw

ere

me’

com

petit

ion

by J

ohn.

Mod

el w

ritin

g of

the

firs

tpa

ragr

aph,

fol

low

ed b

y pa

ired

writ

ing

of t

he r

emai

ning

thr

eepa

ragr

aphs

of

lett

er.2.

1

Dev

elo

pm

ent

•Pa

ired

read

ing

(Cha

pter

16)

.•

Wor

king

in g

roup

s of

six

and

wor

king

with

a di

ffer

ent

part

ner

for

each

one

, ask

pup

ilsto

impr

ovis

e th

ree

diff

eren

t sc

enar

ios.

Allo

w p

upils

at

leas

t fiv

e m

inut

es p

lann

ing

time

for

each

impr

ovis

atio

n. T

hen

sele

ctpa

irs t

o pe

rfor

m t

heir

scen

ario

s to

the

who

le c

lass

. Pu

pil

wo

rksh

eet

Nar

rati

ve s

tyle

Shar

ed r

eadi

ng (

Cha

pter

20)

.•

Ask

pup

ils t

o co

nsid

er G

usta

v K

acho

oski

:is

he

likel

y to

be

sign

ifica

nt t

o th

e re

st o

fth

is s

tory

? H

ow c

an w

e te

ll?•

Dis

play

bla

nk g

rid a

nd m

odel

com

plet

ion

of t

he f

irst

two

boxe

s. A

sk p

upils

to

com

plet

e th

e re

mai

ning

box

es.

Pup

il w

ork

shee

t

9.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•Pe

er a

nd s

elf-

asse

ssm

ent.

Pup

ilw

ork

shee

t•

Ask

pup

ils w

hat

impl

ied

mea

ning

s th

ey h

ave

disc

over

ed in

the

impr

ovis

atio

ns. T

hen

ask

pupi

ls t

o ex

plor

e ho

wth

ey a

dd t

o ou

run

ders

tand

ing

of t

heno

vel’s

und

erly

ing

them

es a

nd is

sues

.

Ho

mew

ork

•Re

ad C

hapt

ers

17–1

9.

Plen

ary

•Se

lect

pup

ils t

o sh

are

thei

r w

ork

on J

ohn’

sle

tter

s an

d as

k pu

pils

to

com

men

t on

the

effe

ctiv

enes

s of

the

writ

ing.

•A

s th

ey r

ead

the

next

chap

ter,

ask

pupi

ls t

oex

plor

e ho

w s

ucce

ssfu

lD

avid

Kla

ss is

in m

akin

ghi

s le

ss im

port

ant

char

acte

rs s

eem

rea

l to

read

ers.

Ho

mew

ork

•Re

ad C

hapt

er 2

1.

9.1

10.1

10

Less

on

11

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F2 &

AF7

•R1

Info

rmat

ion

retr

ieva

l•

Wr1

7 C

ite t

extu

alev

iden

ce•

S&L5

Com

pare

poi

nts

ofvi

ew•

S&L1

0 G

roup

orga

nisa

tion

Less

on

fo

cus

Rev

isit

ing

Ch

apte

rs 2

0–21

•In

terp

ret

patt

erns

Star

ter/

Intr

od

uct

ion

Ch

arac

teri

sati

on

•In

rol

e, r

ead

Mr

Kes

sler

’s ra

nt o

npa

ges

209–

210

abou

t th

e yo

uth

of t

oday

.•

Wor

king

in p

airs

, as

k pu

pils

to

mak

e a

bulle

t-po

inte

d lis

t of

his

mai

n cr

itici

sms.

The

n in

ano

ther

colo

ur,

ask

pupi

ls t

o pr

ovid

e a

coun

ter-

argu

men

t to

eac

h po

int.

Sele

ct c

ontr

ibut

ions

for

who

le-

clas

s co

nsid

erat

ion.

Dev

elo

pm

ent

Ch

arac

teri

sati

on

•Re

min

d pu

pils

of

the

grid

the

y fil

led

inab

out

Gus

tav

Kac

hoos

ki in

Les

son

10.

Pup

il w

ork

shee

t•

Wor

king

in p

airs

, as

k pu

pils

to

com

plet

esi

mila

r gr

ids

for

Mr

Kes

sler

and

Dr

Whi

tefie

ld,

focu

sing

on

the

skill

with

whi

ch t

he a

utho

r fle

shes

out

his

min

orch

arac

ters

.Pu

pil

wo

rksh

eet

•Pu

pils

for

m g

roup

s of

six

to

shar

e th

eir

wor

k an

d re

spon

d to

the

fol

low

ing

ques

tion:

do

you

agre

e th

at D

avid

Kla

ss is

a gi

fted

writ

er w

hose

wor

k is

wor

thy

ofst

udy

in s

choo

ls?

11.1

10.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•Re

pres

enta

tives

fro

mea

ch g

roup

fee

d ba

ckre

spon

ses

on D

avid

Kla

ssas

a w

riter

, an

d th

esu

itabi

lity

of Y

ou D

on’t

Kno

w M

eas

a t

ext

for

stud

y in

Eng

lish

less

ons.

11

Less

on

12

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F6•

S&L2

Sta

nd

ard

En

glis

h•

S&L7

Iden

tify

th

eu

nd

erly

ing

issu

es•

S&L1

0 G

roup

orga

nisa

tion

Less

on

fo

cus

Ch

apte

r 22

•In

terp

ret

patt

erns

•Id

entif

y is

sues

•Re

ach

cons

ensu

s

Star

ter/

Intr

od

uct

ion

Ten

sio

n r

isin

g?

•D

raw

a t

ensi

on c

hart

on

the

boar

d in

the

for

m o

f a

bar

grap

h.La

bel t

he y

axis

1–1

0 (s

uspe

nse

ratin

g).

Ask

pup

ils f

orsu

gges

tions

for

ten

sig

nific

ant

mom

ents

fro

m t

he n

ovel

for

incl

usio

n as

poi

nts

on t

he x

axis

e.g.

Bill

y as

ks G

loria

out

.•

Dis

trib

ute

grap

h pa

per.

Ask

eac

hpa

ir to

mak

e on

e co

py a

nd t

oag

ree

whe

re t

hey

wan

t to

pla

ceea

ch e

vent

on

the

susp

ense

rat

ing

(0 =

chi

lled,

10

= m

eltd

own)

.

Dev

elo

pm

ent

Min

i-d

ebat

e: c

orp

ora

l pu

nis

hm

ent

•Re

ad a

loud

pag

es 2

18–2

20 u

p to

‘...

I hat

ehi

m,

and

how

com

plet

ely

pow

erle

ss I

was

to s

top

him

.’ In

gro

ups

of s

ix,

pupi

lsen

gage

in a

min

i-deb

ate.

Pu

pil

wo

rksh

eet

•Re

min

d th

e cl

ass

of t

he c

onve

ntio

ns a

ndex

pect

atio

ns f

or m

ini-d

ebat

es.

(See

the

DFE

S Ye

ar 7

Sp

eaki

ng

an

d L

iste

nin

gB

ank:

0141

/200

1fo

r ad

vice

on

adop

ting

role

s in

dis

cuss

ion

and

ackn

owle

dgin

g,ju

stify

ing

or m

odify

ing

view

s.)

•La

bel p

upils

A o

r B.

Exp

lain

tha

t pu

pil A

sw

ill s

peak

in f

avou

r of

the

mot

ion,

Bs

agai

nst.

Allo

w 1

5 m

inut

es’ p

repa

ratio

ntim

e, w

ith A

s an

d Bs

wor

king

in p

airs

.Fo

rm t

able

s in

to is

land

s w

ith 6

pup

ils a

tea

ch (3

As

and

3 Bs

).•

Gro

up A

will

con

tain

a p

ropo

ser,

ase

cond

er a

nd a

scr

ibe.

The

prop

oser

will

spea

k fo

r 3

min

utes

, th

e se

cond

er f

or 2

and

the

scrib

e w

ill n

ote

on A

3 pa

per

the

key

poin

ts o

f th

e de

bate

.•

Gro

up B

will

con

tain

tw

o sp

eake

rs a

gain

stth

e m

otio

n (s

ame

timin

gs),

and

a sc

ribe.

•O

nce

the

min

i-deb

ates

are

com

plet

ed,

disp

lay

the

A3

shee

ts a

nd e

ncou

rage

pupi

ls t

o m

ove

arou

nd lo

okin

g at

the

m,

cons

ider

ing

fres

h id

eas.

12.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•Re

view

the

con

flict

ing

view

poin

ts e

xpre

ssed

inth

e di

scus

sion

. C

heck

whe

ther

a c

onsi

dere

dco

nsen

sus

exis

ts w

ithin

the

clas

s.

Ho

mew

ork

•Fi

nish

rea

ding

Cha

pter

22.

12

Less

on

13 14

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F5 &

AF6

•R6

Aut

horia

l per

spec

tive

•R1

1 A

utho

r’s s

tand

poin

t•

Wr1

7 C

ite t

extu

alev

iden

ce

Rea

din

g A

F4, A

F5 &

AF6

R6 A

utho

rial p

ersp

ectiv

e•

R12

Rhet

oric

al d

evic

es

Less

on

fo

cus

Ch

apte

rs 2

3–25

•In

fer

and

dedu

ce•

Empa

this

e•

Rein

terp

ret

Ch

apte

rs 2

6–27

Re-r

ead

•Re

inte

rpre

t•

Sum

mar

ise

•Pa

ss ju

dgem

ents

•In

terp

ret

patt

erns

Star

ter/

Intr

od

uct

ion

Ch

arac

teri

sati

on

•Sk

im r

e-re

ad t

he f

irst

desc

riptio

ns g

iven

of

Vio

let

Hay

esin

Cha

pter

3.

•W

orki

ng in

pai

rs,

ask

pupi

ls t

ojo

t do

wn

five

impo

rtan

t th

ings

abou

t V

iole

t th

at h

ave

emer

ged

betw

een

Cha

pter

s 3

and

22.

Ask

pupi

ls t

o ex

amin

e w

heth

er t

heir

perc

eptio

ns a

bout

thi

s ch

arac

ter

have

cha

nged

and

dis

cuss

thi

sw

ith a

noth

er p

air.

Au

tho

r’s

stan

dp

oin

t•

Who

le-c

lass

dis

cuss

ion

abou

t th

eau

thor

’s st

reng

th o

f fe

elin

gab

out

John

’s be

atin

gs.

•In

pai

rs,

ask

pupi

ls t

o co

mpo

seth

ree

key

ques

tions

the

y w

ould

like

to a

sk t

he w

riter

. In

rol

e, h

ot-

seat

ed a

s D

avid

Kla

ss,

answ

erse

lect

ion

of q

uest

ions

fro

m t

hecl

ass.

Dev

elo

pm

ent

Ch

arac

teri

sati

on

: Au

tho

r’s

stan

dp

oin

t•

Writ

e th

e ke

y id

eas

abou

t V

iole

t on

boa

rd.

•Sh

ared

rea

ding

(C

hapt

er 2

3).

•Pu

pils

sha

re id

eas

abou

t ho

w t

he d

ate

with

Vio

let

diff

ers

from

the

dat

e w

ithG

lory

.•

Paire

d re

adin

g (C

hapt

er 2

4).

•A

sk p

upils

to

mak

e no

tes

in p

airs

cont

rast

ing

Glo

ry a

nd V

iole

t (t

he g

rid c

anbe

use

d as

a n

ote-

taki

ng f

ram

e to

sup

port

this

act

ivity

). A

sk p

upils

to

focu

s on

who

the

auth

or w

ants

us

to p

refe

r an

d ho

w w

eca

n te

ll th

is.

•Sh

ared

rea

ding

(C

hapt

ers

26–2

7).

•Ex

plai

n th

at p

upils

will

hav

e un

til t

he n

ext

less

on t

o re

flect

on

the

endi

ng o

f th

eno

vel a

nd t

hat

the

hom

ewor

k ac

tivity

will

help

the

m t

o ev

alua

te t

he im

pact

of

this

endi

ng.

Pup

il w

ork

shee

t14

.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•Pu

pils

foc

us o

n ho

wna

rrat

or’s

and

the

read

er’s

perc

eptio

ns o

fG

lory

and

Vio

let

alte

r as

the

stor

y un

rave

ls.

Ho

mew

ork

•Re

ad C

hapt

er 2

5.

Ho

mew

ork

•C

ompl

ete

grou

pw

orks

heet

on

the

impa

ctof

the

end

ing.

Pu

pil

wo

rksh

eet

14.1

13

Less

on

15

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F1 &

AF7

R18

Pros

e te

xt

Wri

tin

g A

F2, A

F3 &

AF4

•W

r16

Bal

ance

dan

alys

is•

Wr1

2 Ef

fect

ive

pres

enta

tion

Less

on

fo

cus

Ch

apte

r 27

•En

ding

s an

dev

alua

tions

•Re

late

to

prev

ious

rea

ding

expe

rienc

e

Star

ter/

Intr

od

uct

ion

Neg

oti

atin

g c

om

mo

n r

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© Pearson Education Limited 2003. This may be reproduced for class use solely within the purchaser’s school or college.

Pupil worksheet 1.1Lesson 1

Set the scene

Introduce a problem

Complication

Crisis

Adjustment

Resolution

14

In You Don’t Know Me the writer uses chapter headings to signal what is about to happen.Here are ten of them; they are jumbled up.

1 Working with a partner, try to place the chapter titles into the correct box on the grid below.More than one title can go in each box.

• Epilogue, whatever that means

• gotcha

• fateful Tuesday picks up steam

• in the war zone

• the happiest day of my life

• running away from home

• the Holiday Dance

• the best day of my life gets better

• fateful Tuesday begins

• the worst thing that could happen

Pupil worksheet 1.1

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Lesson 2

15

In an international competition called ‘If you were me’, children wrote to celebrities and offeredto step into their shoes and trade places for a day. Letters from around the globe werereceived. Many gave vivid and moving accounts of daily life for children struggling againstpoverty and exploitation. Kamal’s letter below, concerning a life swap with David Beckham, was‘highly commended’ by the judging panel.

Irony: a subtle way of poking fun at something or somebody; a way of speaking in whichthe words used carry the opposite of their normal meaning.

Dramatic irony: a device in a play or book where a character says something that has onemeaning for that person but also a deeper one, visible only to the audience or reader.

Dear David Beckham

I have your picture on my wall. You look so happy with your blond hair

and big smile. I wish that I could play for Manchester United, drive fast

cars, and be like you.

I am in the football trade too. Sometimes I find myself surrounded by

lots of balls and wish that I could boot them away, like you.

I get up every day as soon as the sun rises. I know that somewhere you

will be running along a riverbank, jumping, stretching up to the sun,

and getting your body ready for battles with other great players.

I cannot run outside and play with my friends. I have to work from

dawn until the sun sets. I stitch together panels for the balls you like

to kick. It is hard.

I am ten years old and have never had a holiday. I have never seen a

proper football match but everyone says that you are the best.

Every week my father gets paid some money for all my work. It is not a

lot but we need it. My sister, who is eight, has now joined me at work, so

I am no longer lonely.

I wish that I could be like you.

Do you wish that you could be like me?

Think of me the next time you take a penalty.

May your spirit soar through the air, like the ball, and give me the

strength to go on.

Yours in friendship and trust

Kamal

Pupil worksheet 2.1

Irony

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Pupil worksheet 2.2Lesson 2

16

1 Re-read Kamal’s letter on Worksheet 2.1. Discuss with a partner the contrasting life styles ofKamal and David Beckham. Focus on the following areas:

• health

• wealth

• work

• happiness.

2 Re-read the definitions of irony and dramatic irony on Worksheet 2.1. Is Kamal’s letter opento any kind of ironic interpretation? Discuss your ideas with your partners.

3 Re-read the letter once more and highlight any phrases that might be ironic. Share yourthoughts with another pair when you are ready.

4 As you read You Don’t Know Me watch out for examples of irony. For example, in Chapter1, when ‘the man who is not my father’ says ‘I’ll really take care of you John’ he isthreatening him rather than reassuring him. Are any of the following quotations, taken fromChapter 1, intended to be ironic?

a) ‘I am in the middle of a hurricane.’

b) ‘Your eyes are closed and you couldn’t care less.’

c) ‘When he hits me he doesn’t curl his fingers up into a fist because that would leave amark.’

d) ‘You think I’m happy with this life. Hah, Hah!’

e) ‘You don’t know me at all.’

5 Think about your own lifestyle. Working with your partner, decide which famous celebrityyou would both like to life swap with. Working together, draft a four-paragraph letter tothat person, suggesting why you chose them and what they might learn about life bybecoming you for a day. Try to use irony within your writing!

Irony

Pupil worksheet 3.1Lesson 3

17

This film review was written in order to entice the reader into the cinema. Its purpose was todraw an audience for the film.

1 After the shared reading with your teacher and your class, fill out the grid (below) whichfocuses on the conventions of film review writing.

2 Choose one of the famous tales below and, in a group of four, write a similar two-paragraph review for a new (and imaginary) Hollywood blockbuster due for general releaseinto cinemas next week.

• Puss in Boots

• The Pied Piper of Hamelin

• The Ugly Duckling

• Jack and Jill

• Rapunzel

Make sure that you remember the conventions of film review writing as you will need themagain for the final activity, once you have finished reading You Don’t Know Me.

VAN HELSING

Action, Fantasy, Horror: stars Hugh Jackman, Kate Beckinsale, Richard Roxburgh

Deep in the mountains of Carpathia lies the mysterious and mythic land of Transylvania – a worldwhere evil is ever-present, where danger rises as the sun sets, and where the monsters that inhabitman’s deepest nightmares take form.

Into this world, brought to life and played out on massive sets and sweeping locations, comes VanHelsing (Hugh Jackman), the legendary monster hunter born in the pages of Bram Stoker‘s Dracula.In his ongoing battle to rid the world of its fiendish creatures, Van Helsing, on the order of a secretsociety, travels to Transylvania to bring down the lethally seductive, enigmatically powerful CountDracula (Richard Roxburgh) and joins forces with the fearless Anna Valerious (Kate Beckinsale), outto rid her family of a generations-old curse by defeating the vampire and a host of other monsters.

Rhetorical devices Example from extract

Overblown, highly exaggerated phrases suggesting great importance

Powerful choices of verb

Variety of sentence lengths for effect

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You don’t know me. Just for example, you think I’m upstairs in my room doingmy homework. Wrong. I’m not in my room. I’m not doingmy homework. And even if I were up in my room Iwouldn’t be doing my homework, so you’d still be wrong. And it’s not really my room. It’s your room because it’syour house. I just happen to live there right now. And it’snot really my homework, because my math teacher, Mrs.Moonface, assigned it and she’s going to check it, so it’sher homework.Her name’s not Mrs. Moonface, by the way. It’s reallyMrs. Garlic Breath. No it’s not. It’s really Mrs. Gabriel, butI just call her Mrs. Garlic Breath, except for the timeswhen I call her Mrs. Moonface.

Confused? Deal with it.

You don’t know me at all. You don’t know the first thingabout me. You don’t know where I’m writing this from.You don’t know what I look like. You have no power overme.

Taunting orchallenging tone.Who is beingteased, thereader or the‘you’ of the tale?Use of pronoun isambiguous

Weak pun overownership ofhomeworkunderlinesnarrator’ssensitivity overbelongings

Use of pronounsas weaponsagain. Moonfaceor Garlic Breath.It’s as if he’ssaying I’ll call myteachers what Ilike. Just you tryand stop me!

Second sentencebeginning with‘And’ – is hedeliberatelyflauntingconventions ofgrammar?

Tension overownership ofroom. Pronounsdrip withcontempt, ‘you’and ‘your’ mustbe enunciatedwith disgust

Short sentencesserve as insultsand challenge toreader. A miniparagraphpacked withvenom

Fifth use ofpronoun ‘you’ inthis paragraphdrives a fingerinto our chests.The final line: youdon’t scare me,you’re powerless,I’m completelyindependent andwill show nodeference to you

Single wordsentence servesto underline ourstupidity –narrator isgloating

Narrator isrevelling in ourignorance

Chapter 1: page 1

18

4.1

Modelled reading

who I am not

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Pupil worksheet 4.2Lesson 4

19

Rhetorical device Example of effective use

Rhetorical questions

Repetition

Unusual metaphors or similes

Variations in sentence length for effect

Mocking or teasing of the reader

Use of irony

Repeated jokes

Work in groups of three. You are going to analyse and discuss Chapters 4 – 6 with reference tothe rhetorical devices used.

1 Decide who will be A, B or C. Person A will work on Chapter 4, B on Chapter 5 and C onChapter 6.

2 Skim read your chapter once more, noting down in the checklist below any examples ofeffective use of the rhetorical devices listed.

3 Before you report back to the others in your group, consider the following:

• What mood is John in within your chapter?

• Does this change as your chapter progresses?

• What evidence can you provide from the text to prove your point?

• In your opinion, has the use of the rhetorical devices you have found helped to makethis a more interesting piece of writing? How?

4a) When everyone is ready, share your findings. Try to make sure that each time you make apoint you explain it clearly and give supporting evidence from the text.

b) Make brief notes on what is said and be prepared to expand upon your own ideas, ifrequested by others.

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Pupil worksheet 5.1Lesson 5

20

Work in groups of 4–6. You are going to speculate on what might happen next.

1 What can you infer and deduce about the likely success of John’s date at the schoolbasketball match? Brainstorm a list of possibilities.

2 Agree upon one scenario as the focus for your work. On a sheet of rice paper create a moredetailed plotline, using the familiar narrative frame below:

Set the scene

Introduce a problem

Complication

Crisis

Adjustment

Resolution

3 Role play: improvise an important moment from your new plotline, in order to explore yourideas more fully.

4 Reflect upon the performance: what did it teach you that you hadn’t realised before? Doyou need to make any adjustments to your plotline in light of this?

5 Freeze-frame: select a key moment from your scenario and create a still picture recreating it.Be ready to show this in the plenary.

6 One member of each group should now act as envoy and move to another group to explainwhat you have achieved.

Plot summary: Chapters 7–9

In these chapters we are given an insight into the ‘torture island’ inside John’s head as hemusters up the courage to ask Glory Hallelujah out on a date. After furtively passing her anote in his anti-math class, he is surprised to see her eat it. In school the next day sheaccepts his invitation; John grows in stature and confidence, so much so that he even daresto point out a calculation error made by his anti-math teacher.

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Extract AFather lay on the floor, by the window of a small, darkenedroom, dressed in white, and looking terribly long. His feetwere bare and his toes were strangely splayed out. Hisgentle fingers, now peacefully resting on his chest, werealso distorted, and the black disks of copper coins firmlysealed his once shining eyes. His kind face had darkenedand its nastily bared teeth frightened me.Mother, half naked in a red skirt, was kneeling beside him,combing his long soft hair down from the forehead to thenape of his neck with the black comb I loved to use as asaw for the melon rinds. She kept muttering something in ahoarse, deep voice. Her grey eyes were swollen andseemed to be dissolving in a flood of tears.

Extract from My Childhood by Maxim Gorky

Immediate use ofpronounannouncesproximity tosubject (physicaland emotional)

‘gentle, peaceful,rest…’ The lovefor his father isclear, but is hedead? Is it aeulogy?

Black disks sealup shining life ofeyes, links todarkness of facein next line.Symboliccontrasts of lightand dark

Unprepared,vulnerable

Hoarse fromwailing andlamenting?

Ashen-colouredeyes, – is thecoldness of deathbeingemphasised?

Use of adverbialsprovidesinformationabout geographyof room anddeliberatelydelays readerawarenessconcerning theman’s physicalcondition

Why are his toescontorted?

Unexpectedviciousness,revealed bydeath. Newperspective onfather fornarrator

Complexsentence,subordinateclause links combin contact withfather’s hair tonarrator’s ownusage of thistool. Builds abridge totouching offather

Lesson 6 Teacher planner 6.1

21

Shared reading

Following a shared reading of Extract A from My Childhood by Maxim Gorky, model activereading, underlining and annotating the text. Ask pupils to annotate Extract B from MyChildhood. Follow this with a paired reading of Extract C from You Don’t Know Me.

Pupil task

Ask pupils to discuss whether all three extracts are similar or different in terms of narrativevoice, situation, tone, language features and the effect on the reader.

© Pearson Education Limited 2003. This may be reproduced for class use solely within the purchaser’s school or college.

Extract BOn the floor, under the window, in a small, shuttered room,lay my father, dressed in a long white garment I had neverseen him in before. His feet were bare and the toes werestrangely distended, while the fingers of his hands, restingon his breast, were curled in. The blackened disks of twocopper coins covered his eyes, shutting out theiraccustomed, cheerful gleam. All the light had gone out ofhis still face. But what scared me was the snarl his openmouth showed with the teeth bared.Beside him, on her knees, was my mother, in anundergarment. She was combing his long, fine hair backfrom his forehead to the nape of his neck. The comb shewas using was the one with which I scraped edible shardsfrom watermelon rinds. As she combed away, she talked tohim without stopping, until it seemed that they mustfinally flood her eyes out of their sockets.

Extract from My Childhood by Maxim Gorky

Extract CAt the bottom of the sock drawer is a knitted bootie. It isheavy – crunchy to the touch. I open it… and see moremoney than I have ever seen before. The man who is notmy father has an impressive stash. Clearly, he does notbelieve in banks. Or maybe he is planning to start his ownbank. There are many twenties. There are fifties. I evenglimpse several crisp hundred-dollar bills.I take only one twenty. I start to replace the bootie … andthen I feel something beneath it. Something small and hardthat clearly does not belong in a sock drawer.It is wrapped in a blue towel. I know I have no businesslooking at it, but there is a very good reason why I amcurious. Whatever it is, it must be even more valuable thanmoney, since the man who is not my father has buried it atthe very bottom of his sock drawer, beneath his secretmoney stash.I need to find out what is more valuable than money.I carefully lift the blue towel out of the drawer. It isunexpectedly heavy. I unwrap it. Metal glints. I feel myselfshiver.It is a gun. To be accurate, it is a pistol.

Extract from You Don’t Know Me (Chapter 11: pages 100–101)

by David Klass

An ‘en dash’ –what does it dohere?

Where do youthink he’s earnedall this money?

What effect doesthe sentencelength have?

Limitedvocabulary?Sounds like a veryyoung child. Whyis this appropriatehere?

Lesson 6 Teacher planner 6.1

22

Bootie? Whatdoes thissuggest?

Ellipsis – whatdoes it do here?

Ellipsis again –why?

Drug relatedlanguage? Whatdoes thissuggest?

What is theeffect of thesentences usedhere?

What effect doesthe sentencelength have?

© Pearson Education Limited 2003. This may be reproduced for class use solely within the purchaser’s school or college.

Pupil worksheet 8.1Lesson 8

23

What do we mean by voice in a text?

Which voices can we hear?

What is John thinking as the events of the evening unravel?

What is the author thinking?

Are John and the author thinking the same?

What makes this section so shocking?

What have you noticed about the shift in tone and its effect on us as readers?

1 Work in groups of four. You are going to analyse and discuss Chapter 15 with reference tothe authorial and narrative voice used. Make notes on the following questions forhomework and be prepared to share your ideas in the next lesson. Record your thoughts inthe spaces provided.

1 Work in groups of six. Each group is going to improvise three different scenarios. For eachscenario work with a different partner. These scenarios take place in Chapter 16 at the timewhen John, alone and scared in the back of the van, prays to God for help.

Scenario 1

Under a piece of sacking John discovers the mobile phone belonging to the man who is not my father. In the memory he finds his mum’s mobile number. Very quietly he calls herup and tries to explain what is happening.

Scenario 2

The mobile memory also gives a number for Mona, the ex-wife of the man who is not myfather. John decides to call her up and find out what he can about this man he hates somuch.

Scenario 3

Mona gives John some information he thinks he might be able to use in order to blackmailhis future step dad. He decides to bring it up in conversation over breakfast the next day.

2 To get better at improvisation, you need to think about what you can already do well andwhat you need to improve. You need to reflect on the quality of your own work and thework of others.

When you give feedback on each other’s improvisations, your comments should be positiveand specific. You should comment on:

• movement

• gesture

• use of voice

• believability of the person in the role

• contribution to success of group’s performance.

3a) Pick out at least three strengths and praise the performers for them.

b) Outline one aspect for future development. Give guidance on how the performers mightimprove this area in the future.

4 Think about your own performance. What were you pleased with?

5 In the light of your friend’s comments and your own thoughts, can you identify one targetthat you might set yourself so that next time you are asked to work in this way you canachieve even more? Discuss your evaluation with your teacher and write it down before youforget it!

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Pupil worksheet 9.1Lesson 9

24

© Pearson Education Limited 2003. This may be reproduced for class use solely within the purchaser’s school or college.

Pupil worksheet 10.1Lesson 10

25

How the character is first seen by the reader

Physical appearance

Character’s feelings about John

What the character says that’s memorable

Future importance of the character

One of the signs of a really good writer is how believable the minor characters are. In Chapters20–21 we meet Gustav Kachooski, Mr Kessler, and the Principal, Dr Whitefield. They areprobably minor characters because they haven’t featured prominently until now.

1 Work in pairs. Discuss the character of Gustav Kachooski. Record your ideas in the grid.

Looking at a minor character – Gustav Kachooski

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Pupil worksheet 11.1Lesson 11

26

1 Working with a partner and without referring to the novel, try to fill out the grids. Thenrefer to the novel again in order to add further details, including evidence and quotations.

2 Form groups of six and compare your grids and impressions. Based upon your work today,and discussions with others in the group, do you agree that David Klass is a gifted writerwhose work is worthy of study in schools?

3 Elect a spokesperson who will share your group’s views on this question in the plenary.Remember to cite evidence from the text as proof for each point you make.

How the character is first seen by the reader

Physical appearance

Character’s feelings about John

What the character says that’s memorable

Future importance of the character

Mr Kessler Dr Whitefield

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Pupil worksheet 12.1Lesson 12

27

Mini-debate: corporal punishment

‘Teachers need control in the classroom. Banning the use of the cane was a mistake.If pupils are properly punished for offences in school they will learn better.Corporal punishment should be brought back immediately.’

1 Use the space provided in the boxes to record ideas for your mini-debate. Some ideas have been provided to get you started.

Group A (In favour)

• Poor discipline means that teachers areleaving the classroom. They find the jobtoo stressful, dealing with endlessconfrontation.

• Employers complain that school leavers are not up to the jobs they take up.

• Rowdy behaviour by one child affects thelife chances of everyone else in theclassroom.

Group B (Against)

• Beating people is barbaric anddegrading.

• It is a form of physical abuse that leavesscars inside and out.

• It is against the law and ignores ourhuman rights.

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Pupil worksheet 14.1Lesson 14

28

1 Hubris is a Greek word. It means that when life seems great and everything is going right, that’s when you’re most likely to take a fall. Explore the impact of the ending. Do you agreethat having enjoyed the dance, John let his defences down?

2 Make notes on the following questions for homework and be prepared to share your ideas in the next lesson. Record your thoughts in the spaces provided.

Do you think that there was anything John could have done to avoid the assault?

Had he provoked his assailant in any way?

Why didn’t he speak up earlier and tell somebody what was going on?

What do you think he should have done?

When John says ‘You don’t know me’ is he talking to everyone around him, to us as readers,or was it really his mother that he was trying to communicate with?

Sometimes stories finish with a happy ending and a moral. Do you think that this is the casein You Don’t Know Me? What did John have to say about his life in the future?

In your opinion, how successful was the ending?

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Sequencing activity15.1

29

A good story has a beginning, a middle and a definite end.

When writers fail to wrap up loose ends, it leaves the reader feeling frustrated.

A happy ending is not necessary, it is essential!

Villains should be punished for their wrongdoings or justice has not prevailed.

The final chapter is the most important of all.

Every ending is a new beginning.

Bury the dead, marry the living, pat the dog, feed the cat, set the sun, and soothethe reader – that’s the way for writers to make a million.

Always leave your audience wanting more.

There should be more questions raised than answers given by the closing pages.

There’s nothing as sad as losing somebody close, and finishing a good book feelsjust the same.

Life is random, chaotic, messy and confusing; nothing ends happily ever after.Books should reflect this from beginning to end.

✁1 Read the following statements. Rank the five statements you most agree with in order of

importance. Discard the rest. Be prepared to feedback to the class.