English

Example - Poetry Challenge

In 1906, Alfred Noyes, wrote the ballad ‘The Highwayman’. This ballad tells the story of a man who was pursued by the law and risked capture to ride to the house of the woman he loved. The fast-paced rhythm and evocative imagery convey mystery and drama.

The wind was a torrent of darkness among the gusty trees,

The moon was a ghostly galleon tossed upon cloudy seas,

The road was a ribbon of moonlight over the purple moor,

And the highwayman came riding—

Riding—riding—

The highwayman came riding, up to the old inn-door.

Students were challenged to create a 60 second dramatic performance in a small group that was inspired by the verse above. The performance could have been in any genre. For example, a dramatic monologue or an action adventure skit - it was up to the team to decide.

Example - novel study

Our class learned about characterisation by studying the novel 'Akarnae' by Lynette Noni.

One challenge involved thinking about how the following quote by Anne Frank could apply to the novel's protagonist Alex Jennings: “Look at how a single candle can both defy and define the darkness.”

Students collaboratively brainstormed some characteristics that Alex and a candle had in common and decided whether they were positive or negative. They chose examples of events or quotes from the text to show their understanding.

Then the class analysed the parts of Alex's personality that gave the impression of a complex, flawed character that readers would like and believe in. We also compared Alex to protagonists in other popular texts, such as Hermione Granger in 'Harry Potter and the Philosopher's Stone'.

SETTING CHALLENGE

'Mao’s Last Dancer' by Li Cunxin recounts the determination, perseverance, vision, courage, hard work, family values and integrity that drove Li to rise from poverty to become one of the best dancers in the world.

As a class, we study how writing can make readers forget where they are and disappear for a moment into the world on the page. Authors who create immersive experiences tend to write vivid settings.

One activity involved deconstructing a number of story extracts that featured vivid setting descriptions. Students were explicitly shown how to use sensory and figurative language to make their settings come alive, to use contrast to make settings 'pop' and to make settings personal by including elements from their own life.

Afterwards, writing lessons focused on describing settings using details such as weather, location, objects and sensory language, and rewriting passages so they conveyed the opposite impression.