currriculum/pedagogy... · web viewphase 2/5 sentence/word level focus phase 2/5 extension level...

CONTENTS

Section 1: Introduction

The Principles behind the planning structure p2

Section 2: Fiction

The Daily Planning format: Fiction p3Story Structure p4Text Level p6Sentence Level p8

Section 3: Planning Formats for Non-Fiction

The Daily Planning Format; Non Fiction p9Writing Instructions p10

Writing Records(i) Trips and Visits p12(ii) Biography p14(iii) Historical p16

Writing Explanations(i) Explanations of a process p18(ii) How things work p20(iii) Why something happened p22

Writing Reports(i) Factual Report p24(ii) Comparative Report (1) p26(iii) Comparative Report (2) p28(iv) Comparative Report (3) p30

Writing Newspaper Reports p32

Persuasive Writing p34

Writing Discussions p36

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Introduction to the Planning FormatThe Principles behind the Planning Format

The planning format has two major functions.

Primarily it came from recognition amongst staff that there was needless duplication of planning occurring throughout the school. The school’s use of the Alan Peat materials means that all classes are being taught the same structure for much of their written work, especially in non-fiction. It was therefore felt more expedient for the school to develop a generic planning format that acted not just as planning tool but as a dynamic on-going document that could also be used to track children’s progress throughout the school.

However of greater importance was the need for the school to develop a common language for the development of literacy throughout the school. Both staff and children alike benefit greatly when the language used to define the textual features of a given genre are consistent throughout the school. For teachers it allows there to be a greater continuity between classes as children develop in their learning using the identical framework employed by the child’s previous teacher. For the child the common framework provides a language by which they can evaluate and discuss their own learning. If everyone is aware that the line under the headline of the newspaper is called a “byline” it allows children to engage with quality of the text rather than seeking to clarify which aspect of the text is being referred to. In this regard the naming of the features is not as important as their consistency throughout the school and the planning format will ensure this occurs.

As a by-product the planning format should reduce the time needed for each teacher to plan. The steps of learning in each genre are clearly articulated and the teacher need only highlight which areas they are covering and with which groups of children. This releases more planning time which can be focused on the more important areas of developing a secure context for the writing and resourcing quality texts which demonstrate key features of the learning objective.

Whilst the strategies in the document may appear at first sight a little prescribed the school believes that “you need to know a rule to break a rule”. The end goal is not that children will use the strategies to produce formulaic stereotypical texts but will use the knowledge of them to produce high quality pieces of creative and original writing.

AcknowledgementsThe school does not seek nor wish to hide form the fact that it has leant heavily on the work of Alan Peat to develop this planning format. The school works alongside Alan’s research of writing and has been used in many of his books; notably his work on Exciting Sentences. All the material within the document has therefore been reproduced with his permission. The framework draws heavily from two of Alan’s books; “Improving Non-Fiction Writing at Key Stage 1 and 2: the success approach” and “Improving Story Writing at Key Stages 1 and 2” both of which are available from his web site www.alanpeat.com at a cost of £15.

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LITERACY DAILY PLANNING : FICTION

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COHORT

CLASS

TERM

GENRE

LEARNING OBJECTIVE

PHASE 1 CONTEXT OR STIMULI

PHASE 2 TEXT USED FOR ANALYSIS

PHASE 2/5 TEXT LEVEL FOCUS

PHASE 2/5 SENTENCE/WORD LEVEL FOCUS

PHASE 2/5 EXTENSION LEVEL FOCUS

PHASE 3 SCAFFOLDING FOR THE WRITING PROCESS

PHASE 4 ROLE OF THE TEACHERROLE OF THE TA

PHASE 5 EDITING

Developing Secure Story Structure

Story structure falls into two distinct areas. The first area relates to plot development whilst the latter relates to story planning. These must be seen as tow clearly distinct activities

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because where teachers seek to meld them together planning will become muddled and confused in the mind of the child and lack a sharpness of focus that they both need as a pre-requisite to writing.

A. THE PLOT

Whilst there is a measure of truth that the ability to write good prose in a fluent style will engage the reader, true engagement starts with a secure idea for a plotline. The plot is the starting point for engaging the reader. As all stories hinge around the “problem/solution” dilemma then the children need to focus on these to develop creative and original ideas for their story. The story of the wicked giant trapping the beautiful princess in the castle is not as interesting as the beautiful princess incarcerating the evil giant. The former leads the reader to believe they know the ending of the story before they start reading sassuming that somewhere in the story a knight will appear to save the princess and they will all live happily ever after. The latter poses interesting thoughts in the mind of the reader, and leads them to read on. As E.M Forster declared “the only reason people keep on reading is because they want to find out what happens in the end” If the story is predictable and boring no matter how well it is written it will not engage the reader.

A few years ago the SAT paper task was to write about “Your favourite food” one can only imagine that throughout the length and breadth of the country the markers were subjected to endless pieces of writing explaining (probably in lovely prose to be fair) why pizza is so tasty. The child in our Year 6 class who started his story… I saw a bucket full of cold fish probably gained the reader’s attention; the story continued until it concluded with the sentence that acknowledged the character of the story was a seal being fed at the zoo. The following year the advert for the trainers saw one of the children write his piece not through the eyes of a trendy teenager but through the viewpoint of his grandma, assassinating the shallow fashion icon status of such attire through the eyes of an older person. The 2012 SAT paper focused on the diary of a hot air balloon ride. One of the children decided to write their piece from the grave, thereby assuming the ride had gone horribly wrong, another found himself left alone in the balloon as it spiralled out of control and explained the brevity of his diary entry by the fact that his only way of sustaining himself was to eat the pages of the diary itself.

The point being is simply that I would prefer to read any of these stories over and above their more conventional counterparts because I am engaged by the creativity and the originality of the thought process that has gone into the planning of the plot. I am sure there have been hundreds of stories written about princesses being rescued from castles by handsome knights but the reason we still tell the tale of Rapunzel is because of the original thought of climbing down the girl’s hair. So to with Red Riding Hood, would the story have been as interesting if the wolf had just eaten her in the wood, it is the creative thought of the wolf dressing up as the grandmother that sets it apart from other stories. One of my favourite stories of all time is the Tinder Box by Hans Christian Anderson. In many ways it is a straightforward “Rags to Riches story” and is not that remarkable except for the three dogs, one with eyes the size of tea cups, one with eyes the size of supper plates and the last with eyes the size of mill wheels. Every time I read the story whether to Reception or Year 6 I always ask them what they liked best about the story and without fail it is the dogs that fascinate them and bring the story to life. I wonder what impact the story would have if these characters were played by a cat, a hamster and a goldfish.

The plot is therefore the foundation block to all good story writing. In many ways I would prefer to read a badly written story with an interesting plot as opposed to a well written, well structured story about, yet another princess being rescued from, yet another evil giant from (surprise, surprise) the giant’s castle.

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What will become readily apparent is that the more able writers are not necessarily those who will come up with the most creative ideas for plotlines. The two skills are distinct and whilst some will excel in terms of developing stories that offer a creative storyline others will show a greater ability in the technical elements of the writing process. Indeed for those who have read Davis’ book The Gift of Dyslexia it will come as no surprise to find that some of the most creative children are often those who struggle most with the writing process.

If we gloss over the plot and the creative element of the writing process which occurs before pen is put to paper; we run the risk of disenfranchising the less able writer who has real creative flair. This is their opportunity to shine, because they know that when the technical elements come into play their ability to perform will diminish. Indeed in many cultures stories are still told not written, so these children with their wealth of ideas should not be marginalised because they “cannot write effectively”. As Pie Corbett states the pre-cursor to writing at any stage is to be able to tell the story and the creative idea along with the verbal telling gives non-writers the opportunity to access this aspect of the writing curriculum and glean much pleasure and enjoyment from it.

There is the danger that as we rush headlong to “Raise Standards” there is an undue focus upon the secretarial and technical features of the process and we can lose sight of the fact that writing is a single strand of the larger literary concept of communication. In the educational arena we can often fall into the trap of seeing the acquisition of writing skills as an end in itself but the truth is that if you have nothing to communicate to others then putting pen to paper is a meaningless exercise. The dreaded Christmas thank you letters are written each year because there is something to communicate but the same should apply to story writing, if the child does not have a good story then why bother getting them to commit it to paper?

There must also be the recognition that creativity is not a linear learning concept. It is lateral both in terms of the thinking itself but also in its progression in a child’s life. It is impossible to “teach” children the next stage in creativity, the most we can do is to provide opportunities and a learning culture where it can thrive and allow children to revel in a creativity environment that allows them to come up with ideas and thoughts. It may be that the child with a fantastically creative story idea may not think of another in their time at The Wyche but that is the nature of creativity. What is certainly true is that some children are more creative than others but also a creative culture breeds creative people.

So what should plot planning look like? It should focus on two questions and two questions alone. What is the problem? and What is the solution? Whilst the teacher might suggest the context for the story e.g. Favourite food, a greek myth and legend, a fairy tale etc. the children should then be encouraged to avoid writing the story that they know the teacher will read 30 times when they come to mark the work. Engaging the reader is imperative and that is done through thinking outside of the box, not following the same predictable storylines written by children for generations. In teaching terms there should be a narrow focus on the two questions. There should be no emphasis placed on detail at this point, this can come later in the story planning process, here the only concern is to find a quirky reason for both the problem and the solution. In terms of output therefore the plot should be either two sentences one relating to the problem and one relating to the solution or 2-3 storyboard pictures that home right in on the problem/solution dilemma and nothing else.

Plot TypesIn the course of their writing career throughout the school the children should be exposed to a variety of plotlines. The plots fall into 5 simple categories – all of which can be found in Alan Peat’s book Improving Literacy Creative Approaches (p36-37)

i. Heroic Adventure

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ii. Good triumphs over eviliii. Rags to richesiv. Ugly to Beautifulv. Shipwreck

By the end of Year 2 the expectation should be that the children have met the full range of story plots. They should be able therefore to verbally plan a story, virtually spontaneously, on any of the 5 plot lines.Whilst the children will meet these in their formal Literacy lessons when they deconstruct stories as a precursor to writing they should also be introduced to them as they read their own stories, or in shared reading times or when the teacher simply reads to the class. These concepts need to be well embedded. Indeed the hope might be that we don’t have to “teach” the structures in formal lessons at all. Why set up a lesson to teach it when you have read a story the day before? If we look for opportunities to embed this language in KS1 we should be able to disseminate these plots at pace.

GenreOn top of the structure and the plot lies the Genre. These will include all those found in the Literacy Strategy and more e.g Science Fiction, Romance, Historical, Fantasy, Cultural, Myths and Legends, Fables, Humour, Fairy Tales, Adventure Stories etc.

These provide a broad range of opportunities to be explored in the various plot scenarios. The children might write a Science Fiction/Shipwreck, Romance/Rags to Riches story or a Ugly to Beautiful myth. Without wishing to state the obvious the options are endless.

B. STORY PLANNING

With the element of plot secure in the mind of the child and with a understanding of the story upon which their narrative hangs the child and/or the teacher can move into the process of “Story Planning”

All story planning in the early years of the school (Reception to Year 2) should follow the basic format below as a central core. There was a feeling that we had overcomplicated the planning process and both children and teachers had got lost in the complexity. The consensus was that we needed to strip the planning structure back to the bare bones which basically hinges on the “problem/solution” scenario that all stories hang upon. As someone once said; “there is only one structure for all stories… Something happens!” These thoughts relate to the fact that the central part of the story is the creativity found in the plot and the story planning needs to build upon that

BeginningThis may include

Character and SettingProblem Solution Ending

BeginningThis may include

Character and SettingProblem Solution Ending

The story planning deals less with the plot and moves into the more technical elements of the writing process. There are questions to be posed such as; How will we begin the story; How will we describe the character in the story; How will we introduce the problem; Will we use Media Res to start the story?

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The story planning will develop throughout the school and in relation to the age, more pertinently, the ability of the child.

Early KS1In the early years of KS1 it may be that once the plot is secure and the child has told their story in skeleton form the “Story Planning” is undertaken by the teacher who introduces technical elements of the writing process to the children as they move through their story. The teacher may decide to “teach” the class the “three question opening” and will therefore introduce this to the class, the next lesson she may use “Multi-sensory locational writing” to set the scene for the story. So the teaching process continues with the children being “taught” more and more skills which they not only integrate into their immediate piece of writing but they will also be developing a toolkit of strategies which they can call on at a later date. To this end the children may have nothing more than the plot outline to support their writing as much of the rest of the structure is provided by the teacher in a highly scaffolded way.

Late KS2At the top end of KS2 it would be expected that the child rather than the teacher will drive the planning process. With a range of writing strategies at their finger tips learnt throughout KS1 and KS2 they should be making their own independent decisions as to which opening they feel would be best for their particular story, what strategy they might use to introduce their characters. Unlike their KS1 counterparts the upper KS2 children will have many notes/storyboard pictures to support their writing. They may have a storyboard showing not just the plot but where they will introduce setting the scene and what strategy they will use to achieve this. This greater independence will result in them having a storyboard with as many as 12-15 storyboard cards, but the plot planning will still hinge around the two central questions lest the plot becomes watered down or even worse, lost in the planning of the writing.

Throughout a child’s school life therefore there will be an increasing element of independence given to them in the planning process. Whilst in Year 1 it might be 100% teacher led by Year 6 it should be totally driven by the children. The transfer of this control will occur as the child moves through the school and its balance will be determined by each teacher based on the cohort of children and the teacher’s ability to release the children into further elements of individualised planning.

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Text Level Planning

These strategies will generally be introduced to the children at phase 2 though on occasions it may be more expedient to teach them at phase 5 in the context of the child’s own writing.

TEXT LEVELCOHORT

Story Openings In Media ResContradictionsUnexpected or surreal op eningsDirect Address to readerTriple Question openingSingle Question OpeningOpening with dialogueFlashback/FlashforwardOpen with a preview questionA normality changes openingWriter speaks to readerSequel ending with ellipses e.g. Never again would they…End with a question e.g. Or was it?

Locational WritingMultisensory AtmosphereFilm set/Theatre ApproachRetell with alteration

CharacterisationShow not TellMood Intensification

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PersonificationLinking character to location

DilemmaPositive and Negative outcomesPlot Line 1: P S P SPlot Line 2: P F P SPlot Line 3: P F P FPlot Line 4: P S P STriple Problem middleUnderstatement with correction

Narrative EndingsOpen for a sequel“Authoral Intrusion” Unexpected shock “And so finally…” Reader decides what has happenedThe end is the beginningReflective EndingsAnd so finally; many problems solved

Varying the Format (Level 4/5)CaricatureParodyDiary FictionEpistolary StoryBalladHendecasyllabic storiesNaga-UtaAnthropomorphic fictionFablesAllegorical FictionDream Jars Aleatory Fiction (Chance fiction)Historical FictionFlashforwardMonologueRashomon effect

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Sentence Level Planning

These strategies may be introduced to the children at phase 2 but the majority of them will be introduced to the children at phase 5 where the children can access them within the context of their own writing.

SENTENCE LEVELCOHORT

Full sentences

Use of capital letters

Use of full stops

B.OY.S. sentence

2A sentences

3 –ed sentences

2 Pairs

De:De (Description: Details)

Verb, person

Outward inward sentences

If, if, if then

Motion word comma

Noun which/who/where

Many Questions

Ad, same ad

Double -ly ending

All the W’s

List

Some others

Personification of weather

P.C.

The more, the more

Short

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-ing starts

-ed starts

Irony

Imagine – 3 examples

Simile

Metaphor

Alliteration

Typological devices e.g. h…e…l…p

Add a word/Change a word

List sentences

Name person first sentences

Adverbs at the start of sentences

Complex sentences

Short sentences for tension

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PUNCTUATIONCOHORT

Full StopsQuestion MarkExplanation MarkComma List Joining Gapping Brackets Pre-quotation Extra information Connecting adverbs After a subordinate clauseColon Specify Explain Summary ExemplifySemi colonSpeech marks Direct quotation Word disowned Technical term About a wordApostrophe Omitted letter Possession PluralsEllipsesDashHyphen

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LITERACY DAILY PLANNING : NON FICTION

COHORT

CLASS

TERM

GENRE

LEARNING OBJECTIVE

PHASE 1 CONTEXT OR STIMULI

PHASE 2 TEXT USED FOR ANALYSIS

SHARED WRITING: SKILLS DEMONSTRATED

SUCCESS CRITERIA:KEY FEATURES

PHASE 3 SCAFFOLDING FOR THE WRITING PROCESS

PHASE 4 ROLE OF THE TEACHERROLE OF THE TA

PHASE 5 EDITING

PHASE 6 PUBLISHING

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WRITING INSTRUCTIONS

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the Text

Title

Requirements/IngredientsWhat is needed?

MethodHow to make/play/carry out task

Concluding ParagraphHow success can be measured?

Phase 2 or 5:Sentence/Word Level

Sentence Level(i) StyleBullets/numbering/alpha-ordering

New lines for each step of method

Use of diagrams to augment text

Short precise sentences

Layout and use of space

Techniques to emphasise key words

(ii) PunctuationUse of commas to separate lists

(iii) GrammarUse of imperative/command language

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Word LevelUse of simple direct vocabularyUse of sequential connectives e.g. next, then, firstUse of action verbs e.g. take, placeAdverbs to increase precision of instructions e.g. slowly, gently

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RECOUNT WRITING (TRIPS AND VISITS)

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextTitle State subject in less then 8 words

Overview paragraphWhen, Who, What, Where, WhyAnswer two or more in a sentence

Events organised sequentiallyEvent 1Tell the reader about preparations

Events organised sequentiallyEvent 2The first interesting thing

Events organised sequentiallyEvent 3All the rest in order, new paragraph for each event

Concluding ParagraphSummary. Pick out main pointsEvaluate the trip


Sentence Level(i) StyleCondensed synopsis of the whole at the beginning Language for time sequencing to link paragraphs

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Language and tone for audience

(ii) PunctuationParagraphing to separate events

Commas to mark clauses

(iii) GrammarConsistent use of past tenseUse of first person for personal experience

Word LevelUse of temporal connectives

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RECOUNT WRITING (BIOGRAPHY)

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextTitle The subject in less than 8 words

Overview paragraphWho, When, Where, WhyAnswer two or more in a sentence

Childhood events

Early life events/achievementsExplain how these influenced their later life

Later life events/achievementsState these in orderNote their significance in the writing

Concluding ParagraphState the impact of the person


Sentence Level(i) StyleCondensed synopsis of the whole at the beginning Language for time sequencing to link paragraphsLanguage and tone for audience

(ii) Punctuation

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Paragraphing to separate events


(iii) GrammarConsistent use of past tense

Use of third person


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RECOUNT WRITING (HISTORICAL)

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextTitle The subject in less than 8 words

Overview paragraphWrite in past tenseWhen, Who Where, Why, WhatAnswer two or more in a sentence

Events and consequences in orderNew paragraph for each event

Concluding ParagraphState the end result indicating whether it was positive or negativeEvaluate the event


Sentence Level(i) StyleCondensed synopsis of the whole at the beginning Language for time sequencing to link paragraphsLanguage and tone for audience

(ii) PunctuationParagraphing to separate events


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(iii) GrammarConsistent use of past tense

Use of third person


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WRITING EXPLANATIONS:EXPLANATIONS OF A PROCESS

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected


TitleUsually beginning with how or whyState what article is about

General Statement of subjectIntroduce reader to the subject

Parts (Optional)Maybe linked to general statementTell the reader the different parts that make up the subject

Key points paragraphKey points in logical sequenceHow it works/what happens

Summary ParagraphSomething special about subject


Sentence Level(i) StyleVocabulary to link paragraphs sequentially e.g. in additionOrganisational devices e.g. sub-headings or numbering

(ii) Punctuation

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Paragraphs for separate key points

Colon prior to listing

Commas to separate lists

(iii) GrammarConsistent tense use

Word LevelUse of causal connectives e.g. therefore, consequentlyUse of temporal connectivese.g. next, after

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WRITING EXPLANATIONSHOW THINGS WORK

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextTitleUsually beginning with how or whyWhat is the explanation about?


Parts (Optional)Different parts making up subjectWould a diagram help?

Key points paragraphTell how it works select key pointsYou may wish to use sub-headings or numbering for organisation

Summary ParagraphTell reader something special or important about the subject



(ii) Punctuation

25

Paragraphs for separate key points




Word LevelUse of causal connectives e.g. therefore, consequently

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WRITING EXPLANATIONS: WHY SOMETHING HAPPENED

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextTitleUsually beginning with how or whyWhat is the explanation about?


Introductory ParagraphSet the scene for the readerSelect important points

Key points paragraphKey points in logical sequenceYou may wish to use sub-headings or numbering for organisation

Summary ParagraphSum up for reader why this happened



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(ii) PunctuationParagraphs for separate key points




Word LevelUse of causal connectives e.g. therefore, consequently

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FACTUAL REPORTS

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected


TitleThe subject of the report in no more four words

Classification/Context StatementTell the reader what they are (don’t forget to think about where/when)

Key FeaturesThese may include; appearance, location, purpose, what for?Try to identify key featuresTry to capture reader’s interest

SignificanceWhat makes your subject special?

Summary StatementReminder of main points


Sentence Level(i) Style Based on fact

Omission of opinions

Formal and Objective

Non-Chronological

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(ii) Punctuation Paragraphs separate key points

Colon for listing

Commas to separate items in list

(iii) Grammar Use of continuous present tense

No use of we/I

Word Level Language of classification e.g. belongs to, is part of Factual not imaginative language

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FACTUAL REPORTS: COMPARATIVE REPORTS (1)

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextTitleTitle should tell what you comparingContext StatementTell the reader what you are comparing and why Similarity/Difference 1Select the most important difference to compareSimilarity/Difference 2 Select the next most important difference to compareFurther paragraphsThese outline further aspectsSummary StatementTell the reader whether the two things are similar or different





Non-Chronological


31

Colon for listing



No use of we/I


32


COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextTitleTitle should tell what you comparingContext StatementTell the reader what you are comparing and why Similarity1/Similarity 2Select those aspects which are similarDifference 1/Difference 2 Select those aspects which are differentSummary StatementWhat are the most important things that have changed?





Non-Chronological


Colon for listing


33


No use of we/I


34


COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextTitleTitle should tell what you comparingContext StatementTell the reader what you are comparing and why Paragraph comparing first aspectTell reader about similarities and differences about first aspectParagraph comparing second aspectTell reader about similarities and differences about second aspectParagraph comparing third aspectTell reader about similarities and differences about third aspectSummary StatementConsider all the writing and state whether they are mainly similar or different





Non-Chronological

(ii) Punctuation

35

Paragraphs separate key points

Colon for listing



No use of we/I


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NEWSPAPER REPORTS

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextHeadline No more than 7 wordsAlliteration, pun, factual or shockBy-Line Name, Title, LocationLead paragraph Who, What, Where, Why, When?No more than 3 sentences linked to headline

BodyDetails about each of the W’s focusing on the most important of these

SourcesInclude names or titles of peopleUse direct and reported speechIllustration and CaptionCaption describes the illustration Summary ParagraphConsider using the word “without” to start the paragraph


Sentence Level(i) Style Use of frequent short paragraphs

Use of short sentences

Consistent use of the third person

Use of tense changes for effect

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Factual information; to the point

Quotation to add detail

Use of sources to add detail

Manipulation of detail

(ii) Punctuation Exclamation marks for emphasis

Use of direct speech for quotes

Commas to separate clauses

Commas, brackets and dashes

(iii) Grammar Use of direct and reported speech

Ellipsis to condense information

Word Level Broad use of causal connectives

Use of emotive language

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PERSUASIVE WRITING

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected


Statement of writer’s viewpointStated in one or two sentencesWrite in the first person

Series of supporting argumentsFor each paragraph: Use strongest argument first Expand using detail and examples Questions to involve emotion/reader Including statistical statement

Counter argumentsNew paragraphExplain views clearlyAlways use a “however” sentence

Reiteration of original viewpointSummarise main pointsRepeat strongest argumentVocabulary for final paragraph


Sentence Level(i) Style Use of bullet points/numbering

Succinct sharp focused sentences

(ii) Punctuation Paragraphs separate elements

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Commas to separate clauses

(iii) Grammar Use of timeless present tense

Word Level Use of causal connectives Appropriate technical vocabulary to support argument Words/phrases to link alternative viewpoints e.g. conversely Reference to general human agents e.g. Dog breeders Reference to groups e.g. the poor

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WRITING DISCUSSIONS

COHORT

CLASS

TERM

Whole Class

Below Age Expected

Age Expected

Above Age Expected

Phase 2: Structure of the TextTitleShort version of the issueIssues for DiscussionTell reader the issuesDo not write in first personState the two points of viewDon’t add supporting detailSupporting Argument viewpoint 1Use new paragraph for new argumentUse strongest argument firstAvoid repeating earlier argumentsSupporting Argument viewpoint 2Use new paragraph for new argumentUse strongest argument firstUse different sentence starters to those in viewpoint 1Alternative Organisation of aboveYou could alternate the supporting viewpoints for 1 and 2Conclusion A or BTell reader your point of viewAllow reader to decide


Sentence Level(i) StyleState issue at the beginningSummary statement of the main points of view at the startUse of impersonal tone

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Use of summarising paragraph

(ii) PunctuationUse paragraphs to separate viewpoints

(iii) GrammarConsistent use of present tense

Avoid use of first person

Word LevelUse of additive connectivese.g. also, too, additionallyUse of words to link viewpointsHowever, moreover, although

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