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Cambridge Lower Secondary
English
LEARNER’S BOOK 7
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Graham Elsdon with Esther Menon
Second edition
Digital access
Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication.
Executive Preview.indb 6
17/09/20 5:40 PM
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We are working with Cambridge Assessment International Education towards endorsement of this title.
Cambridge Lower Secondary
English
LEARNER’S BOOK 7
SA
M
Graham Elsdon with Esther Menon
Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication.
We are working with Cambridge Assessment International Education towards endorsement of this title.
University Printing House, Cambridge CB2 8BS, United Kingdom
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First edition 2012
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anthology and reproduction for the purposes of setting examination questions.
Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication.
We are working with Cambridge Assessment International Education towards endorsement of this title.
Introduction
Introduction
Welcome to Stage 7 of Cambridge Lower Secondary English.
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We’ve designed this book to help you develop your English skills and also to
introduce you to some really interesting stories and articles. You’ll begin by
studying a fantastic adventure story about a character with a very unusual
skill and finish by reading a spine-chilling tale about a deadly sea creature.
You’ll read fiction, non-fiction, poetry and drama about exciting cities,
futuristic schools and fame.
We hope you’ll really enjoy the two complete short stories in this book.
One of them features a strange character below the earth and the other
is about time travel. Reading complete short stories will give you a better
understanding of structure and theme.
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By the time you’ve completed this book, you will be able to write
persuasively, analyse language in more depth and write an entertaining
playscript. There are plenty of opportunities to work in pairs and groups
on presentations and projects. You’ll sharpen your language skills and
you will learn about some very interesting older texts in a fun way as well
as developing key skills for 21st century life.
Try using the reflection and assessment activities too – they’ll help you to
become a more confident and independent learner.
Good luck on the next stage of your learning journey.
Graham Elsdon and Esther Menon
3
Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication.
We are working with Cambridge Assessment International Education towards endorsement of this title.
Contents
Contents
Unit
Text types
Reading
8
1 Adventure
Contemporary fiction (adventure); nonfiction (travel writing); thematic poetry;
novel (spy story)
‘Beware Low-Flying Girls’; Around India in
80 Trains; ‘Hard is the Journey’; Silverfin
32
2 ‘Hey, You Down
There’
Short story (science fiction)
‘Hey, You Down There’
57
3 Film and fame
Contemporary fiction; non-fiction (informative Film Boy; ‘Hrithik Roshan says he practices
article); non-fiction (film review)
every day to overcome stammering’ in the
Hindustan Times; The Incredibles film review;
‘Thai cave rescue boys meet hero’ in the
Guardian
82
4 Small but perfect
Flash fiction; haiku poetry; imagist poetry;
non-fiction (informative article); non-fiction
(explanatory text); non-fiction (magazine
article and interview)
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Page
‘One in Twenty-Three’; haiku poems; imagist
poems; ‘The tiny world of Willard Wigan’ in
the Telegraph; explanation of shabtis; ‘Microartist Willard Wigan reveals his tiny world’ in
WhatsonTV
108
5 Unusual education
Non-fiction (descriptive accounts); nonfiction (blogs); non-fiction (discussion
article and account); contemporary fiction;
contemporary drama
Two accounts of different schools; blogs
about school uniform; homeschooling article
and account; Wonder; The Last Class
136
6 Life stories
Thematic poetry; non-fiction to narrate
(autobiographies); non-fiction to narrate
(diary); persuasive speech
‘Lullaby’; ‘The Song of the Old Mother’;
biography of Malala Yousafzai; As I Walked
Out One Midsummer Morning; Letter to
Daniel; Captain Robert Scott’s diary; speech
by Nelson Mandela
163
7 ‘The Travel
Agency’
Short story (fantasy)
‘The Travel Agency’
189
8 In the city
Contemporary fiction; classic fiction;
thematic poetry; non-fiction (argument
articles)
The White Tiger; Neverwhere; A Christmas
Carol; The Sign of Four; ‘City Jungle’; ‘Last
Night, I Saw the City Breathing’; ‘Urban
Threats’ in National Geographic; ‘What would
the ultimate child-friendly city look like?’ in
the Guardian
216
9 Dangers of the sea
Contemporary fiction; non-fiction
(informative article); classsic fiction; classic
poetry
Jaws; ‘Why Are We Afraid of Sharks?’ in
National Geographic; Moby-Dick; And The
Ocean Was Our Sky; The Rime of the Ancient
Mariner
4
Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication.
We are working with Cambridge Assessment International Education towards endorsement of this title.
Contents
Speaking/Listening
Language focus
21st century skills
Summarise genre features; write a
Pair discussion and prediction;
monologue; analyse a poem’s meaning; present group views; recount an
write a story
anecdote
Sentence types;
alliteration and sibilance;
powerful verbs
Creativity;
collaboration
Write a spoken drama; write informally; Pair and group discussion
write about theme; write a story with
an unusual ending
Sentence openings;
compound-complex
sentences; formal/
informal language
Critical thinking;
communication
Write a section of a story; write an
article; write a film review; speech
writing
Pair discussion; individual speaking
Direct speech; types of
noun/adjective-noun
combinations
Collaboration;
creativity
Write flash fiction; analyse a poem;
write poems; write an interview
Pair and group discussion
Time connectives;
prefixes
Creativity; critical
thinking
Connectives; colons
Social
responsibility;
collaboration
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Writing
Write an account about school; write a
script
Pair and group discussion
Justify poetry choices; write an account Pair and group discussion
of family life; write a monologue;
analyse a letter; analyse language;
write a poem; write a speech
Rhythm and rhyme; voice; Social
embedded clauses
responsibility;
creativity
Explain character; write a narrative
piece; write a brochure introduction;
analyse character; write a diary entry;
write about theme
Pair and group discussion
Word choice and order;
voice and excitement
Critical thinking;
learning to learn
Travel article; continue a story; write a
poem about a city
Pair, group and individual discussion
Using punctuation;
personification; related
word forms; perspective
Learning to learn;
communication
Describe a sea snake; continue a story;
analyse poetic language
Pair, group and individual discussion
Choosing words and
phrases; poetic language
Creativity;
collaboration
5
Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication.
We are working with Cambridge Assessment International Education towards endorsement of this title.
How to use this book
1
Adventure
How to use this book
In this unit, you will study texts about adventures. You will read about
characters who face challenges, go on journeys and experience exciting
situations. As you work through the texts and activities, think about the
way the characters react to their adventures.
This book contains lots of different features that will help your learning.
These
are explained
below.
1.1 The
start
of an adventure
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1.1 The start of an adventure
This list sets out what you will learn in each
session. You can use these points to identify the
important topics for the lesson.
In this session, you will:
•
•
discuss the features of adventure stories
look for explicit information in a text
•
explore how writers structure their stories.
Getting started
This contains questions or activities to help find
out what you know already about the topics
in this session.
Adventure stories are about characters who go on journeys. The
characters often have special skills and face difficult challenges.
Treasure Island by Robert Louis Stevenson, is an example of a
story about a boy who goes on a sea adventure to find hidden
treasure. In pairs, make a list of adventure stories and films that
1.1 The start
of an adventure
you know.
SA
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Important words are1 highlighted
Adventure stories in
are athe
genre.text
This means that different adventure
stories contain similar features. In pairs, discuss:
when they first appear in
the
book. You will find
•
the types of characters in adventure stories
an explanation of the meaning
these
wordsstories
•
the types of
of settings
in adventure
in the margin. You will •also
find
definitions
of
what
happens
in adventure stories
•
how these
all these words in the glossary
atstories
theusually
backend.of
Compare your findings with another pair. Apart from the
this book.
main character, what other types of people do you find in
Key words
genre: a
particular type of
text, for example,
adventure,
comedy, crime,
science fiction
setting: the
location of where
a story takes
place
adventure stories?
2.3
2.3Gold!
Go
‘Beware Low-Flying Girls’
Read the extract from ‘Beware Low-Flying Girls’ by Katherine Rundell.
It is about Odile, a girl whose adventure begins when she discovers she
has a very unusual skill.
3 83 InIn
thethe
next
part
ofof
thethe
story,
Dora
receives
a letter
from
thethe
people
next
part
story,
Dora
receives
a letter
from
people
down
thethe
hole.
They
write
in in
standard
English.
What
dodo
you
think
down
hole.
They
write
standard
English.
What
you
think
thethe
note
will
say?
note
will
say?
Activities give you the opportunity to practise
Write
thethe
note
that
thethe
people
send
toto
Dora.
Remember
that
they
Write
note
that
people
send
Dora.
Remember
that
they
and develop the skillsExtract
that 1you learn in each
seem
toto
like
flashlights,
have
gold,
and
that
Dora
has
sent
them
aa
seem
like
flashlights,
have
gold,
and
that
Dora
has
sent
them
session. Activities willIt involve
answering
food.
dictionary
and
food.
was cold, that
day she first took flight, and the snow lay thick enough todictionary
hide
a catand
in.
44
Listen
four
people
speaking
about
Calvin
and
Dora.
She wore
her father’s
It came down past her knees, and she had
rolled
thetosleeves
Listen
to
four
people
speaking
about
Calvin
and
Dora.
questions or completing
tasks.
Thiscoat.
includes
up, so they hung at her wrist in a great roll of wool. The coat had once been
a you
deep,
AsAs
you
listen,
make
notes
and
then
summarise:
listen,
make
notes
and
then
summarise:
cocoa-bean
it was the colour of an elderly shoe. It smelt, very slightly, of
listening activities where
youbrown,
hearbuta now
sound
• • what
Speaker
AA
thinks
ofof
Calvin
what
Speaker
thinks
Calvin
horses and woodsmoke.
recording. These recordings
can
be
played
from
what
Speaker
BB
thinks
ofof
Calvin
• mountain;
what
Speaker
thinks
Calvin
The wind was fierce that day. It was
often windy in winter at the top of •the
blown backwards up the cliff edge, reverse-somersaulting 1through
the Speaker
sky,
•Adventure
CC
thinks
ofof
Dora
• what
what Speaker
thinks
Dora
the Digital edition of birds
the got
Learner’s
Book.
their wings shedding feathers like confetti. Seagulls blew into the house, sometimes
02 02
• • what
DD
thinks
ofof
Dora.
what
Speaker
thinks
Dora.
right into her lap as she sat curled up in the corner, wrapped in rugs, reading
by Speaker
the
firelight. Suddenly finding that you had an irate seagull as a bookmarkLanguage
was not, Odile
focus
thought, ideal, but her grandfather would throw a blanket over themListening
and
stomp
out
tiptip
Listening
into the night with the bird bundled into his arms.
To create excitement in suspense stories, writers often use verbs
When
listening
toto
the
opinions
ofof
other
speakers,
make
notes
of
When
listening
the
opinions
other
speakers,
make
notes
that
suggest movement
and power.
In the
first paragraph
of of
‘Always be polite to birds,’ he would say. ‘They know more than they let
on.’
the
reasons
they
give forfor
their ideas.
Briefl
y note
down
the
main
the
reasons
they
ideas.
Briefl
y note
down
the
main
Silverfi
n, there
aregive
lots of their
‘action’
verbs,
including
struggled,
points
they
make.
The house was built into the rock of the mountain, and the door was polished
stone.
Her
points
they
make.
gripping
and
slid. These powerful verbs create excitement in the
grandfather had lived on the mountaintop all his life. Odile had lived with story,
him since
she the reader imagine the movement and danger that
helping
was a baby. She had nobody else. In the house, the fire burned all the5year
round.
‘Keep
the
character
experiencing.
Verbs
build
intensity, so choosing
In
groups
of
three,
discuss
thethe
views
of
Calvin.
5
In groups ofis three,
discuss
views
of
Calvin.
the fire as hot as the human heart,’ said her grandfather, his jaw stern. ‘Never
let it goverb
out.’like struggled is often more effective in creating
aOne
powerful
group
member
should
give
reasons
why
Speaker
AA
is is
correct.
One
group
member
should
give
reasons
why
Speaker
correct.
That day, she had pulled her father’s coat around her, and set out. The wind
caught
the theshould
excitement
than
choicepresent
of adjective.
One
group
member
reasons
why
Speaker
BB
is is
correct.
One
group
member should
present
reasons
why
Speaker
correct.
coat as she walked down the mountain path, billowing it out behind her like a sail. It had
The
third
member
ofof
thethe
group
should
bebe
thethe
chairperson.
Use
thethe
The
third
member
group
should
chairperson.
Use
no buttons left, so she took a corner of the coat in each fist and held her
arms
stiff
at
her
3
Look
again
at in
the
extract
you
made
Activity
4.from
notes
you
made
in
Activity
4. Silverfin. Write a paragraph
side. She began to run, her hair blowing in her eyes and mouth, down thenotes
hill.
explaining how the writer uses powerful verbs to create excitement.
Find your
Speaking
tiptipown examples and comment on their effect.
Speaking
This will provide you with explanations
of important content relating to grammar
and language.
Each tip will help you to develop a technique or
skill connected to reading, writing, speaking or
listening.
4
Writers
useasmany
techniques
toimportant
create excitement.
example,
When
you
act
chairperson,
it is
toto
actact
inFor
a fiarm
but
When
you
act as
chairperson,
it is
important
in
firm
but
theymanner.
may
useMake
short
sentences
atother
thegroup
moment
of greatest
drama,
friendly
sure
that
other
members
listen
and
friendly
manner.
Make
sure
that
group
members
listen
and
9
or
theyYou
might
use aintroduce
single
sentence
paragraph.
Look
atdecide
the
short
take
turns.
should
the
discussion
and
also
take
turns.
You
should
introduce
the
discussion
and
also
decide
when
it is
time
the
next
person
toto
speak.
You
can
ask
sentences
infor
the
last
13
lines
of the
extract
(from
Healso
stopped).
when
it is
time
for
the
next
person
speak.
You
can
also
ask
questions,
summarise
views
decide
when
the
discussion
has
questions,
summarise
views
and
decide
when
the
discussion
has
In pairs,
discuss which
is and
the
most
exciting
short
sentence
and
reached
an
end.
reached
an end.
why. Make
a note of your opinions.
5
6
Writers can use punctuation to create effects. In the extract,
ellipsis
is used
atthe
moments
of
drama. For example, in paragraph 5,
• • How
effective
was
group
discussion?
How
effective
was
the
group
discussion?
the narrator
states:
• • In In
what
ways
did
each
person
contribute?
what
ways
did
each
person
contribute?
Themight
castle
was
six
feet away,
finext
ve time
. .time
. four
. .have
. have
Theabranch
was swaying
• • What
you
improve
onon
next
you
What
might
you
improve
you
a
alarmingly.
group
discussion?
group
discussion?
Original material © Cambridge University Press 2020. This material is not final
Reading tip
When exploring
the effect of
sentence types,
remember to
think about the
specific effect
they create. For
example, short
sentences do not
always create
excitement;
sometimes they
are used to
convey anger or
even humour.
Key words
humour: when
things are funny,
or things that are
funny
ellipsis: a set of
three dots ( . . . )
used to indicate
that words have
been left out
Here the ellipsis emphasises the tension, as if the character and the
reader are holding their breath as the main character edges along
theis
branch.
and
subject to further changes prior to publication.
Find one other example of ellipsis from the extract and write a
4343
7 ‘The Travel Agency’
We are working with Cambridge Assessment International Education
towards endorsement of this title.
5
Plan a monologue called ‘The Day I Met the Kraiks’.
Write 300 words
how
the writer
It willexplaining
be told from
Odile’s
pointpresents
of view.Sannala in
Extract 3. Include
on: decide and make brief notes on:
a
Ondetails
your own,
4
How to use this book
a
the image of
that the writer
• Sannala
what happened
whenpresents
you met the Kraiks
b
the
effect
of
structural
techniques
as flashback
2 ‘Hey, You Down There’
•
what happened onsuch
the next
stage of and
your quest.
contrast
b Think about the narrative structure of your monologue.
cPractise
the your
effectspoken
ofList
voice,
sentence
and
other
language
the
events
instructures
thepairs,
orderthen
you perform
will
tell
them
in your
5
drama
in your
it to the
Key word
Look back at the structure outlined in
class.techniques
Remembermonologue.
to:
Session 1.1,ofActivity
4 for ideas.
d
how
introduction
character
the themes
Key word voice: the
•
speakthe
clearly
and use yourthis
voice
to showdevelops
the characters’
feelings
of6 friendship
andyour
loneliness.
a particul
Now write
monologue. Remember that you are writing from
•
vary the volume and pace of your voice to show Calvin’s and
pace: the speed
character
Odile’s point of view, so you will need to capture her voice. This
at which someone
Dora’s emotions.
Peer assessment
or thinks
means thinking carefully about her personality and attitude, and
speaks or how
fiction, or
Swap accounts
with a partner
andphrases
check how
thoroughly
theyexample, youquickly events
choosing
words and
that convey
this. For
Self-assessment
writer’s to
have written about
each
point.
Copy
and
complete
the
table
take
place
in
have found out that Odile is young, but she is also brave. She likes
point of v
toyou
indicate
how
effectively
they
have
written
about
each
point.
If
can, make
a
recording
of
your
drama
and
listen
to
it.
a
story
adventures. She has been warned about the Kraiks, so she may be
non-fi
ctio
Place a tick under red or amber or green.
• Is it likely to
interest
your
audience?
cautious
and
a little
scared.
•
Green means they have written in detail.
• Did you vary your voices?
Speaking
assessment
•
AmberPeer
means
they have offered some detail.
• Did you speak clearly?
•
Red means
that they
have
not
written
about
the bullet
at all.
Before yo
In
groups,
take
turns
reading
your
monologue
aloud.
• Write a paragraph in your notebook giving an account of
your mon
your strengths
andbits
alsoofareas
develop. were the most interesting
•
Which
eachto
monologue
plan how
to listen to?
will speak
a
•
Why? Give reasons for your assessment.
words wil
b
Summary
checklist
emphasis
c I can analyse and write a compound-complex sentence.
Where wi
pause? H
d I can •write
andhave
perform
spoken
drama.
Listening tip
What
you alearnt
from
writing this monologue?
you use y
What
you do differently
next time?
I can •assess
mymight
own speaking
and performance
skills.
voice to m
When receiving
your mon
verbal feedback,
5
Now feed back your findings to your partner. Explain your
sound
listen carefully
to ex
judgements,
making
sure you are polite and kind.
Summary
checklist
specific advice.
Ask for details
I can predict how stories might develop.
Summary checklist
and examples
I can identify the features of a monologue.
to help you
I can explain how a writer might use a character to develop
I can write and perform an interesting monologue.
understand any
In this
session, you will:
a theme.
guidance. Take
I
can
analyse
how
a
writer
presents
a
heroic
character.
•
explore the social and historical context of ‘Hey, You
notes to help you
I Down
can write
an
analysis
of
how
a
character
is
presented.
There’
remember.
PL
E
After completing an activity, this provides you
with the opportunity to either assess your own
work or another student’s work.
This contains questions that ask you to look
back at what you have covered and reflect on
your learning.
2.3 Gold!
SA
M
This list summarises the important skills that
you have learnt in the session.
These questions look back at
some of the content you learnt
in each session in this unit. If
you can answer these, you are
ready to move on to the next
unit.
•
understand how non-standard English helps to convey
character
•
practise your group discussion skills.
Check
your
progress
Check
your
progress
Answer
the following
questions
to check
learnt
in this
174 to check
Answer
the following
questions
whatwhat
you you
havehave
learnt
in this
unit.unit.
1
What
are
the
key
features
of
adventure
stories?
Give
some
examples
of events that
1
Give an example of a symbol in a poem you have studied.
happen
in adventure
stories.
Answer the
following
questions
to check what you have learned in this unit.
2
Explain what is meant by ‘The intended audience of a piece of writing
2
What type of characters do you find in adventure stories? What happens to them?
1
What are key
adventure
determines
thefeatures
way in of
which
a text isstories?
written’.
3GiveList
three
ways you
keep
anhappen
audience
relating an anecdote.
some
examples
of can
events
that
in interested
adventure when
stories.
3
Describe the differences between literal and figurative language.
Using
explain
what
alliteration
and stories?
sibilance are.
2 4What
typeexamples,
of characters
do you
find
in adventure
40
4 5Write
a sentence
containing
an embedded
clause.
ways
of creating
a story.skills? What happens to them?
Are List
theythree
ordinary
people
or dosuspense
they haveinspecial
5
GiveExplain
two examples
of a minor
sentence.
learnt
planning,
writing
and
redrafting
your writing.
3 6Name
three what
ways you
you have
can keep
anabout
audience
interested
when
relating
an anecdote.
Writehow
a list
of tips for
future students
about improving writing.
6
Explain
persuasive
speeches
are structured.
4
Using examples, explain what alliteration and sibilance are.
Check your progress
5
List three ways that a writer can create suspense.
Project
Explain what you know about writing accounts of adventures.
6 Project
In groups,
youwriting
are going
to design and present some ideas for a specific
improved?
ThisHow
unithas
hasyour
explored
the
life stories of real people and characters in literature. You
type of adventure story: the superhero story. Superhero stories are about
are going to research and present the life story of a person in public life who has
characters who have extraordinary powers. They are often normal
made a difference. This might be a scientist who has made an important medical
people who secretly change into superheroes in order to help people
discovery, a person who has promoted peace or a young person who is trying to
in need. Using the information in this unit as well as extra research:
improve the planet like Greta Thunberg.
•
devise a new superhero
Think carefully about the person you choose to research. There are many people
write
a brief
le
who•have
done
goodcharacter
things, soprofi
it might
be more interesting to choose someone
who•is less
well known.
Start by
decide
details about
theresearching
world theythe
liveperson.
in – is itFind out about
their life recognisable
story and theas
positive
things
theyorhave
your own
world,
is it done.
a different type of place?
At the end of each unit, there
is a group project that you can
carry out with other students.
This will involve using some of
the knowledge that you
developed during the unit.
Your project might involve
creating or producing
something, or you might all
solve a problem together.
Present
research
in the form
of a booklet
• your
describe
a costume
they might
wear to show in class.
You should present information in an appealing way. Use pictures,
•
draw
the bad
characters
the superhero
will encounter
coloured
text boxes
and
headingsthat
to organise
your material.
• everyone
plan some
Once
has storylines.
completed their booklet, spend time in
groups
reading
other’s
work. You
discuss
eachand
Present
youreach
ideas
as a group.
You should
could use
pictures
person
in turn.
Be prepared
to justify to your group
artwork
to explain
your ideas.
why your person is the most significant.
Start by:
At the end of your discussion, your group must
•
noting down the names of any superhero books, comics
choose one person (in your group) who you
and films you know
think has made the most important contribution
•
discussing
some
ideas
your group
to society.
Nominate
one initial
student
perwith
group
to tell
class which
person
group
has group
• the
working
out who
will your
do what
in your
selected and why.
•
planning ways to present your work.
162
7
31
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Adventure
PL
E
1
In this unit, you will study texts about adventures. You will read about
characters who face challenges, go on journeys and experience exciting
situations. As you work through the texts and activities, think about the
way the characters react to their adventures.
1.1 The start of an adventure
In this session, you will:
discuss the features of adventure stories
•
look for explicit information in a text
SA
M
•
•
explore how writers structure their stories.
Getting started
Adventure stories are about characters who go on journeys. The
characters often have special skills and face difficult challenges.
Treasure Island by Robert Louis Stevenson, is an example of a
story about a boy who goes on a sea adventure to find hidden
treasure. In pairs, make a list of adventure stories and films that
you know.
8
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1.1 The start of an adventure
Adventure stories are a genre. This means that different adventure
stories contain similar features. In pairs, discuss:
•
the types of characters in adventure stories
•
the types of settings in adventure stories
•
what happens in adventure stories
•
how these stories usually end.
Key words
genre: a
particular type of
text, for example,
adventure,
comedy, crime,
science fiction
setting: the
location of where
a story takes
place
PL
E
1
Compare your findings with another pair. Apart from the
main character, what other types of people do you find in
adventure stories?
‘Beware Low-Flying Girls’
Read the extract from ‘Beware Low-Flying Girls’ by Katherine Rundell.
It is about Odile, a girl whose adventure begins when she discovers she
has a very unusual skill.
SA
M
Extract 1
It was cold, that day she first took flight, and the snow lay thick enough to hide a cat in.
She wore her father’s coat. It came down past her knees, and she had rolled the sleeves
up, so they hung at her wrist in a great roll of wool. The coat had once been a deep,
cocoa-bean brown, but now it was the colour of an elderly shoe. It smelt, very slightly, of
horses and woodsmoke.
The wind was fierce that day. It was often windy in winter at the top of the mountain;
birds got blown backwards up the cliff edge, reverse-somersaulting through the sky,
their wings shedding feathers like confetti. Seagulls blew into the house, sometimes
right into her lap as she sat curled up in the corner, wrapped in rugs, reading by the
firelight. Suddenly finding that you had an irate seagull as a bookmark was not, Odile
thought, ideal, but her grandfather would throw a blanket over them and stomp out
into the night with the bird bundled into his arms.
‘Always be polite to birds,’ he would say. ‘They know more than they let on.’
The house was built into the rock of the mountain, and the door was polished stone. Her
grandfather had lived on the mountaintop all his life. Odile had lived with him since she
was a baby. She had nobody else. In the house, the fire burned all the year round. ‘Keep
the fire as hot as the human heart,’ said her grandfather, his jaw stern. ‘Never let it go out.’
That day, she had pulled her father’s coat around her, and set out. The wind caught the
coat as she walked down the mountain path, billowing it out behind her like a sail. It had
no buttons left, so she took a corner of the coat in each fist and held her arms stiff at her
side. She began to run, her hair blowing in her eyes and mouth, down the hill.
9
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1 Adventure
The wind caught her coat and tossed her upwards. Odile felt the
sudden swoop of gravity undone.
PL
E
It lasted only a second. She screamed, pulling her coat up over
her face, and dropped to the ground again, landing on
her hands and knees in the snow. Her breathing
stopped. Though she had barely fallen two feet,
she felt winded, gasping and choking for air.
‘I flew,’ she whispered. Or had she perhaps
just tripped and fallen more extravagantly than
usual? She had to be sure.
Odile rubbed some snow into her eyes to make
sure she was awake. She pulled a twig from a tree,
brushed the frost from it and used it to pin her hair
out of her eyes. She put on her gloves.
She stretched out the corners of her coat. She began to
run, downhill, her feet kicking up a spray of snow.
SA
M
The coat billowed out behind her. Her breath misted
the air in front of her.
And Odile flew.
Reading tip
When you see words you do not understand, use details from
the surrounding sentences to help you work out meanings. For
example, in the second to last paragraph of the extract, you could
work out the meaning of billowed by thinking about the effect the
wind might have on Odile’s coat – blowing it out around her.
2
3
Key word
Practise working out word meanings from their context.
The following words are taken from the third paragraph of
the extract. What do you think they mean?
a
fierce
c
irate
b
confetti
d
bundled.
context: the
situation within
which something
exists or happens
When reading a text, it is important to be able to identify and
understand the main points and ideas that a writer tells you.
10
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We are working with Cambridge Assessment International Education towards endorsement of this title.
1.1 The start of an adventure
Explicit information is information that the writer states directly.
Read the text again and make notes on:
what you can find out about Odile’s family
b
what is unusual about the setting
c
other unusual aspects of the story.
explicit
information: ideas
and details that
a writer states
directly
narrative
structure: the
order in which a
writer sets out the
events in a story
PL
E
4
a
Key words
The narrative structure of a story is the order in which events take
place. This includes how a story starts, when different pieces of
information are revealed and how the story ends. Look at this
timeline, which shows the first four main points in ‘Beware LowFlying Girls’.
You are told Odile
can fly.
The strength of the
wind is described.
SA
M
Her father’s coat
is described.
You find out that Odile’s
grandfather and Odile
live alone.
Write down the last two main points in the extract from ‘Beware
Low-Flying Girls’.
5
Writers design the narrative structure of their stories to keep
readers interested. In pairs, discuss the following questions.
a
Why does the writer start the story by telling you Odile
can fly?
b
Why does she tell the reader that Odile wears her father’s coat?
(Think about why the coat might be special.)
c
Why does the writer end this part of the story with
Odile flying?
6
Which parts of the story have you found most interesting so far?
In your pairs, predict what you think might happen, or what you
would like to find out, in the next part of the story. Do you both
have the same opinion?
7
Write a summary of about 50 words explaining what you have
learnt about the features of adventure stories. Use some examples
from ‘Beware Low-Flying Girls’ in your summary.
Key words
predict: say what
you think might
happen in the
future
opinion: a
personal view
or judgement
about something,
not necessarily
based on fact or
knowledge
11
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1 Adventure
Summary checklist
PL
E
I can identify some features of adventure stories.
I can locate explicit information in a text and understand
its meaning.
I can comment on the narrative structure of a text.
1.2 Quest!
In this session, you will:
describe how stories develop
•
explore the features of a monologue
•
write and perform a monologue.
SA
M
•
Getting started
A quest is a difficult journey in search of an item or person.
Look up the origins of this word. How is the word ‘quest’
connected to the word ‘question’?
1
Here are two possible ways that the story you read in Session 1.1
could develop.
Which idea do you prefer and why? Discuss your ideas in pairs. Are
they similar to the predictions you made in the previous session?
Odile flies far from home and arrives in a town she
has never been to. The people treat her like a princess.
She is given lots of power. One day, a threatening
creature arrives and Odile is expected to defend the
town. She is frightened and doesn’t know what to do.
A
12
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1.2 Quest!
Odile flies into a dizzying snowstorm and doesn’t
know where she is. She falls asleep on a mountainside
and when she wakes up, the coat has gone. She meets
a friendly girl called Millie who invites Odile to stay
with her family. Odile is not sure if it’s a good idea.
PL
E
B
Now read another part of ‘Beware Low-Flying Girls’. At this
point, Odile has found out that her father used the coat to fly.
She also discovers that her grandfather is ill. To get better,
he needs a special plant from the other side of the mountain.
Odile decides to go on a quest to find it. Her grandfather
warns her to be careful of the Kraiks – a mysterious group of
talking birds.
Extract 2
SA
M
Without another word, she pulled on her boots and coat
and kissed her grandfather’s cheek. He waved her away;
his skin was colder than usual.
Odile walked as far as the paths would take her, clapping
her hands together in front and behind her back to keep
them warm; and then she climbed. It was more of a scramble,
really, around the edge of the mountain, but there were
places where the ground cut away and dropped to a blur
below. She did not fly: the wind might drop at any moment,
and she didn’t like the idea of so much gravity at once.
The first hint that something was wrong was the smell. Odile
sniffed. There were seven layers of scent, none of them good:
a between-the-toe smell, a week-old-fish smell, an unbrushedtooth smell; a jackdaw’s breath, a cat’s sick pool, a burnt furball
and a sailor’s earwax.
‘Kraiks,’ she whispered.
She looked up, up the edge of the mountainside. She could see
nothing – only mist, and branches stretching like arms across the
rocks. But a voice came down, thin and quiet.
jackdaw: a bird
(a small crow)
furball: a ball
of fur that can
develop in an
animal’s stomach
‘Where are you going, little girl?’
Odile said nothing. She set her jaw, and kept climbing, heading
sideways.
13
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We are working with Cambridge Assessment International Education towards endorsement of this title.
1 Adventure
01
3
In pairs, discuss how the story could develop.
Remember the following:
•
The Kraiks seem dangerous.
•
Odile can fly.
•
She needs the plant for her grandfather.
Key words
•
The central character in an adventure story usually faces
a problem.
•
Adventure stories usually end happily.
monologue: a
story or speech
given by one
character
tone: the way that
someone speaks
or how a piece of
writing sounds,
which helps
suggest mood
and feelings
PL
E
2
A monologue is a spoken text told by one person. The speaker
usually explains their feelings and attitudes, as well as telling a
story in which they gradually reveal bits of information.
Listen to the monologue and answer the questions. You will need to
listen for explicit information, but also consider the speaker’s tone,
which can reveal how he is feeling.
How many messages had Alex missed?
b
Why does Alex think the music shop owners are happy
to let John play the guitars?
c
How would you describe the relationship between Alex
and his mother?
d
How does the story end?
e
‘Alex seems like a really kind person.’ To what extent do you
agree with this view?
SA
M
a
4
Just like written stories, monologues are carefully structured
to keep the listener interested. When writing a monologue, it is
important to think about when to tell the listener key information.
In pairs, discuss the following questions.
a
What were you told at the start of the monologue and how
did this keep you interested?
b
What was the most exciting or dramatic part of the
monologue? At what point in the story did it happen?
c
How did the monologue end? How did the ending make you
feel – were you happy for Alex?
Listening tip
When you hear
information
spoken aloud,
listen carefully
for any explicit
information. The
way a person
speaks and how
they use their
voice can also
give you clues as
to how they feel
about the story
they are telling.
Listen carefully
not just to what
is being said, but
also the tone (i.e.
how it is being
said).
14
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1.2 Quest!
5
Plan a monologue called ‘The Day I Met the Kraiks’.
It will be told from Odile’s point of view.
b
6
On your own, decide and make brief notes on:
•
what happened when you met the Kraiks
•
what happened on the next stage of your quest.
PL
E
a
Think about the narrative structure of your monologue.
List the events in the order you will tell them in your
monologue. Look back at the structure outlined in
Session 1.1, Activity 4 for ideas.
SA
M
Now write your monologue. Remember that you are writing from
Odile’s point of view, so you will need to capture her voice. This
means thinking carefully about her personality and attitude, and
choosing words and phrases that convey this. For example, you
have found out that Odile is young, but she is also brave. She likes
adventures. She has been warned about the Kraiks, so she may be
cautious and a little scared.
•
•
Key word
voice: the way
a particular
character speaks
or thinks in
fiction, or the
writer’s tone and
point of view in
non-fiction
Peer assessment
Speaking tip
In groups, take turns reading your monologue aloud.
Before you read
your monologue,
plan how you
will speak. Which
words will you
emphasise?
Where will you
pause? How can
you use your
voice to make
your monologue
sound exciting?
•
Which bits of each monologue were the most interesting
to listen to?
•
Why? Give reasons for your assessment.
What have you learnt from writing this monologue?
What might you do differently next time?
Summary checklist
I can predict how stories might develop.
I can identify the features of a monologue.
I can write and perform an interesting monologue.
15
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1 Adventure
1.3 Train trouble
In this session, you will:
explore ways of using speech to engage an audience
•
look for implicit meaning in a text
•
use different sentence types to add interest to descriptive writing.
PL
E
•
Getting started
Have you ever had a difficult start to a journey? Have you ever
missed a bus or been on a crowded train? Have you ever been stuck
in traffic or had an annoying start to a holiday? What happened?
How did it make you feel? Tell your anecdote to a partner.
1
SA
M
Tell the whole class your anecdote.
•
Explain clearly what happened.
•
Focus on feeling and emotion to engage your listeners.
•
Use tone of voice, gesture and facial expression to add meaning.
•
Give your anecdote a strong ending.
Speaking tip
When you relate an anecdote, make sure you give enough details about
the event to help your listeners picture the scene. Effective speakers
often use non-verbal communication, so think about how you could
use gesture and facial expression to add meaning to your anecdote.
Around India in 80 Trains
Read the following piece of non-fiction writing, which is from an
autobiography by Monisha Rajesh. In the extract, the writer describes
a difficult start to a journey, as she arrives at a station in India. She is
accompanied by a friend called Passepartout. They are helped by Subbu,
who is guiding them through the busy station and on to the train. As
you read, think about how the writer makes the journey seem stressful.
Key words
anecdote: a short
entertaining story
that is usually
spoken
gesture:
movements of
the hands or arms
to add emphasis
to bring a story
to life
non-fiction:
writing that is
about real events
and facts
autobiography:
a text in which
the writer gives
an account of
their own life and
experiences
16
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PL
E
1.3 Train trouble
SA
M
Chennai Egmore station could be heard before it was seen.
A cacophony erupted as we made our way under the arches,
running after Subbu who had been instructed to come with us
to the platform. Indian stations are not designed for running.
An assault course lay between us and Subbu, who was winding
deeper and deeper into the sea of boxes, briefcases and body
parts. We ducked and wove around the slalom of wooden
carts wheeled by men with no sense of urgency, strings of
­hand-holding children, hobbling dogs, stacked hessian sacks,
nose-pickers, watersellers, booksellers and red-shirted porters.
Subbu now stood by our train, under a digital sign reading B2,
his face powder dry, as we bent double, sweat running down
our bodies.
Engines hissed and thudded as they began to move, high-pitched announcements singing out in breakneck-speed Tamil,
while the smell of dried fish crept up my nostrils. Passepartout
leapt about, clicking away, and I smiled weakly for the camera
before boarding the Anantapuri Express to Nagercoil.
Subbu had already found our seats and placed our bags on
each by the time we squeezed through. Thanking him, we dug
out bottles of water, notebooks, pens, toilet paper, flannels
and flip-flops, much to the amusement of our companions who
had already chained up bags, hidden shoes, plugged in phones
and sat down cross-legged, watching us. At 7.20pm the train
jerked. Subbu bowed and slunk off as the train glided out of the
station. Through the tinted window he was soon no more than a
saluting silhouette.
We were on the move.
cacophony:
a mix of loud,
often unpleasant
sounds
assault course:
an area filled with
obstacles such as
walls and ditches
that people have
to find a way over
or around
slalom: a skiing
race down a long,
winding course
hobbling: walking
unsteadily
hessian: a strong,
thick woven fabric
slunk: moved
away smoothly
and quietly
silhouette: the
shadow or outline
of an object
against a brighter
background
17
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1 Adventure
2
In pairs, discuss the explicit information in the text:
3
a
What can you find out about Chennai Egmore station?
b
What do you learn about the actions and feelings of the
narrator, Subbu and Passepartout?
Reread the final two paragraphs. In pairs, discuss the following
questions:
Why might the people on the train be amused?
b
What is being implied about the narrator and Passepartout’s
experience of travel in India?
SA
M
a
Language focus
Writers use different types of sentences for different effects.
For example, a simple sentence can provide basic, clear detail,
but it can also create tension. Compound sentences and
complex sentences add detail as well as creating effects, such as
conveying excitement. When writing about sentences, try to link
your comments about the sentence type to the effect it creates.
For example, think about what the shortness of a sentence
suggests about the narrator’s feelings. Does the detail of a
complex sentence help to suggest busyness or panic?
4
narrator: the
person telling the
story
implicit
information:
ideas and details
that readers have
to work out for
themselves
simple sentence: a
sentence with one
main clause
compound
sentence: a
sentence with
two main clauses
joined by ‘and’,
‘but’, ‘or’
complex
sentence: a
sentence with
one main clause
and one or more
dependent
clauses
PL
E
Writers often give information to readers and leave them to work
out what it means – this is implicit information. Understanding this
is sometimes called ‘reading between the lines’. For example, in
paragraph 1 of the extract, the writer implies that Subbu is calm.
She states that Subbu’s face was powder dry, which suggests that
Subbu is not flustered and sweating, unlike the others.
Key words
Look at this simple sentence followed by a complex sentence from
the extract:
Indian stations are not designed for running. An assault course lay
between us and Subbu, who was winding deeper and deeper into
the sea of boxes, briefcases and body parts.
The first sentence is a direct statement that gives a view about the
station. The tone sounds slightly sarcastic. The effect on the reader
is to give a clear, direct impression of the station and the narrator’s
attitude. The shortness of the sentence reflects the narrator’s feeling
of amusement but also tension.
18
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1.3 Train trouble
Copy and complete the following table in your notebook to
identify examples of simple, compound and complex sentences
in the extract from Around India in 80 Trains. In the last column,
comment on their effect. Explain how the writer builds up detail
and the impression this gives the reader.
Sentence type Example
Simple
Compound
5
clause: a group
of words that
contain a verb
subordinate
clause: in
grammar, a clause
that cannot
form a sentence
alone but adds
information to the
main clause
Effect
SA
M
Complex
Key words
PL
E
The second sentence is longer and more detailed. The first clause
introduces an image of the clutter of the station. The subordinate
clause (who was winding . . .) contains more detail, using ‘and’ twice.
The effect is to convey the huge number of things in the station.
The length and detail of the sentence reflects the detail of the scene
being described.
In Activity 1, you told an anecdote about difficult journey. Now
turn this into a written version. Before you write, think about how
you will describe the scene. Remember how the extract uses lots of
images, lists and interesting words to bring the scene to life. Use a
range of simple, compound and complex sentences to add detail
and variety to your writing.
Peer assessment
Share your finished account with another student. Discuss the
following questions:
•
Which bits of your writing do you think are most effective
and why?
•
Did you use a variety of sentences?
•
If you were to redraft your work, what would you do differently?
Summary checklist
I can use language to engage listeners in a spoken account.
I can identify and understand implicit information in a text.
I can use different sentence types to write an interesting account.
Writing tip
Remember that
the language
and style of
written accounts
is different to
spoken accounts,
so think carefully
about the way
you phrase
your writing.
For example,
people often
do not speak in
full sentences,
although you can
hear where ideas
start and end,
but you must
always write in
full sentences.
19
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1 Adventure
1.4 A hard journey
In this session, you will:
look for explicit and implicit meanings in poetry
•
explore how poets use language features for effect
•
learn how to write an analysis of a poem.
PL
E
•
Getting started
Some people and some poems describe life as a journey. In
pairs, discuss what life has in common with a journey. How could
life be described as an adventure?
‘Hard is the Journey’
SA
M
Read the following poem by Li Po, an 8th century Chinese poet.
Gold vessels,
At peace I drop a hook
Jade dishes of rare meats,
into a brooklet,
costing more thousands,
At once I’m in a boat
but sailing sunward...
I lay my chopsticks down,
no more can banquet,
(Hard is the journey,
I draw my sword and stare
Hard is the journey,
wildly about me:
So many turnings,
vessels: hollow
containers
jade: a hard,
green stone
banquet:
a feast
brooklet:
a small stream
And now where am I?)
Ice bars my way to cross
the Yellow River,
So when a breeze breaks waves,
Snows from dark skies to climb bringing fair weather,
the T’ai-hang mountains!
I set a cloud for sails,
cross the blue oceans!
20
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1.4 A hard journey
Copy and complete this table to list the events of each stanza.
The first one has been done as an example.
Stanza
What happens
1
The narrator describes expensive meats.
2
3
4
5
6
SA
M
Language focus
Key word
stanza: a group
of lines of poetry,
sometimes called
a verse
PL
E
1
Poets often use different types of sound effects, such as
alliteration and sibilance. These sound patterns are effective
when the poem is read aloud. They are used sometimes for
very specific effects.
Alliteration is when consonant sounds are repeated at the start
of words (e.g. ‘the rifle’s rapid rattle’ – the repeated ‘r’ sound
brings to mind the stuttering sound of a gun being fired).
Sibilance is the repetition of soft consonant sounds, usually the
‘s’ sound (e.g. ‘the ship moved slowly through the sea’ – the
repeated ‘s’ sound brings to mind the sound of a ship moving
through water, or the sound of the wind making the ship move).
2
Read the poem again carefully. Identify examples of alliteration
and sibilance. What effect do these language features create?
3
In pairs, discuss the following:
a
In stanza 2, the narrator decides to stop feasting and picks up
his sword. Why do you think he does this?
b
In stanza 3, the narrator is unable to cross the river.
How does the narrator seem to feel about this in stanza 4?
Key words
alliteration:
use of the same
sound, especially
consonants, at
the beginning
of several closetogether words
sibilance: use
of repeated soft
consonant sounds
for emphasis
21
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1 Adventure
5
a
how the narrator feels in stanza 5 (why does he find the
journey hard?)
b
what happens in stanza 6 to make the narrator set sail.
People read poems in different ways and have different responses
to them. Some readers might think that ‘Hard is the Journey’ ends
happily, because the narrator travels on. Others might think that
the ending of the poem shows that the narrator’s difficult journey is
never-ending. In groups, discuss what you think the ending of the
poem means.
What is the overall mood of the poem – is it optimistic or
pessimistic? Here are two possible interpretations of the poem.
Discuss them in small groups. Do you agree with either of them?
Why/why not?
Key word
mood: the feeling
created by the
words, sounds
and images in a
poem
SA
M
6
At the end of a poem, the poet usually states their conclusion and
comments on the main point of the text. Reread stanzas 5 and 6
and makes notes on:
PL
E
4
This is a poem about how
difficult life can be. The
narrator faces many problems.
The poem shows how you can’t
control your life.
This is a poem about how
humans succeed in the end. The
poem shows that if you believe
in yourself, then things work
out well.
22
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1.4 A hard journey
7
Present your thoughts from Activity 6 to another group and listen
to their ideas. Then debate your ideas. You should:
clearly explain and justify your views
•
discuss your ideas, making sure you take turns
•
come to an agreement about which view is the most
convincing.
Self-assessment
How well did you contribute to your group discussion and
debate?
•
Did you give a clear opinion and justify it?
•
Did you listen respectfully to other people’s views?
•
What advice would you give to others in your group about
improving their skills?
Using ideas from the table you created in Activity 1 and from your
discussion and debate, write a response to the following question.
Write about 200 words.
SA
M
8
When debating
ideas, listen
carefully to
others’ opinions
and their
reasoning. When
challenging their
views, be polite
and friendly. You
could organise
your debate in
a formal way,
with a teacher or
student taking
on the role of
chairperson to
keep order and
make sure that
everybody gets a
chance to speak.
PL
E
•
Speaking tip
What does ‘Hard is the Journey’ show about attitudes to
adventures? You should write about:
•
details of the journey in the poem
•
what you think the writer is saying about journeys and
adventures
•
the language choices made by the poet.
Summary checklist
I can identify and explain explicit and implicit meanings
in poetry.
I can analyse how poets use language features for effect.
I can write an analysis of a poem.
23
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1 Adventure
1.5 Danger!
In this session, you will:
investigate some features of suspense writing
•
explore the effects of language and grammatical choices
•
read aloud with expression.
PL
E
•
Getting started
Adventure stories often contain moments of suspense. The main
character is usually in a dangerous situation. The situation is
tense and drawn-out, which makes the reader concerned about
what will happen to the character.
SA
M
Look at the picture of a child in the woods. If you wrote a story
based on this picture, how would you create suspense? What
would happen in your story?
Silverfin
Read the following extract from a novel by Charlie Higson. It is about
a young spy called James. At this point in the story, James is trying to
sneak into a castle that hides a deadly secret. The only way to get in is
to walk along a branch that hangs over a lake. Kelly is James’s friend.
He struggled on up through the tangle of small twigs and young limbs. After
some careful searching, he found a suitable branch. In fact it was probably his
only hope, because it was the last branch that looked as if it would be strong
enough to support him. He lay down on it, gripping it with his legs, and
slowly slid himself away from the trunk and out over the loch.
He looked down at the black waters, so still now, but he could picture the eels
beneath the surface, lying in the stinking mud at the bottom, their wide snouts
sticking out, waiting patiently. His one consolation was that if the fall didn’t
kill him, it would at least knock him unconscious, and he would know nothing
about sinking down through the dark waters towards their slimy mouths.
loch: lake
consolation:
something that
makes you feel
better
He suddenly felt very lonely. If he fell, Kelly wouldn’t come, and nobody else
knew he was here. He was utterly alone.
24
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1.5 Danger!
He forced his eyes away from the water towards the wall ahead of him. The
branch was bending sharply now, and he found himself crawling downwards
towards its tip, so that there was a very real danger of slipping forward and off
the end. Best not to think about that.
He stopped.
PL
E
Slowly he shuffled along. The castle was six feet away, five . . .
four . . . The branch was swaying alarmingly. He felt like he could tip off at
any moment.
The wall was still three feet away . . .
He didn’t move.
He knew it wasn’t going to work. The branch wasn’t long enough. It was too thin.
If he went any further, he would be past the point of no return. He’d be stuck.
He glanced down, he was over the ground now, at the foot of the wall. That
would be worse than hitting the water, eels or no eels. He closed his eyes and
slowed his breathing, trying to calm the mounting panic.
SA
M
And then he heard it.
First a creak. Like a loose tread on a staircase.
And then a crack.
mounting: getting
bigger
tread: the surface
of a step or stair
He felt the branch shudder . . . It was splitting.
1
2
In your notebook:
a
list the dangers and problems that the main character faces
b
note down how you think James feels
c
write down the six most exciting sentences in the story.
Find a partner and compare your ideas. Do you agree?
Imagine you are making a film based on Silverfin. Create a
storyboard of six images that show the most important parts of the
story. Choose your images carefully – which ones would help to
create a feeling of suspense?
Key word
storyboard: a
series of drawings
or images
showing the
planned order of
images in frames
(in films and
television)
25
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1 Adventure
Reading tip
To create excitement in suspense stories, writers often use verbs
that suggest movement and power. In the first paragraph of
Silverfin, there are lots of ‘action’ verbs, including struggled,
gripping and slid. These powerful verbs create excitement in the
story, helping the reader imagine the movement and danger that
the character is experiencing. Verbs build intensity, so choosing
a powerful verb like struggled is often more effective in creating
excitement than the choice of adjective.
When exploring
the effect of
sentence types,
remember to
think about the
specific effect
they create. For
example, short
sentences do not
always create
excitement;
sometimes they
are used to
convey anger or
even humour.
PL
E
Language focus
Look again at the extract from Silverfin. Write a paragraph
explaining how the writer uses powerful verbs to create excitement.
Find your own examples and comment on their effect.
4
Writers use many techniques to create excitement. For example,
they may use short sentences at the moment of greatest drama,
or they might use a single sentence paragraph. Look at the short
sentences in the last 13 lines of the extract (from He stopped).
In pairs, discuss which is the most exciting short sentence and
why. Make a note of your opinions.
SA
M
3
5
Writers can use punctuation to create effects. In the extract,
ellipsis is used at moments of drama. For example, in paragraph 5,
the narrator states:
The castle was six feet away, five . . . four . . . The branch was swaying
alarmingly.
Here the ellipsis emphasises the tension, as if the character and the
reader are holding their breath as the main character edges along
the branch.
Key words
humour: when
things are funny,
or things that are
funny
ellipsis: a set of
three dots ( . . . )
used to indicate
that words have
been left out
Find one other example of ellipsis from the extract and write a
sentence explaining its effect.
6
Look again at the extract from Silverfin. Write a paragraph explaining
how the writer creates suspense through his choice of language,
punctuation and sentence types. You should comment on:
•
powerful verbs
•
short sentences
•
ellipsis
•
any other aspects of language that help to create suspense.
26
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1.6 Creating suspense
7
Using your knowledge of the way the text has been written, read
the extract aloud to a partner. As you read, focus on expressing the
excitement. Work out:
which words and phrases you will emphasise
•
how loud or soft your voice will be at various points
•
how long you will pause when ellipsis is used
•
when you will slow down or speed up your reading to
create excitement.
When performing
a story aloud,
always plan
how you will
emphasise
certain words.
When actors
perform scripts,
they spend time
considering how
they will speak
certain phrases
and where they
will pause. Use
a pencil to make
notes on the story
to help you plan.
PL
E
•
Speaking tip
Summary checklist
I can comment on the features of suspense stories.
I can describe the effects of language and grammatical choices.
I can read a story aloud with expression.
SA
M
1.6 Creating suspense
In this session, you will:
•
use planning techniques for a piece of narrative writing
•
explore what makes a successful opening to a story
•
write and edit a narrative text.
Key word
script: the words
in a play, film, etc.
Getting started
Remind yourself of the typical events of adventure stories from
Sessions 1.1 and 1.2. Which events in this type of story are used
to build suspense?
1
You are going to plan part of a story that contains suspense.
Make notes on the following questions:
•
Who will your main character be?
•
Where is the story set?
•
What are they trying to do or achieve in the story?
•
What dangers do they face?
27
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1 Adventure
If you are finding it difficult to start, think about these situations:
•
a character who is rowing across a wide river when a
storm happens
•
a character who is trying to escape from his kidnappers.
2
PL
E
Or use the picture below to help you.
The opening sentences of a story are very important. They must
provide the reader with information – either character, setting or
situation. They must also show an element of mystery, danger or
humour to engage the reader’s interest. Compare these two story
openings. In pairs, discuss why the second opening is more effective
than the first.
A I was walking along a cliff at night. It was very dark and I thought that I might fall off.
B Absolute darkness. I’d never been this scared before. Slowly, I edged along the cliff.
Think carefully about your story opening. How can you capture
your reader’s attention straight away? Write some opening
sentences and show them to a partner. Share your opinions.
4
Write the story that you have planned. You do not have to write
the complete story – you could stop at a dramatic moment like
Silverfin. Remember to:
SA
M
3
•
build suspense as the story develops
•
try to make your reader feel concerned about your character
•
use appropriate punctuation, such as ellipses
•
use known spelling patterns to spell words correctly
•
use language precisely to show your ideas
•
use paragraphs and give your story an appropriate title
•
make sure your handwriting is clear and neat.
28
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1.6 Creating suspense
Here is a sample answer to this task:
PL
E
I stood on the cliff face and looked down at the furious,
boiling waters – I’d dreamt of this moment. The air. The
sea. The fre edom. My dreams of liberty and closeness to
nature had led me here. Further along this cliff face was a
place of wonder: it was a cave rumoured to contain strange,
beautiful creatures that only a few humans had se en. But
to get to the cave, I would ne ed to leap into the ocean,
then climb up to the cave. This was no easy thing. People
had died attempting such a feat – it was madness.
All my life I had avoided danger. But sometimes, life has a
strange way of opening your eyes. The ocean looked angry; the
ocean was certain death.
SA
M
The air is so fresh here. There is a comfort in the hypnotic
noise of the seabirds, calling you into possible destruction. I
breathed deeply, controlling my fear, reminding myself of the
reason I was here. Even with my eyes shut, I could see the
vivid colours of sea and sky. The sea was beautiful.
This will be a symbolic fall. I may not make it.
Beneath my feet, I felt the grainy reassurance
of the rocks. Was the wind on my side? Or was
it the enemy? On the horizon, a cruise ship
moved slowly. The waters swirled invitingly.
An unseen force propelled me towards the
water . . . I didn’t want this any more but
found myself falling.
For seconds, I was a bird.
Beneath me, the ocean beckoned.
This was it.
29
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1 Adventure
5
Discuss the sample answer in pairs.
What do you think is good about it?
b
What ideas or techniques could you use in your own story?
c
Look how punctuation devices such as the dash, ellipsis,
colon and semi-colon have been used. How do they help
with meaning?
Now discuss the voice of the text. What sort of personality does
the narrator have? Make a list of phrases the writer uses to convey
the narrator’s personality.
Peer assessment
Ask a friend to read your story aloud. Listen carefully to how
it sounds. Which bits do you both think are the best?
Which bits need redrafting?
•
Use a highlighter to identify paragraphs you want to improve.
Help each other with ideas and phrases. Remember to spellcheck your work.
SA
M
•
•
Redrafting your
work can be timeconsuming, but it
is essential. When
you redraft, start
by considering
structure. Is the
order right or
does it need
rearranging?
Do some parts
need more
explanation?
Then turn your
attention to the
detail, such as
word choices,
ensuring you have
used strategies
you know to spell
words correctly.
PL
E
6
a
Writing tip
Look at the effectiveness and range of punctuation you have
used. Can you use some of these when you redraft your work?
Once you have finished your story, read it back to yourself.
•
How well do you think you planned your story?
•
If you did this activity again, what would you change about the planning process?
•
What advice would you give to someone who wants to write a suspense story?
Summary checklist
I can plan a piece of narrative writing.
I can identify what makes a successful opening to a story.
I can write a narrative piece and edit my work to improve it.
30
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Check your progress
Answer the following questions to check what you have learnt in this unit.
What are the key features of adventure stories? Give some examples of events that
happen in adventure stories.
2
What type of characters do you find in adventure stories? What happens to them?
3
List three ways you can keep an audience interested when relating an anecdote.
4
Using examples, explain what alliteration and sibilance are.
5
List three ways of creating suspense in a story.
6
Explain what you have learnt about planning, writing and redrafting your writing.
Write a list of tips for future students about improving writing.
Project
PL
E
1
SA
M
In groups, you are going to design and present some ideas for a specific
type of adventure story: the superhero story. Superhero stories are about
characters who have extraordinary powers. They are often normal
people who secretly change into superheroes in order to help people
in need. Using the information in this unit as well as extra research:
•
devise a new superhero
•
write a brief character profile
•
decide details about the world they live in – is it
recognisable as your own world, or is it a different type of place?
•
describe a costume they might wear
•
draw the bad characters that the superhero will encounter
•
plan some storylines.
Present your ideas as a group. You could use pictures and
artwork to explain your ideas.
Start by:
•
noting down the names of any superhero books, comics
and films you know
•
discussing some initial ideas with your group
•
working out who will do what in your group
•
planning ways to present your work.
31
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