Thurrock Primary Team
RAISING STANDARDS IN
WRITING
KS1 & KS2
PIE CORBETT
14th October 2008
The Culver Centre
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Storymaking
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‘Narrative is a primary act of mind’, Barbara Hardy.
Reading/telling helps us to internalise language.
We learn language primarily through hearing and saying.
Hear it – say it – see it –read it –explore it – write it….
Key stories that act as - blueprints for the imagination – you cannot
imagine or create out of nothing.
 ‘The same images, with very little variation, have served all the
authors who have ever written’, Samuel Johnson.
 Releasing cognitive space – making writing easy - finding our story
within the universal story.
The ability to tell a story arises out of building up and drawing upon a
bank of well-known tales. The best writers in a class are always avid
readers – drawing upon the narrative storehouse. Strugglers may have
not yet built up that storehouse so they are unfamiliar with the language
patterns…. It is not to do with ideas of being ‘unimaginative’ or
‘unintelligent’. There are four basic levels of patterning that children
need: - the ‘schema’ or template of a story – the story frame; the narrative
building blocks of character, action, setting; the flow of the sentences –
syntax; words – especially connectives.
The Storymaking Process
IMITATION – familiarisation.
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Getting to know the story through – storytelling or rereading.
MAKING IT MEMORABLE = Draw it + Drama, etc.
Spelling, sentence and paragraph work.
The Writer’s Toolkit.
INNOVATION – re-using a well-known text.
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Substitution.
Addition.
Alteration.
Change of viewpoint.
Using the basic story pattern
INVENTION – making up a text.
 Building up a story – drawing, drama, images, video, first-hand
experience, location, quality reading, etc.
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Learning the story.
The first thing is to teach the class the story.
a. Communal Stories.
With a simple, repetitive story that can be learned communally
(e.g. ‘Little Red Hen’), the tale can be chanted as a class
together with the children increasingly joining in as the tale
becomes familiar.
Session 1 - You tell the story and draw a large class story map –
children copy the map.
Session 2 onwards - The class keep retelling the story with the
children gradually joining in more and more and the teacher
withdrawing from telling.
 Children retell in circles – circles perform for the class.
 Children retell in pairs – pairs retell to other pairs.
Once the story is well-known, tell it to another class who
doesn’t know it, one to one or two to two or group to group or
whole class.
b. More confident storytellers.
Once the children become reasonably confident, then they can
move on to stories that rely less on repetitive patterns. If
children have sufficient linguistic ability they can listen to a
story, draw a map, pace the story steps and move straight into
retelling a version. In this case, they are not learning the story
word for word.
1. Tell a new story to the class – take reactions and responses –
likes, dislikes, puzzles and patterns.
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2. Explain that you are going to retell the same story but will not
necessarily use exactly the same words but it will be basically
the same tale.
3. On your second retelling, ask the children to sketch a story
map that shows the main pattern of events. Explain that they
should not try and get in all the details – just the key events.
4. Try ‘walking the key steps’ of the story or boxing it up into its
main scenes. Do this as a class or set as a further task for the
children.
5. In pairs, they now use their maps to retell the story. They
could try this by taking turns to tell the next bit. Explain how
they may have to ‘resay’ sentences and ‘go over’ bits of the
story as they try to sort out the wording and gain fluency.
6. They should then retell it again, trying to become more fluent.
It is worth moving partners around so that you form new pairs.
They need to retell the story not once, not twice but at least 3
times to begin to gain fluency – less experienced may well need
to retell 6 times or more.
7. Have pairs retell to the class from the storyteller’s chair – take
feedback to evaluate – what works well?
8. Try story circles with each child saying a sentence or chunk
and passing the tale round the circle.
9. Eventually, tell it to another class which doesn’t know it, one
to one or two to two.
As children become more experienced, they should be able to
select a short story for themselves from a selection of written
down tales, create a map or board, pare it down to the bare
bones and work in pairs to develop and refine their own
retelling.
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c. Improving the telling of stories
Once the children have worked in a pair and reached the point
where they can retell a version in a reasonably confident and
fluent manner, then they are ready to work on their performance
skills. They can perform to a partner, in a three or four, small
group and ultimately to the class or another class. Remember
that anyone who tells needs to be praised and clapped. Simple
pointers include:
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Most importantly, can the story be heard?
Are the words spoken clearly?
Is the volume varied in relation to the meaning?
Are dramatic pauses used at the right moment?
Have any key words been emphasized?
Are the words spoken with expression?
Does the teller use facial, hand gestures or body
movements to reinforce meaning?
 Does any movement detract from the telling?
 Does the teller scan the audience, drawing everyone into
the tale?
Use a Dictaphone or digital camera to capture retellings so that
children can listen to or see themselves – in order to help them
refine and improve their storytelling.
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d. Working on the wording of a story
When the children know the basic story and can retell it fluently
then they are able to develop the actual wording. Be careful that
they do not embellish a story so much that it becomes too wordy
and the narrative is lost.
A simple ‘story grid’ or flow chart can be drawn to provide a
visual overview of each ‘scene’ or main event. Use this to focus
on:
 Description – people, places, objects, creatures.
 Characterisation and dialogue
 Suspense and action
 Crafting the opening and ending
Don’t work on everything at once – just select a focus. Model
ideas, to influence the class version of a story. Then ask children
to work in pairs or individually. Some key points might include:
Characterisation.
 Name
 A few descriptive details
 How is the character feeling
 Show this through what they say or do.
 Change character across the story
Dialogue.
 Think about how they feel
 Use powerful speech verbs
 Use said + adverb
 Insert stage direction to show what a character is doing
when speaking
 Use only a few exchanges
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Description – people, places, objects.
 Use well-chosen adjectives
 Use similes/metaphor
 Use senses and detail
 Show things through the character’s eyes, e.g. she stared
at….
 Describe key objects
 Describe settings to create atmosphere
 Describe the weather and time of day
Openings.
 Character – Bill stared at the burger in disgust.
 Setting – A fly crawled up the window pane.
 Action – Jo ran.
 Talk – ‘Put that down!’
 Use a ‘hook’ – Usually, John enjoyed walking to school
but…
Endings.
 Show character’s feelings – Bill grinned.
 Comment on what has been learned – They knew it had
been stupid….
Action and suspense.
* Balance short and long sentences.
* Use questions to draw reader in.
* Use exclamations for impact.
* Use an ominous sound effect, e.g. something hissed.
* Show a glimpse of something, e.g. a hand appeared at the
door.
* Use dramatic connectives, e.g. at that moment….
* Use empty words, e.g. something, somebody, it.
* Use powerful verbs.
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Helping children internalise the story.
Learning the story is assisted if the children internalise the
pattern by using a multi-sensory approach. The following
activities also help the children deepen their understanding and
appreciation of a story. These activities can therefore be
threaded between sessions where children are retelling and
refining their version in pairs. This is a list of generic story
responses.
1. Visual Storyboard
This could be a large-scale representation of the story using
pictures and labels across a class wall or a small-scale cartoon.
Some stories lend themselves to using images or photos as well
as paintings or drawings.
2. Likes, dislikes, puzzles and patterns.
a. Make a list about the story of likes, dislikes, puzzles and
patterns – share and discuss.
b. Each pair to make a list of 5 questions they are curious
about. Later on, list these as a class and see if other pairs can
provide ideas or answers. Ask for ‘deep’ questions – ones to
which you cannot just answer ‘yes’ or ‘no’ but you could talk
about.
3. Poem.
a. Choose a favourite moment in a story. Write a short,
descriptive poem to capture the scene:
Silence.
Theseus stares into darkness,
Creeps forwards,
Each footfall a heartbeat
Of desperation.
Till red eyes flicker
Like fiery rubies ahead.
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b. Choose a moment in the story. Use a simple frame (I
heard…., I saw…, I touched…., I wondered….) to write a senses
poem in role as a character in the story, e.g.
I heard the distant rumble of the Minotaur’s hot breath.
I heard the dark hooves scraping the sandy floor.
I heard the heavy beat of my heart as it drew nearer.
I saw the sudden sharp flash of its red eyes glinting in the
darkness.
I saw the ragged hair and the flared nostrils.
I touched the cold walls for comfort.
I touched the thin string of Ariadne’s hope.
I wondered if my fear would turn into dust…
5 Riddles.
Choose an object from the story. Make up clues about it as a
riddle for others to guess, e.g.
I am curved like a crescent moon,
Like a giant’s finger nail
But twenty times more deadly.
I sit on the head
But hear nothing….
5. Exploring feelings.
a. Your own: choose story moments which made you feel
something (happy? sad? bored?) and explore why:
The flight made me feel sad because….
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b. Different characters: write in role as a selected character,
explaining how he/she/it felt at that moment in the story. Present
as a monologue:
I am weary because…
6. "What if" re-telling.
Think of a "what-if" moment in the story when events could be
different. Make notes or draw events and prepare to tell what
happens next in your new version. This works best if you can
give examples, e.g. Theseus drops the ball of string and cannot
find it in the darkness…
7. Dialogue.
Chose a favourite moment in the story and write some dialogue
for that moment, either as part of a play, as a duologue for a pair
to perform or as a piece of story writing. Discuss with the class
possible scenes.
8. Design.
Design and draw a building or machine from the story. Use
show boxes and card to make simple dioramas, showing a key
moment in the story.
9. Re-enact.
Improvise a re-enactment – or script a play version to perform
for another class.
10. Letter Writing.
In role as a character, write a letter to another character or a
member of your family or a friend, explaining what has
happened, how you feel and what might happen, e.g. imagine
you are the Minotaur in the labyrinth. Write a letter to your
Mum!
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11. Phone a Friend.
a. Choose a specific moment in the story. In role as a character,
phone a friend, another character or a member of your family,
explaining what has happened, how you feel and what might
happen, e.g. imagine you are Jack at the top of the Beanstalk
being chased by the giant – phone your Mum to warn her to
fetch the axe!
b. Phone an ‘agony aunt’ for advice.
12. Characters.
Draw pictures the characters as you imagine them. Describe
them in words by annotating an image.
13. Personal.
Does anything in the story remind you of something that
happened to you, e.g. a time of surprise, a time of fear, a time of
shame, a time of violence, a time of fun? Tell or write the
anecdote.
14. Dilemmas.
List the main dilemmas in the story on a story map or story
mountain. Explain what choices the character had and what you
would have done in their place, e.g. should Europa ride the bull;
should she marry the king; should Pasiphae tell anyone her
secret, etc.
15. Ethics.
List ethical issues in a story – the rights and wrongs of behaviou,
e.g. explore the role of Daedalus in the story. Was he right to
help the queen and build the labyrinth? Should he have said no?
Divide into two groups and prepare arguments on both sides for
a mini debate.
16. Cartoons.
Make story strip cartoons.
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17. Exploring feelings - anger.
List the moments when characters were angry. Map these onto a
storymountain/storymap, showing the peaks and troughs.
Discuss and list the causes. Discuss and list possible alternatives
to revenge!
18. Explore themes, e.g. loss.
List the moments of loss in the story and the different ways the
characters react.
19. Hot seating.
Prepare questions/answers for later on when the class put the
main characters in the ‘hot seat’.
20. Freeze frames.
As a group select a key moment in the story and prepare a
‘freeze frame’ to show the rest of the class.
21. Miming scenes.
Prepare to mime a scene from the story. Will the rest of the class
be able to guess which scene?
22. Meetings.
Prepare to hold a meeting, e.g. to discuss in role as local people
what is happening and how the monster might be overthrown.
23. Puppet theatre.
Prepare a script to use with finger puppets and a mini theatre.
24. Journalists.
Work as a pair – one child in role as a character from the story
and the other as a journalist – interview, take notes.
25. ‘News’ programmes.
Groups work in role as an outside broadcasting unit – TV or
radio – prepare a broadcast about a key scene.
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26. Gossip.
Between characters about events. These could be main
characters or bystanders. Use pretend mobile phones.
27. Statements to police.
In role as a character or witness from the story - a police officer
takes down details of what happened.
28. Drawing/Writing in role.
Drawing scenes or maps, create documents to accompany the
story, e.g. end of term report for a character, diary entry, letters
to another character, newspaper articles, official report or
letter, passes for the palace, etc.
29. Trials.
Prepare notes for a trial. The teacher will be in role as judge.
Children work as solicitors to defend or accuse, plus witnesses
and characters from the story – as well as bystanders. Who
deserves to be put on trial and what for? Which items from the
story museum might be used as evidence?
30. Role on the wall.
Someone lies down on sheets of paper – an outline is drawn now
add comments, quotes, to build a picture of the character.
33. Thoughts in the head.
Work in pairs – choose a place to stop in the story. In role – say
aloud what the different characters might be thinking – is it the
same as what they are saying….?
34. Story Boxes
Each child has a show box – objects, drawings, etc are placed
into the box to represent the story. Alternatively create a class
story museum to represent a story.
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35. Vary retellings.
Try retelling a story silently by miming. Retell as fast as you can
(Babblegabble). Retell in triangles chunk by chunk, taking turns.
Retell like tennis – back and forth. Pairs retell and the teacher
calls out instructions – speed up, slow down, word by word,
make it angry, make it sad, etc.
Making storytelling special.
Storyteller’s hat
Storyteller’s chair
Storyteller’s cloak
Magic Carpet
Story Music
Story lights
Story box or bag
Storytelling Castle
STRATEGIES FOR LEARNING THE STORIES
(for teachers).
1. Choose a story.
2. Adapt the story.
3. Decide on actions.
4. Draw a map.
5. Record it sentence by sentence with a space between
and practise.
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Innovation.
Substitutions.
This seems to be the simplest form of innovation. Many children find it
simple enough to alter basic names of characters, places and objects.
Once upon a time there was a little girl called Poppy who lived in a town.
Early one morning her Mother said to her, ‘take this basket of food to
your Granpa’s house.’ Into the basket she put – a loaf of bread, a shiny
apple, a ham sandwich and a bottle of fizzy lemonade.
Additions.
This may make a second simple enough stage. The child keeps the same
basic pattern and sentences. However, extra sentences are added in,
embellishing on the original. These might include:
 additions to words in a list;
 adding in more description, e.g.
Once upon a time there were 3 Billy Goats Gruff who lived beside a river.
Every day they stared over the river at the lush green grass that grew
there.
Early one morning, Baby Billy Goat Gruff woke up. It was a cold, misty
morning. He started to look for some grass but he could not find any…
 adding in more dialogue;
 adding in a new character, e.g.
Next, he walked and he walked and he walked till he came to the
butchers. There he met a rat, a fat rat.
“I’m hungry,” said the rat, “What have you got in your creel….
 adding in new incidents, e.g.
The butcher grew curious. He opened the bag and out shot the puppy! It
ran into the farmyard and was chased off by a little boy – whack, whack!
The boy chased the puppy and the puppy chased the cat and the cat
chased the rat down the lane and into the market place.
And at that moment back came Mr Fox.
“Where is my puppy….?”
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Alterations.
This might make a third stage. In this stage you make a change rather
than just an ‘addition’. An ‘alteration’ is a significant change that leads to
consequences, usually altering the story is some fashion. There might be
two levels of approach to retelling using 'alterations'.
a. The original plot is maintained, using many of the original sentences.
However, alterations are made within the plot. These might include –
 altering characters, e.g. so that a good character becomes greedy;
 altering settings, e.g. so that a character journeys through a housing
estate rather than a forest;
 altering the way the story opens or ends;
 altering events but sticking to the basic plot.
Inside she saw three bowls of what looked like some sort of stew.
‘I’m hungry’, thought Goldy, as she sat down at the table. She took just
one mouthful and that was enough. The stew must have had peppers or
chilli in it for it was so spicy that she almost spat it out! She noticed a
cookery book on the kitchen shelf – Mexican recipes!
b. The original plot is altered – so that the tale takes a new direction.
Many of the original sentences and connectives may be used but the
plot takes on a variation of the original. For instance - the plot begins
in the same way but one incident steers it in a new direction. (An
‘alteration’ uses both ‘imitation’ and ‘innovation’ – but some of the
tale will be an ‘invention’.)
Change of Viewpoint.
The story plot is used as a basis for a retelling but from a new viewpoint.
For instance – the 3 pigs is retold from the fox’s point of view or
rewritten as a newspaper item. This approach might involve:  retelling from a different character’s view;
 retelling in a different form (text type) – as a letter, diary entry, etc.
 retelling in a totally new setting, e.g. Skillywidden in a city;
 retelling in a different time, e.g. Mr Fox in modern times;
 retelling in a different genre, e.g. retelling a folk tale as a thriller.
Goldy froze. She had heard the door handle give the slightest squeak and
could see that it was steadily turning. Somebody was trying to get in! She
ducked under the table and kept quite still.
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Re-use the basic plot.
This involves unpicking the basic plot and recycling it in a new setting
with new characters and events – only the underlying pattern remains,
e.g. resetting Little Charlie as a quest involving hobbits or spaceships
searching for a new planet.
The quality of the children’s innovations is in direct relation to the
quality of the class innovation and shared writing.
INVENTION.
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Hold regular story inventing sessions. These should be:
oral
guided by the teacher
reusing familiar characters, settings and patterns
reusing connectives, sentence patterns
an opportunity for new ideas, drawing on a range of stories and life
Capturing the story
1. Story map
2. Story mountain
3. Story boxes
1. Start from the basic Story Ingredients.
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Who - Where - What
keep it simple;
use props;
start with a character, place or event;
use a trigger if stuck.
2. Ignite the writing.
 Use objects, images, drama, video, interesting experiences to
stimulate the imagination.
 Children should draw, decide and tell before writing.
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3. Use a basic story frame – teach and practise
planning.
1. Problem/resolution
2. Warning
3. Quest
4. Wishing
5. Lost/found
6. Defeating the monster
7. Little Miss Muffet, 3 Bears, Humpty
8. Cinderella
9. Magical – place, events, powers
10.Character flaw
11. Base a story on anecdotes.
12. Retell urban legends
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Reading as a writer.
Getting under the car bonnet of writing.
Read –
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as a writer;
problem-solve to see how texts are structured;
notice how effects are created;
texts act as blueprints;
texts act as powerful models.
Learn –
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discuss how the author created impact (authorial intent);
label the writing technique;
list it on a wall chart;
children write key examples in their writer’s journal for future
reference;
 collect more examples.
Apply –
 try it out on mini whiteboards;
 use in shared writing;
 children use the strategies in their own writing.
Box up:
- Humpty Dumpty – 4 boxes.
- Three bears – 5 boxes.
- Adventure at Sandy Cove - 5 boxes – story mountain.
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Adventure at Sandy Cove
“Hurry up,” shouted Joe as he climbed over the rocks. Carefully, Rahul
followed. The two boys stopped at a rock pool and began to search for
shells. “Hey, what’s this?” shouted Joe to Rahul. In the rock pool was a
small, black box wrapped in plastic. The boys tugged it loose. What was
inside? Joe pressed the silver catch and the lid popped open. The box was
full of sparkling jewels!
At that moment, a scruffy old man shouted at the boys. His wolflike dog barked menacingly. Joe snapped the lid down, picked up the box
and the two boys began to scramble over the rocks. They slipped and
struggled towards the cliffs.
“Quick! Let’s hide in here,” said Joe, rushing into a cave. It was
dark and damp inside and they could hear water dripping. They felt their
way further in and crouched behind a rock. Rahul’s heart pounded like a
drum. All at once, the scruffy man appeared at the cave mouth. He shone
a torch around. The light cast shadows on the cave wall. The children
ducked down and kept as still as stone, but the dog could sense them. It
padded closer and closer, growling menacingly. Rahul gripped Joe’s arm.
They could see its white teeth, smell its damp hair and feel its hot meaty
breath.
Suddenly there was a distant shout. ‘Here Dog!’ hissed the man,
roughly grabbing its collar. “Those boys have got away. Quick. After
them!” Joe and Rahul held their breath until they could hear the sound of
the man and his dog stumbling back across the rocks. They waited for a
long while before creeping out. Even though the beach was empty, the
boys ran home as fast as they could.
At first Mum didn’t believe them. It was only when Joe opened
the box that she decided to call the police. When the police arrived they
told Mum that the big house up the road had been burgled only the night
before. They had spent all day searching for a trace of the jewels. Their
only clue had been the footprints of a large dog. Joe shut his eyes. He
could imagine the headlines: ‘PRICELESS JEWELS FOUND BY
SCHOOLBOY DETECTIVES. And there was a reward too!
From Treetops ‘Storywriter’ CD Rom – Oxford University Press.
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Suspense paragraphs.
 The more examples the better.
 Collect other examples from reading.
 It is not just a grammar spotting game.
A door banged. Claire jumped. What was that? It wasn’t Mr
Jakes because she could hear him whistling at the other end of
the playground. Out of the silence, she heard steps. Somebody
was coming closer. Somebody or something was coming down
the corridor. Nearer. She stood still, so still that even the tables
and chairs froze with her. Carefully, she peered round the edge
of the door. A shadow slipped, quick as a knife, into the next
room. Claire clenched her fist around the pen, her heart racing.
Shaz blew on her hands to keep them warm. She stared
up the street and stamped her feet impatiently, hoping
that the bus would not be too long. Already the road
was getting darker and the shadows lengthening. Shaz
glanced at her watch – it was late! At that moment she
heard a noise from the behind the shelter. Something
was scratching, scraping on the back wall. Shaz froze.
Her mind raced. What could it be? Anxiously, she
peered up the street again, just in time to see a figure
running towards her….
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The Writing Journal.
‘I suspect many writers read books the way mechanics look at cars, with an eye
to what is going on under the bonnet.’
Paul Muldoon, The Sunday Times, 4 October 1998.
The journal acts as a storehouse of all the useful things that they have
been taught that might be referred to when writing – it is a writing
thesaurus. Divide the journal into sections for different types of writing.
Some of the information can be included as a reminder sheet written by
the teacher – but the children should also collect words, invent sentences
add further examples so that they have ownership. For each non-fiction
text type have;
 A model of the text type;
 Who might read this and why - purpose and audience;
 A writing toolkit showing:
- the basic structure;
- language features;
Toolkit
Example
‘How to’ title
Introduction
 use a question
 make it sound
worth doing
How to make a puppet.
Have you ever wanted to entertain your
friends? If so, read these instructions and
soon you will be able to put on a puppet show
for them.
You will need: a piece of felt, pins, marker
pens, large needles, coloured thread, ribbons,
buttons, wool and a pair of scissors.
What to do
1. Fold the felt in half.
2. Draw the shape of your puppet on the
felt.
3. Cut it out carefully.
4. Put in some pins to stop it moving.
5. Sew round the edges but leave the
bottom open for your hand
6. Draw on a face.
7. Decorate the body.
Now you are ready to perform for your
friends. Why not make a cast of characters
and write a play? Have fun!
What you need
 use :
 use , in a list
What you do
 in order
 bossy verbs
 short, clear
sentences
 numbers, alphabet
or bullet points
 diagrams if needed
Final comment
 Address reader –
‘you’
 ‘Wow’! point
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 use above grid as a checklist for to drive demonstration, shared and
independent writing plus - self evaluation
 Collect other ‘writerly’ tips or reminders, e.g. how to create
suspense.
 Sentence reminders – with examples.
 Useful word lists, e.g. connectives, bossy verbs, persuasive tactics,
etc.
There could be various ‘general reference sections’, e.g.
 Punctuation reminders
 The most common spellings I often get wrong
 Targets…
Stella’s Year 2 Writing Folders.
- story toolkits, e.g. Billy Goats Gruff
- adverbs/my adverbs
- openers
- extra openers
- fairy tale characters
- fairy tale settings
- fairy tale master toolkit
- my ambitious adjectives
- powerful verbs
- where – prepositions
- punctuation pyramid
- question words
- said toolkit
- useful openers y2
- useful openers y3/4
TARGETS.
 Look for these in reading – notice use and discuss effect.
 Show examples on literacy wall and in journals – practice on
white boards and write up for future use.
 Demonstrate when modelling writing.
 Focus children on using in shared writing;
 Expect in independent writing – be clear, read examples, pause
and check.
 Check for in self-evaluation, marking and editing.
 Writing certificates for progress.
23
Appendices.
Reception Story Making Language Bank
Model language in everyday class activities using emphasis and
actions.
Introduce
Once upon a time
Early one morning
And
Then
Next
Until/till
But
So
Finally
…..happily ever after
….. who …..
‘Run’ (he walked and he walked …..)
Description – a lean cat, a mean cat …..
Alliteration
Adverbs: Luckily/unfortunately
Prepositions: down, into, over, out, onto.
24
Year 1 Story Making Language Bank
Model language in everyday class activities using emphasis and
actions.
Consolidate
Once upon a time
Early one morning
And
Then
Next
Until/till
But
So
Finally
….. who …..
 ‘Run’ (he walked and he
walked …..)
 Description – a lean cat …..
 Alliteration
 Adverbs:
Luckily/unfortunately
 Prepositions: down, into,
over, out, onto
 …. happily ever after
Introduce
After/after that
One day
At that moment
Soon/ as soon as
Because
Suddenly
By the next morning
To his amazement
In the end
First
when Now
….. that …..
…. or ….
…. so that ….
….. when …..
….. where …..
Repetition for effect
Adjectives to describe
Simile – using ‘as’
Adverbs: Suddenly, immediately
Prepositions: Inside, towards
25
Year 2 Story Making Language Bank
Model language in everyday class activities using emphasis and
actions.
Consolidate
Once upon a time
Early one morning
To his amazement
Suddenly
One day
After/after that
And
So
First
By the next morning
Next
Then when
Now
Until/till
Soon/ as soon as
But
In the end
Because
Finally
At that moment
….. who …. .….. when …..
….. that …. .….. where …..
…. or ….
…. happily ever after
…. so that ….
 ‘Run’ (he walked and he walked
…..)
 Description – a lean cat …..
 Alliteration
 Simile – using ‘as’
 Adjectives to describe
 Adverbs: Luckily/unfortunately,
suddenly, immediately
 Prepositions: down, into, over, out,
onto, inside, towards
Introduce
After a while
A moment later
The next day
However
Meanwhile
When it was all over…
….. to …..
Repetition for effect
Adjectives to describe
Adverbs: eventually, unluckily
Prepositions
Simile using ‘like’
Sentence of 3 for description,
e.g. He wore a red cloak, shiny
shoes and a tall hat.
26
Year 3/4 Story Making Language Bank
Consolidate
Once upon a
time
One day
Early one
morning
First
Next
After/a while
Before
And
As
But
At that moment
Suddenly
Immediately
Although
However
So
Soon/as soon as
Then
….. until/till
While/meanwhile
In the end
Finally
Introduce
later
whenever
without warning
eventually
Consolidate
….. who …..
….. while …..
….. when …..
….. that …..
….. to …..
….. or …..






‘Run’ (he walked and he walked …..)
Description, eg a lean, grey cat
‘How’ starter, eg Slowly, …
‘Where’ starter, eg At the end of the lane …..
Alliteration and similes
sentence of 3 for description, e.g. He wore a red cloak, shiny shoes
and a tall hat.
Introduce
 ‘ing’ clause starter, eg Running along, Tim tripped over.
 drop in – ‘ing’ clause, eg Tim, running along, tripped over.
 drop in ‘who’ clause, eg Tim, who was late, tripped over.
 short sentences, questions, exclamations
 “” plus speech verb/adverb
27
Year 5/6/7 Story Making Language Bank
Consolidate
Introduce
Once upon a
time
One day
Early one
morning
First
Next
After/a
while
Before
But
At that
moment
Suddenly
Immediately
Without warning
Although
However
Later
So
As/Soon/as soon as
Then
….. until/till
While/meanwhile/When/whenever
Eventually/Finally/In the end
Elaborate,
eg Early
one frosty
morning
although
if
Consolidate
….. who ….. ….. while …..
….. when ….. ….. that …..
….. to …..….. or …..








‘Run’ (he walked and he walked …..)
Description, eg a lean, grey cat
‘How’ starter, eg Slowly,
‘Where’ starter, eg At the end of the lane …..
‘ing’ clause starter, eg Running along, Tim tripped over.
drop in – ‘ing’ clause, eg Tim, running along, tripped over.
drop in ‘who’ clause, eg Tim, who was late, tripped over.
short sentences, questions, exclamations, sentence of 3 for
description.
 “” plus speech verb/adverb
 Alliteration and similes
Introduce
* ‘ed’ clause starter, eg Exhausted, Tom ran home.
*drop in ‘ed’ clause, eg Tim, exhausted by so much effort, ran home.
*sentence of 3 for action, eg Tim ran home, sat down and drank his tea.
*speech plus stage direction ‘ing’ clause, “Stop,” he whispered, picking
up his tea.
*Personification
28
The Little Red Hen.
Once upon a time there was a little red hen who lived on a farm.
Early one morning she woke up and went outside. There she found some corn.
“Who will help me plant the corn?” said the little red hen.
“Not I,” said the bull.
“Not I,” said the cat.
“Not I,” said the rat.
“Oh very well, I’ll do it myself,” said the little red hen –
and so she did!
“Who will help me water the corn?” said the little red hen.
“Not I,” said the bull.
“Not I,” said the cat.
“Not I,” said the rat.
“Oh very well, I’ll do it myself,” said the little red hen –
and so she did!
“Who will help me cut the corn?” said the little red hen.
“Not I,” said the bull.
“Not I,” said the cat.
“Not I,” said the rat.
“Oh very well, I’ll do it myself,” said the little red hen –
and so she did!
“Who will help me carry the corn to the mill?” said the little red hen.
“Not I,” said the bull.
“Not I,” said the cat.
“Not I,” said the rat.
“Oh very well, I’ll do it myself,” said the little red hen –
and so she did!
“Who will help me grind the corn?” said the little red hen.
“Not I,” said the bull.
“Not I,” said the cat.
“Not I,” said the rat.
“Oh very well, I’ll do it myself,” said the little red hen –
and so she did!
“Who will help me knead the bread?” said the little red hen.
“Not I,” said the bull.
“Not I,” said the cat.
“Not I,” said the rat.
“Oh very well, I’ll do it myself,” said the little red hen –
and so she did!
“Who will help me bake the bread?” said the little red hen.
“Not I,” said the bull.
“Not I,” said the cat.
“Not I,” said the rat.
“Oh very well, I’ll do it myself,” said the little red hen –
and so she did!
“Who will help me eat the bread?” said the little red hen.
“I will,” said the bull.
“I will,” said the cat.
“I will,” said the rat.
“Oh no you won’t,” said the little red hen, “I’ll eat it myself and so she did!
29
Once upon a time there was a little boy called Charlie who lived on the
edge of a big city.
Early one morning he woke up and his Mumma said, “Take this bag of
goodies to your Grandma’s.” Into the bag she put – a slice of cheese, a
loaf of bread and a square of chocolate.
Next he walked, and he walked and he walked till he came to a bridge.
There he met a cat – a lean cat, a mean cat.
“I’m hungry,” said the cat. “What have you got in your bag?”
“I’ve got a slice of cheese, a loaf of bread – but he kept the chocolate
hidden!”
“I’ll have the cheese please,” said the cat. So Charlie gave the cheese to
the cat and it ate it all up.
Next he walked, and he walked and he walked till he came to a pond.
There he met a duck – a snowy white duck.
“I’m hungry,” said the duck. “What have you got in your bag?”
“I’ve got a loaf of bread – but he kept the chocolate hidden!”
“I’ll have the bread please,” said the cat. So Charlie gave the bread to the
duck and it ate it all up.
Next he walked, and he walked and he walked till he came to a tall town
clock – tick tock, tick tock, tick tock. There he met not one, not two but
three scruffy pigeons.
“We’re hungry,” said the pigeons. “What have you got in your bag?”
Unfortunately, there was only the chocolate – Luckily, Charlie found
some crumbs. So he scattered them on the ground and the pigeons ate
them all up.
Next he walked, and he walked and he walked till he came to a
crossroads. There he met a …. Nobody.
“Mmmm, I’m hungry ,” said Charlie. “What have I got in my bag?”
“Mmmmmm, chocolate!” So, he ate it all up!
Next he walked, and he walked and he walked till he came to Grandma’s
house. There he Grandma.
“I’m hungry ,” said the Grandma. “What have you got in your bag?”
Unfortunately, there was only the chocolate wrapper – Luckily,
grandma had pizza and chips for tea.
30
The Papaya that spoke.
Once upon a time there was farmer who lived in a village. One day he felt
hungry so he went out to pick a papaya. To his amazement, the papaya
spoke, “Hands off!”
The farmer looked at his dog. “Did you say that?” said the farmer.
“No,” said the dog, “it was the papaya!”
“Aaaaargh!” screamed the farmer. As fast as his legs could carry him, he
ran and he ran and he ran till he came to a market where he met a
fisherman selling fish.
“Why are you running so fast when the sun is shining so bright?” asked
the fisherman.
“First a papaya spoke to me and next my dog!” replied the farmer.
“That’s impossible,” said the fisherman.
“Oh no it isn’t,” said one of the fish.
“Aaaaargh!” screamed the farmer. As fast as his legs could carry him, he
ran and he ran and he ran till he came to a field where he met a shepherd
with his goats.
“Why are you running so fast when the sun is shining so bright?” asked
the shepherd.
“First a papaya spoke to me, next my dog and after that a fish!” replied
the farmer.
“That’s impossible,” said the fisherman.
“Oh no it isn’t,” bleated one of the goats.
“Aaaaargh!” screamed the farmer. As fast as his legs could carry him, he
ran and he ran and he ran till he came to the village where he met the
King sitting on his old wooden rocking chair.
“Why are you running so fast when the sun is shining so bright?” asked
the King.
“First a papaya spoke to me, next my dog, after that a fish and finally a
goat!”
“That’s impossible,” said the King. “Get out of here you foolish man.” So
the poor farmer walked home with his head hung down. The King rocked
back and forth, back and forth, back and forth. “How silly of him to
imagine that things could talk.” There was a long silence – and then
suddenly – the chair spoke! “Quite so – whoever heard of a talking
papaya?”
31
Monkey see – monkey do!
Once upon a time there was a hat seller. My, he had a hat for every
occasion - fancy hats for weddings and broad-brimmed hats to keep the
sun from your head.
One day he was travelling through the forest when his cart hit a stone in
the road.
Unfortunately, all the hats tipped onto the road. As soon as the monkeys
in the trees saw the hats, they swung down and picked them up them as
quick as a click.
First the hat seller yelled at the monkeys but all that the monkeys did was
to jabber back because - what a monkey sees, then a monkey does! That
made the hat seller really cross!
Next the hat seller shook his fist at the monkeys but all that the monkeys
did was to shake their fists back because - what a monkey sees, then a
monkey does! That made the hat seller even crosser!
After that the hat seller picked up a branch and threw it at the monkeys
but all that the monkeys did was to throw sticks back because - what a
monkey sees, then a monkey does! The hat seller realised that he would
never get his hats back!
Sadly, he rubbed his eyes and began to cry but all that the monkeys did
was to rub their eyes and cry because - what a monkey sees, then a
monkey does!
Eventually, The hat seller was so fed up that he threw his own hat onto
the ground and stamped on it!
Then he began to push his cart back towards the city - but as he
disappeared up the track, all that the monkeys did was to throw their hats
onto the ground because - what a monkey sees, then a monkey does!
Luckily, the hat seller looked behind him and to his amazement all his
hats were scattered back on the ground.
He looked up into the trees but there was not a monkey to be seen.
32
Adventure at Sandy Cove - possible process.
1. Get to know the story well.
Listen to news bulletin about robbery… Bring in the box!
Read model through and box it up into 5 basic scenes + draw map.
Comprehension – discussion, questions, etc.
Listen to and reread story as many times as possible.
Hot seat characters.
Interview on t.v. – writing in role newspaper report
Characters writing in role – diary entry, letter…..
In pairs - retell.
2. Make a toolkit.
Create writing toolkit section by section – text marking and annotation.
3. Prepare to write.
Photo local place where adventure could take place – annotate.
Use the toolkit to model planning – simple story mountain or map.
Tell and retell own story.
Shared writing - section by section – over a week + independent writing
section by section – taking note of teacher’s feedback.
4. Polish, publish or perform.
Demonstrate how to improve writing – response partnering.
Make little story books or video story telling/reading
Underpinning: Daily practice of spelling and sentence work on mini
whiteboards.
33
Checklist for an Adventure based on ‘Adventure at Sandy Cove’.
a. Basic Plot Pattern.
Opening
Build up
Problem
Resolution
Ending
Finding something precious.
Chased by a villain.
Hiding from the villain.
Escaping.
Reward!
b. Paragraph Toolkit.
Story Opening
 Open with one character speaking
 Two friends in a setting
 They find something precious
 Adverb starter, e.g. Anxiously,….
 Question, e.g. what was it?
 Exclamation – it was full of money!
Build up.
 Dramatic connective, e.g. Just then, at that moment…
 Bring on a villain
 In chase – use powerful verbs, e.g. rushed, leaped, dashed,
pounded, thudded…
Problem




Hide your characters
Show how they feel, e.g. she froze!
Use dramatic connectives, e.g. unfortunately, suddenly…
Use powerful verbs for hiding, e.g. crouch, duck down, squeeze
into…
Resolution
 Dramatic connectives – at that moment, all at once…
 Get rid of villain
 Escape – use powerful verbs, e.g. rushed, leaped, dashed, pounded,
thudded…
Ending.
 Ending connective, e.g. finally, in the end, later on…
 Show how the characters feel.
34
Suggested Story Bank
Reception
Year 1
 Peter and the Wolf
 Little Daisy
 Greedy Jack
 Little Red Hen
 Billy Goats Gruff
 The Enormous Turnip
 Gingerbread man
Year 2
 Little Charlie
 3 Pigs
 The Smallest Tree
 How the world was made
 The unluckiest man
 Red Riding Hood
 Princess and the Pea
 3 Wishes
 Little Jack
 Rumplestiltskin
 Magic Porridge Pot
 3 Bears + Bear Hunt
 How tortoise got his shell
Year 3
 Papaya
 Magic Brush
 Jack and the Beanstalk
 Elves and the Shoemakers
 The Boy Who Cried Wolf
 Hare and tortoise
Year 4
 Why Spider has small waist
 Mr Fox and His Bag
 King of the Fishes
 Stone Soup
 Mouse and the Lion
 Hobyahs
Year 6
 Beddgelert
 Secrets
 Blue Fish (Cinderella)
 Unluckiest Man
 Giant’s Necklace
 Jabberwocky
Year 5
 Skillywidden
 Fox and the Raven
 The Highwayman
 Beowulf
 Visitor
 Theseus and Minotaur
For ks2 anthologies of short stories use the VOYAGE series published by OUP, edited
Pie Corbett and Chris Buckton. For ks1 use simple traditional tales.
These notes are for use in your class only.
35
Progression in narrative
Strands 2, 5, 6 & 7 Listening to and reading a range
of stories on page and screen which provoke different
responses:
1. Story structure. 2. Viewpoint: author; narrator.
3. Character & dialogue. 4. Setting
Strands 1, 8 – 11 Creating stories orally, on page
and screen, that will impact on listeners and readers
in a range of ways:
1. Telling stories. 2. Writing
36

F/S



Year
1




Listen to stories being told and read. Know when a story has
begun and ended. Recognise simple repeatable story
structures and some typical story language, for example,
‘Once upon a time…’
Be aware that books have authors; someone is telling the
story.
Stories are about characters; identify and describe their
appearance referring to names and illustrations; notice when
characters are speaking in the story by joining in, e.g. with a
repeated phrase.
Stories happen in a particular place; identify settings by
referring to illustrations and descriptions.

Identify the beginning, middle and end in stories and use
familiarity with this structure to make predictions about story
endings; recall the main events.
Listen with sustained concentration and then talk about how
the author created interest or excitement in the story; the
‘voice’ telling the story is called the narrator.
Recognise main characters and typical characteristics, for
example, good and bad characters in traditional tales; identify
the goal or motive of the main character and talk about how it
moves the plot on; notice how dialogue is presented in text
and begin to use different voices for particular characters
when reading dialogue aloud.
Settings can be familiar or unfamiliar and based on real-life or
fantasy. Respond by making links with own experience and
identify ‘story language’ used to describe imaginary settings.



Turn stories into play using puppets, toys, costumes and
props; imagine and re-create roles; re-tell narratives
using patterns from listening and reading; tell a story
about a central character; experiment with story
language by using familiar words and phrases from
stories in re-telling and play.
Attempt own writing for various purposes, using features of
different forms, including stories.
Re-tell familiar stories and recount events; include
main events in sequence, focusing on who is in the
event, where events take place and what happens in
each event; use story language, sentence patterns
and sequencing words to organise events, (e.g.) then,
next etc.; recite stories, supported by story boxes,
pictures etc.; act out stories and portray characters
and their motives.
Use patterns and language from familiar stories in own
writing; write complete stories with a simple structure:
beginning – middle – end, decide where it is set and
use ideas from reading for some incidents and events.
37
Year
2




Identify the sequence: opening – something happens – events
to sort it out – ending; identify temporal connectives and talk
about how they are used to signal the passing of time; make
deductions about why events take place in a particular order
by looking at characters’ actions and their consequences.
Begin to understand elements of an author’s style, e.g. books
about the same character or common themes;
Understand that we know what characters are like from what
they do and say as well as their appearance; make predictions
about how they might behave; notice that characters can
change during the course of the story; the way that characters
speak reflects their personality; the verbs used for dialogue
tell us how a character is feeling, e.g. sighed, shouted, joked.
Settings are created using descriptive words and phrases;
particular types of story can have typical settings – use this
experience to predict the events of a story based on the
setting described in the story opening.


Re-tell familiar stories using narrative structure and
dialogue from the text; include relevant details and
sustain the listener’s interest; tell own real and imagined
stories; explore characters’ feelings and situations using
improvisation; dramatise parts of own or familiar stories
and perform to class or group.
Imitate familiar stories by borrowing and adapting structures;
write complete stories with a sustained, logical sequence of
events; use past tense and 3rd person consistently; include
setting; create characters, e.g. by adapting ideas about
typical story characters; include some dialogue; use phrases
drawn from story language to add interest, (e.g.) she couldn’t
believe her eyes.
38
Year
3




Consolidate understanding of sequential story structure:
identify common, formal elements in story openings and
endings and typical features of particular types of story; notice
common themes, similar key incidents and typical phrases or
expressions. Note the use of language or music or camera
angle to set scenes, build tension, create suspense.
Recognise that authors make decisions about how the plot will
develop and use different techniques to provoke readers’
reactions; notice the difference between 1st and 3rd person
accounts; take part in dramatised readings using different
voices for the narrator and main characters.
Identify examples of a character telling the story in the 1st
person; make deductions about characters’ feelings,
behaviour and relationships based on descriptions and their
actions in the story; identify examples of stereotypical
characters; make judgements about a character’s actions,
demonstrating empathy or offering alternative solutions to a
problem; analyse the way that the main character(s) usually
talks and look for evidence of the relationship between
characters based on dialogue.
Settings are used to create atmosphere; look at examples of
scene changes that move the plot on, relieve or build up the
tension.


Tell stories based on own experience and oral
versions of familiar stories; include dialogue to set
the scene and present characters; vary voice and
intonation to create effects and sustain interest;
sequence events clearly and have a definite ending;
explore relationships and situations through drama.
Write complete stories with a full sequence of events in
narrative order; include a dilemma or conflict and
resolution; write an opening paragraph and further
paragraphs for each stage of the story; use either 1st or
3rd person consistently; use conventions for written
dialogue and include some dialogue that shows the
relationship between two characters.
39
Year
4




Develop understanding of story structure: recognise the stages of a
story: introduction – build-up - climax or conflict – resolution;
appreciate that chronology does not always run smoothly, (e.g.)
some events are skimmed over, others are told in more depth.
Develop awareness that the author sets up dilemmas in the story
and devises a solution. Make judgements about the success of the
narrative, (e.g.) do you agree with the way that the problem was
solved? Understand that the author or director creates characters to
provoke a response in the reader, (e.g.) sympathy, dislike; discuss
whether the narrator has a distinctive ‘voice’ in the story.
Identify the use of figurative and expressive language to build a fuller
picture of a character; look at the way that key characters respond to
a dilemma and make deductions about their motives and feelings –
discuss whether their behaviour was predictable or unexpected;
explore the relationship between what characters say and what they
do – do they always reveal what they are thinking?
Authors can create entire imaginary worlds; look for evidence of
small details that are used to evoke time, place and mood. Look for
evidence of the way that characters behave in different settings.


Plan and tell own versions of stories; tell effectively,
e.g. using gestures, repetition, traditional story
openings and endings; explore dilemmas using
drama techniques, (e.g.) improvise alternative
courses of action for a character.
Plan complete stories by identifying stages in the telling:
introduction – build-up – climax or conflict - resolution;
use paragraphs to organise and sequence the narrative
and for more extended narrative structures; use
different ways to introduce or connect paragraphs, (
e.g.) Some time later…, Suddenly…, Inside the
castle…; use details to build character descriptions and
evoke a response; develop settings using adjectives
and figurative language to evoke time, place and mood.
40
Year
5




Recognise that story structure can vary in different types of story and that
plots can have high and low points; notice that the structure in extended
narratives can be repeated with several episodes building up to conflict and
resolution before the end of the story. Analyse more complex narrative
structures and narratives that do not have a simple linear chronology, (e.g.)
parallel narratives, ‘time slip’.
Authors have particular styles and may have a particular audience in mind;
discuss the author’s perspective on events and characters, (e.g.) the
consequences of a character’s mistakes – do they get a second chance? ;
author’s perspective and narrative viewpoint is not always the same - note
who is telling the story, whether the author ever addresses the reader
directly; check whether the viewpoint changes at all during the story; explore
how the narration relates to events.
Look for evidence of characters changing during a story and discuss
possible reasons, (e.g.) in response to particular experiences or over time,
what it shows about the character and whether the change met or
challenged the reader’s expectations; recognise that characters may have
different perspectives on events in the story; look for evidence of differences
in patterns of relationships, customs, attitudes and beliefs by looking at the
way characters act and speak and interact in older literature.
Different types of story can have typical settings. Real-life stories can be
based in different times or places, (e.g.) historical fiction – look for evidence
of differences that will effect the way that characters behave or the plot
unfolds.


Plan and tell stories to explore narrative viewpoint, ( e.g.) re-tell a
familiar story from the point of view of another character;
demonstrate awareness of audience by using techniques such as
recap, repetition of a catchphrase, humour; use spoken language
imaginatively to entertain and engage the listener.
Develop particular aspects of story writing: experiment with different ways
to open the story; add scenes, characters or dialogue to a familiar story;
develop characterisation by showing the reader what characters say and
do and how they feel and react at different points in the story.
Plan and write complete stories; organise more complex chronological
narratives into several paragraph units relating to story structure; adapt for
narratives that do not have linear chronology, (e.g.) portray events
happening simultaneously (Meanwhile…); extend ways to link paragraphs
in cohesive narrative using adverbs and adverbial phrases; adapt writing
for a particular audience; aim for consistency in character and style.
41
Year
6




Identify story structures typical to particular fiction genres;
recognise that narrative structure can be adapted and events
revealed in different ways, (e.g.) stories within stories,
flashbacks, revelations; analyse the paragraph structure in
different types of story and note how links are made; make
judgements in response to story endings, (e.g.) whether it was
believable, whether dilemmas were resolved satisfactorily.
Look at elements of an author’s style to identify common
elements and then make comparisons between books;
consider how style is influenced by the time when they wrote
and the intended audience; recognise that the narrator can
change and be manipulated, (e.g.) a different character takes
over the story-telling, the story has 2 narrators – talk about the
effect that this has on the story and the reader’s response.
Identify stock characters in particular genres and look for
evidence of characters that challenge stereotypes and
surprise the reader, e.g. in parody; recognise that authors can
use dialogue at certain points in a story to, (e.g.) explain plot,
show character and relationships, convey mood or create
humour.
Different episodes (in story and on film) can take place in
different settings; discuss why and how the scene changes
are made and how they effect the characters and events;
recognise that authors use language carefully to influence the
reader’s view of a place or situation.
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Plan and tell stories to explore different styles of
narrative; present engaging narratives for an audience.
Plan quickly and effectively the plot, characters and structure
of own narrative writing; use paragraphs to vary pace and
emphasis; vary sentence length to achieve a particular effect;
use a variety of techniques to introduce characters and
develop characterisation; use dialogue at key points to move
the story on or reveal new information. Create a setting by:
using expressive or figurative language; describing how it
makes the character feel; adding detail of sights and sounds;
Vary narrative structure when writing complete stories, (e.g.)
start with a dramatic event and then provide background
information; use two narrators to tell the story from different
perspectives; use the paragraph structure of non-linear
narratives as a model for own writing; plan and write
extended narrative.
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