ENGLISH DEPARTMENT
MEDIUM TERM PLAN
YEAR 9
Dramatic Dickens - The Outsiders
Aims:
 This scheme is designed to engage Year 9 students with the dramatic conventions of scriptwriting. It
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draws on literary heritage (Dickens) as a means of introducing a universal theme of 'The Outsider'
and tracks this through prose, poetry and drama.
The scheme presents opportunities for students to read, discuss and annotate texts, focusing on
language choices and effects - a key skill at Key Stage 3, 4 and 5.
It provides an opportunity for students to engage in focused drama work, which enhances their
understanding of texts and themes, and also encourages them to evaluate their own work.
Duration: 7 weeks
Resources:
Copies of 'A Christmas Carol' - Heinemann Plays
Copies of Miss Havisham prose description
Copies of Martin Chuzzlewit prose description
Copies of 'Disabled' poem
Copies of 'The Choosing' poem
Copies of 'My Parents kept me from Children who were rough' poem
Copies of 'Presents from My Aunts in Pakistan' poem
Copies of extract from 'Stone Cold'
Copies of non- fiction newspaper extract - Homelessness
TV and Video
Storyboard grids
A4 whiteboards
Key Outcomes:
 Adaptation of prose description into script (storyboard for weaker students)
 Drama 'scenes' using 'director's voice' to explain choices.
 Optional - Creative writing (script, poem or prose) with evaluation - entitled 'The Outsider.'
Most students will: undertake some research into Dickens' life and read the play 'A Christmas Carol'
both as shared text and within groups. They will use their knowledge and understanding of dramatic
conventions to turn a piece of prose into a script as well as performing and writing creatively on the theme
of 'The Outsider.'
Some student will not have progressed so far and will: read and enjoy the play and engage with most of
the extracts and related drama activities. They will complete the writing tasks with the support of
support frameworks.
Some students will have progressed further and will: respond to the play, prose extracts and poems as
pieces of well-crafted writing and then attempt to replicate these in their own work, particularly in their
adaptation from prose to script and their writing on the 'Outsiders' theme. Evaluations of their own work
will demonstrate security with the differences between text genres and understanding of language
choices.
KEY TEACHING AND LEARNING OBJECTIVES
Pupils should be taught to:
TEXT LEVEL – READING
Research and study skills
 Synthesise information from a range of sources, shaping material to meet the reader's needs;
(R2)
Reading for meaning
 Comment on the authorial perspectives offered in texts on individuals, community and society in texts
from different cultures; (R6)
Study of literary texts:
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Compare the themes and styles of two or more poets; (R17)
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Analyse the language, form and dramatic impact of scenes and plays by published dramatists; (R14)
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Extend their understanding of literary heritage by relating major writers to their historical context,
and explaining their appeal over time; (R15)
TEXT LEVEL – WRITING
Plan, draft and present
 Review their ability to write for a range of purposes and audiences, recognising strengths and
identifying skills for further development; (Wr1)
TEXT LEVEL – SPEAKING AND LISTENING
Drama:
 Use a range of drama techniques, including work in role, to explore issues, ideas and meanings e.g. by
playing out hypotheses, by changing perspectives; (S/L12)
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Convey action, character, atmosphere and tension when scripting and performing plays; (S/L 14)
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Write critical evaluations of performances they have seen or in which they have participated,
identifying the contributions of the writer, director and actors. (S/L 15)
SENTENCE LEVEL
Sentence construction and punctuation
 Use the full range of punctuation to clarify and emphasise meaning for a reader; (S2)
WORD LEVEL
Vocabulary
 Recognise layers of meaning in the writer’s choice of words, e.g. connotation, implied meaning,
different types or multiple meanings; (Wd7)
 Know and use the terms that are useful for analysing language, e.g. type of phrase or clause,
conditional verb; (Wd6)
POSSIBLE TEACHING SEQUENCE
Week 1: ‘BACKGROUND TO DICKENS’
Objectives:
Research and study skills
 Synthesise information from a range of sources, shaping material to meet the reader's needs;
(R2)
Study of literary texts:
 Extend their understanding of literary heritage by relating major writers to their historical context,
and explaining their appeal over time; (R15)
COVERAGE (Resources)
Library
Copies of extract from Oliver Twist /Teacher copy of extract from Oliver Twist on OHT
Copies of Martin Chuzzlewit prose description / Teacher copy of extract from Martin Chuzzlewit on OHT
(Optional) Extract showing Pip's meeting with convict in graveyard
Video of Oliver/Pip's meeting with the convict in Great Expectations.
Teacher OHT copy of 'Who wants to be a Dickensiannaire?'
FOCUS
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Starter: Introduce the scheme of work. Quickfire brainstorm on what students already know about
Dickens. Feedback. How many novels/stories can they list as a class?
Introduce extract from Oliver Twist. What do students already know of story? Take feedback.
Establish context for the scene when Oliver asks for more.
Shared reading of extract from Oliver. What kind of characters and setting are we introduced to?
Text mark as class to show key description (suggest that these are be a common feature of Dickens
work.) Students can do this on own copy and then feedback to whole class.
If available, look at video clip from film. What different words would they use to describe this
scene?
Plenary: From what they know, and have learnt from looking closely at passage from Oliver Twist,
write a quick description of the type of novels/stories they think Dickens would write. Share.
Starter: Give students name of characters from Martin Chuzzlewit extracts and ask them to note
down characteristics. Feedback.
Shared reading of descriptions as class and discussion and analysis of characteristics. Lead students
towards idea of caricatures (and explain)
Optional - look at extract when Pip meets convict in graveyard from Great Expectations.
Refine ideas of the kinds of stories and characters Dickens writes about.
Introduce research task on 'background to Dickens.' What can we find out about him, his family, his
life, his work and the key concerns of the times in which he was living?
Plenary: from what they already know, students to write an epitaph to go on Dickens's gravestone.
Intro to research into Dickens - re- establish key areas to look at - his family, his life, his work and
the key concerns of the times in which he was living, key themes that are still relevant today…
Students research and make notes on key areas. These could be simple notes or written up as Who's
who entry or option of doing mock up 'This is Your Life Dickens.'
Plenary: Who wants to be a Dickensiannaire? All students play game and then are given answers.
OUTCOMES
 Research findings on Dickens (through notes/grid/Who's who entry/'This is your life Mr Dickens.')
Week 2: 'A CHRISTMAS CAROL' (PLAY)
Objectives:
Study of literary texts:
 Analyse the language, form and dramatic impact of scenes and plays by published dramatists; (R14)
 Extend their understanding of literary heritage by relating major writers to their historical context,
and explaining their appeal over time; (R15)
Vocabulary
 Recognise layers of meaning in the writer’s choice of words, e.g. connotation, implied meaning,
different types or multiple meanings; (Wd7)
COVERAGE (Resources)
Copies of 'A Christmas Carol' - Heinemann Plays
Video extracts showing character of Scrooge or film adaptation in 'Scrooged' /animated versions
FOCUS
 Starter: Word association game - what do they think of when someone is referred to as a 'Scrooge'?
What other words might they use? Feedback.
 Into to play 'A Christmas Carol.' What do they know of story? What are they expecting from play
version? How might this be different from story version?
 Begin reading play. (Act 1 scene 1.) Discuss stage directions and how they highlight
sound/lighting/actions of characters and stage directions.
 Discuss role of narrator. Why is this here? Focus on extended speech on page 3 extending the
invitation into the play and also on page 5. As they read, what else does the narrator do apart from
simply add more detail to the storyline (Steer students towards idea of commenting on behaviour and
actions. Look for examples.)
 Plenary: Which other characters from play so far do they think are going to be significant in the
development of the story? Feedback with reasons.
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Starter: 'Just a minute' on subject of - A Christmas Carol - students to aim to speak for whole
minute without hesitation or reservation or repetition.
Continue reading play - Act 1 scenes 2 and 3. Look particularly at role of Jacob Marley and mixture of
stage directions and speech in scene 2 and how stage directions convey emotions in scene 3.
Optional - show video of similar scenes from film 'Scrooged' and note emotions of 'Scrooge
character.'
Plenary: Create 'tension chart for scene 3 showing the highs and lows of Scrooge's emotions as the
Ghost of Christmas past takes him on this 'journey.'
Starter: Recap play so far characters and themes.
Continue reading play - Act 1 scene 4 - Discuss lyrics of Carollers . Look at why the playwright has
decided to establish when the interval should be rather than letting Drama groups choose. Why is
this a good break point?
If we didn’t know how play progressed, what would we say are the key messages up to the interval
point. Link this back to what we know of Dickens' life. Why do we think he writes about such mean
people?
Pairs - students to come up with mini speech of why 'A Christmas Carol' should be a top contender for
the Big Read competition.
Plenary: Speeches and voting deliveries with most impact/detail.
OUTCOMES
 Speech to support 'A Christmas Carol' being a contender for the Big Read competition.
Week 3: 'SUPER SCRIPTING' (DICKENS - PROSE TO PLAY)
Objectives:
Study of literary texts:
 Analyse the language, form and dramatic impact of scenes and plays by published dramatists; (R14)
Drama:
 Convey action, character, atmosphere and tension when scripting and performing plays; (S/L 14)
Sentence construction and punctuation
 Use the full range of punctuation to clarify and emphasise meaning for a reader; (S2)
COVERAGE (Resources)
Copies of 'A Christmas Carol' - Heinemann Plays
Copies of Miss Havisham prose description
Video clip of Pip's first meeting with Miss Havisham
Storyboard grids
FOCUS
 Starter: Recap play so far. What state of mind is Scrooge in at this point in play? Feedback ideas.
 Continue reading play Act 2 scene 2 - Act 2 scene 4. Look at images Scrooge is confronted with.
Discuss importance of characters Ignorance and Need.
 Plenary: Scrooge's emotions chart for scenes read.
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Starter: Read stage directions at beginning of Act 2 scene 5. (on OHT) What mood is conveyed
through these directions? How might Scrooge been seen on stage at this point?
Read Act 2 scene 5. Look at how Scrooge responds to the visions he is presented with. How might the
spirit be presented on stage? How is the Ghost of Christmas Future different from the other spirits?
What difficulties would a director have in staging this scene?
Read Act 2 scene 6 and 7. Focus on mood of Scrooge and therefore of play as a whole. What
different staging techniques might a director use to emphasise this shift in mood? What role do
narrator and carollers play in this final scene? What might the final stage look like before the
curtain comes down
Plenary: Note down key staging devices/techniques for creating mood and atmosphere. Feedback.
Introduce task - converting another scene from Dickens into script format using the staging
techniques learnt so far.
Shared reading of extract from Great Expectations showing where Pip meets Miss Havisham for the
first time. Discuss and annotate showing key descriptions of Miss Havisham.
Students adapt prose description of Miss Havisham into script for stage or film. (Storyboard for
weaker students)
Plenary: Students share script with partner and offer targets for development.
OUTCOMES
 Adaptation of prose description into script (storyboard for weaker students)
Week 4: 'THE OUTSIDERS' (FOCUS ON POETRY)
Objectives:
Reading for meaning
 Comment on the authorial perspectives offered in texts on individuals, community and society in texts
from different cultures; (R6)
Study of literary texts:
 Compare the themes and styles of two or more poets; (R17)
Vocabulary
 Recognise layers of meaning in the writer’s choice of words, e.g. connotation, implied meaning,
different types or multiple meanings; (Wd7)
COVERAGE (Resources)
Copies of
Copies of
Copies of
Copies of
'Disabled' poem
'The Choosing' poem
'My Parents kept me from Children who were rough' poem
'Presents from My Aunts in Pakistan' poem
FOCUS
 Starter: Past, Present, Future - what key points did we discover about Scrooge's Past, Present and
Future? How were his 'future' visions different from the others?
 Introduce idea that our pasts affect our presents and futures.
 Read 'My Parents kept me from Children who were rough' poem. What do we learn about poet, events
in his life that have made a difference to the person he is now? What key words and phrases convey
emotions of poet both then and now? Shared annotation of poem as class.
 Predict what this poet's future might be.
 Plenary: Write dictionary definitions for 'Ghosts of the Past' and 'Ghosts of the Future.' Share.
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Starter: Brainstorm traditions that have an impact on our lives?
Introduce idea of family backgrounds and cultures having an impact on our lives e.g. traditions.
Shared reading of 'Presents from My Aunts in Pakistan' poem. Discussion and shared annotation of
poem and how she is reminded of 'another life.' Look at emotions conveyed in poem. In what ways
does she feel an outsider?
Write a year's horoscope prediction for the girl in the poem, looking at key important events in the
year to come.
Plenary: Share horoscopes. Which one is most favourable? Which ones show her as an outsider still?
Starter: Put words 'disabled' and 'choosing' on board. Tell students these are the titles of 2 poems predict what content of poems might be.
Shared reading of 'Disabled/The Choosing.' Discuss what we learn about key people in both poems. In
what ways are they outsiders?
Discuss how the man in Disabled might have got to this point. What might his past have been?
Discuss how the future of the woman in 'The Choosing' might turn out.
Collate ideas for a storyline that shows a prequel/sequel to either poem.
Plenary: Feedback ideas on storylines to partner and advise.
OUTCOMES
 Collation of 'writer's ideas bank' for prequel/sequel of chosen poem
Week 5: 'THE OUTSIDERS' (IN FICTION / NON FICTION)
Objectives:
Plan, draft and present
 Review their ability to write for a range of purposes and audiences, recognising strengths and
identifying skills for further development; (Wr1)
Sentence construction and punctuation
 Use the full range of punctuation to clarify and emphasise meaning for a reader; (S2)
Vocabulary
 Recognise layers of meaning in the writer’s choice of words, e.g. connotation, implied meaning,
different types or multiple meanings; (Wd7)
 know and use the terms that are useful for analysing language, e.g. type of phrase or clause,
conditional verb; (Wd6)
COVERAGE (Resources)
Extract from 'Stone Cold'
Non- fiction newspaper extract - Homelessness
FOCUS
 Starter: What images do we think of when we think of 'homelessness'? What different
charities/support agencies can they think of that deal with this? Feedback.
 Introduce narrative text from Stone Cold. Read and discuss what we learn of central character and
how theme of homelessness is presented.
 Pairs devise brief 'blurb' for the extract convincing people to read the whole text. Focus on themes
and target audience.
 Plenary: Share blurbs.
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Starter: Half class produces 5 bullet points in favour more government funds to protect and support
homeless, half class -5 bullet points against the idea.
Put for/against table on OHP and give pupils an A3 copy to fill in. Model how to match argument with
counter-argument.
Students fill in the table in pairs.
Read Newspaper extract on homelessness. How many of the points on their grids are represented in
article. Annotate article to show points and emotive language used.
Plenary: On whiteboards write a new Headline showing homelessness as key concern for towns and
cities.
Starter: Brainstorm different ways 'points of view' are shared in media. Feedback
Introduce idea of editorial (use topical example from Daily Mail/mirror/The Sun) Look at Language of
editorials and structure.
Model opening of editorial on homelessness.
Students plan and then write own editorial on homelessness in today's society.
Plenary – swap editorials with partner and note down 3 most successful features and suggest 1 target
for improvement.
OUTCOMES
 Editorial on homelessness and Britain's attitude towards it.
Week 6: 'DIRECTING DRAMA'
Objectives:
Drama:
 Use a range of drama techniques, including work in role, to explore issues, ideas and meanings e.g. by
playing out hypotheses, by changing perspectives; (S/L12)
 Convey action, character, atmosphere and tension when scripting and performing plays; (S/L 14)
 Write critical evaluations of performances they have seen or in which they have participated;
identifying the contributions of the writer, director and actors. (S/L 15)
COVERAGE (Resources)
Copies of 'Disabled' poem
Copies of 'The Choosing' poem
FOCUS
 ’Starter: Recap previous knowledge/work on 'Disabled' /'The Choosing'.
 Re-read poems and look at ideas bank created before.
 Introduce idea of tableaux and image captured.
 Groups formed and form tableaux of key points of poem.
 Show to group and explain what tableaux is representing.
 Plenary: If they could add lighting effects or sound effects to their tableaux, what would they be and
why?
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Starter: Recreate tableaux in groups - now other groups to explain key image and impact on audience.
Groups formed and discuss prequel/sequel ideas. Groups to plan, script and deliver 2 key scenes that
happen before the tableaux of after. A tableau has to be part of final presentation.
Groups also to appoint director who will explain choices they have made, and staging decisions and how
the scenes will have an impact on the audience.
Preparations and rehearsals.
Plenary: Define role of director/actors in prep for next lesson.
Group presentations of prequel/sequel with tableaux and director's voice.
Groups to comment on strengths and areas for development.
Students to write own evaluation of what they did, how they went about it, successes and key
personal areas for development.
OUTCOMES
 Drama 'scenes' showing tableaux of present and then action showing how past event have led to this
'present.'
 Students to use 'director's voice' to explain choices made.
 Evaluation of drama work identifying contributions, successes and areas for development.
Week 7: 'THE OUTSIDER' - CAPTURING THE IDEAS
Objectives:
Plan, draft and present
 Review their ability to write for a range of purposes and audiences, recognising strengths and
identifying skills for further development; (Wr1)
Sentence construction and punctuation
 Use the full range of punctuation to clarify and emphasise meaning for a reader; (S2)
COVERAGE (Resources)
A4 whiteboards
FOCUS
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Teachers to introduce task - creative writing 'The Outsider' script/poem, prose with evaluation of
key strengths and areas for development
Present to class with support necessary for individual groups.
Some groups may benefit from very structured brainstorm planning and feedback time, whilst other
groups will benefit from some uninterrupted sustained writing time.
Writing of 'The Outsider'
Sharing of good examples.
OUTCOMES
 Optional - Creative writing (script, poem or prose) entitled 'The Outsider.'
 Evaluation of own script, poem, prose identifying key strengths e.g. style, choice of language,
structure (could be through annotation) and targets for development.