Creation and Craft
Aim:
to support the writing process through the exploration of word choice, characterisation and dialogue
To the right are possible junior cycle learning outcomes
(at both Level 2 and Level 3) which may suit this workshop.
*Please note that aspects of this workshop can be adapted for senior cycle.
The following page is structured into four different sections. You may wish to explore some and/or all sections.
Section 1:
Possible Approaches to Word Choice and Vocabulary
The following document contains suggested supports and resources for engaging students with varied word choice and vocabulary in the classroom. It is based on teacher feedback throughout the 2022/23 CPD.
Click to open the interactive document
Improving Word Choice.pdfSection 2:
Possible Approaches to Word Choice and Sentence Structure
Note: Both of these strategies could be adapted to work with a character from any text.
Click to expand the strategy below your chosen visual
Opening line of Chapter 8 from
Knights of the Borrowed Dark
by Dave Rudden
Audio performance from Act 1 of Blood Brothers
by Willy Russell courtesy of the
Liverpool Institute for Performing Arts
Click to play
Knights of the Borrowed Dark
Experimenting with word choice
- a possible strategy
Click to expand
Read the opening sentence of Chapter 8 from Knights of the Borrowed Dark by Dave Rudden.
What stands out about the sentence/what do you think works well?
Possible prompts might include...
sentence structure
use of colour
word choice to capture attention.
A possible activity that might follow this could be to ask students to use this opening sentence as a model for their own writing.
They could...
create an atmospheric opening to a story in ten words or less.
create a physical or digital image, to accompany your opening sentence.
Blood Brothers
Word choice and characterisation
- a possible strategy
Click to expand
Listen carefully to the audio extract from Act 1 of Blood Brothers below, paying particular attention to the language used as well as the distinct rhyming pattern.
As you listen to this extract, consider the word choice, dialect and tone used in the piece.
A possible activity that might follow this, could be to ask students to discuss how the word choice used by Mickey in this extract, reveals more about his character to the audience
Section 3:
Possible Scaffolded Approaches to Supporting Coherency in Writing
''Scaffolding continually provides learners with problems of controlled complexity; it makes the task manageable at any time''.
(Wood and Wood 1996).
On the right is an extract from the recently published Looking at English Draft Guide for Post-Primary Schools.
Published in January 2023, this document is a collection of best practices observed by the Inspectorate across both Junior and Senior Cycle English. It is to act as a support for English departments to share exemplars of highly effective practice and enrich existing practice.
This extract focuses on one department's scaffolded approach to texts in the English classroom, with the aim of deepening the students' understanding of the studied text and links to their own written work.
LAOS Extract .pdfClick to open/download
The textbook Scaffolding Language, Scaffolding Learning offers some engaging activities that may be useful in the classroom. Below are two extracts that explore how the scaffolding process can aid the extended writing process.
Scaffolding A Progressive Brainstorm.pdfClick to open/download
Colorful Simple Modern Table of Contents (1).pdfClick to open/download
Section 4:
Film as a Springboard for Exploring Dialogue
Another method of using texts to explore language and word choice might be offered through the exploration of conversation and dialogue.
Varied word choice can add to characterisation.
Step 1: As you watch, consider what you learn about the characters based on how they speak to one another.
Clip courtesy of Rotten Tomatoes
Click to watch
Step 2: Below is the script of the scene, where some of Barry's short colloquialisms have been highlighted in RED, and Conor's more eloquent phrasing in GREEN, showing distinct characterisation without explicitly discussing it.
BARRY: Ah how's the band gettin along? What they called again?
A few lame laughs from the group.
CONOR: You know who you are a bit like, Barry? Oscar Wilde.
BARRY: What class is he in then?
Conor shakes his head. Some people laugh at Barry. Another,
bigger kid, standing with some fifth-years, overhears this.
BIGGER KID: He's not in school, Barry, you spanner.
BARRY: Wha?
The Crowd laughs. Barry is not used to this.
BARRY: You know I'm gonna kill ye one of these days?
CONOR: No, you're not. Because you don't even exist.
BARRY: Wha?
CONOR: Maybe you're living in my world, I'm not living in yours.
You're just material for my songs.
BARRY: Man I'd be very careful what you say to me next,
I don't wanna have to batter ye again!
CONOR: Go ahead Barry. Go on. You only have the power to stop things. But not to create.
Step 3: Possible Extended Writing Activity
Recreate the piece of dialogue above by adding an additional character to the conversation.
Possible points to consider:
Your character can be on the side of Conor or Barry
How might your chosen character speak? What might they say?
Think about sentence length, word choice, character expression and punctuation.
Once again, students will have to focus on their word choice when creating dialogue for their new character. The use of colloquialisms, varying sentence length, and punctuation will be key factors in making the new character believable on the page.
Selection of student responses to this extended writing activity
Click to watch