developing imaginative writing skills for bge teaching … · 2020. 6. 5. · this could be a fun...

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DEVELOPING IMAGINATIVE WRITING SKILLS FOR BGE

Teaching Pack

This is a resource for teachers to use to develop pupils’ imaginative writing skills. It

is aimed at pupils in S1 – S3 and includes notes for teachers as well as sample

resources for pupils at levels 2, 3 and 4. Throughout, notes for teachers are clearly

marked as are sample teaching resources.

CONTENTS:

Approaches - Ideas on how to teach imaginative writing:

p.2 Genre approach

p.7 Imaginative response

p.9 Non-specific prompt

Teaching notes and resources:

p.12 Setting

p.14 Characterisation

p.28 Plot

Additional resources – Technical writing

p.33 Writing speech

p.36 Sentence structure

p.37 Implicit vs. explicit characterisation

p.38 Descriptive Language

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Genre Specific

TEACHER’S NOTES:

Genre Specific – Why should I choose this approach?

This is another approach you can take to starting a creative writing unit with pupils,

as it lends itself to imaginative freedom (creating original characters and setting),

while having clearly defined parameters for setting, character archetypes and

common plot devices.

While slightly trickier than an imaginative response writing task, genre-specific

writing will provide an opportunity for pupils to critically examine different texts

(from the chosen genre) and identify their common features. Additionally, it will

challenge them to stick, not only to a format, but also a writing style.

While listing the pros above, the difficulty one encounters when teaching to a genre

is making sure that pupils fully understand the defined parameters of that genre:

common settings, character types and examples of plots/themes encountered. This

seems easily explained within a few lessons, however, when discussing themes or

plot structures, it can become overwhelming for pupils. They are either confused by

the multiple different directions that their plot could go in, they fill their stories with

archetypal characters, or they directly copy other source material.

TEACHING IDEAS:

Initial Lessons – Establishing Genre

When approaching genre, especially sci-fi or horror, it is important to establish what

pupils associate with the genre to establish their pre-existing knowledge. I would

always start a unit by establishing the bigger picture by letting pupils know that they

must produce a writing piece (this could be a short story or a journal entry) that

fulfils the chosen genre markers. During this initial lesson, I would also encourage

you to introduce them to any special/technical vocabulary with definitions that they

may need in order to write their story.

This could be a starter task, where pupils are shown images from movies,

illustrations or photographs associated with the genre (eg. Horror could be classic

images from Dracula, Frankenstein, or modern horror films) and are asked to note

down descriptive words, feelings and objects that they associate with the genre.

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Example 1:

If you wanted this to translate to a longer task, this could involve something like film

trailers, which are particularly accessible to pupils who are not familiar with literary

examples of the chosen genre. To scaffold this task, you could provide a worksheet

with a table where pupils must comment on the setting and the characters. For Level

4, or higher ability pupils, you could include section that allows them to comment on

theme/emotion.

Regardless of the format, any introductory lesson should allow pupils to build upon

base knowledge of the genre, provide them with basic definitions of genre markers

and introduce them to a brief overview of setting, character, and theme.

Intermediate Lessons – Establishing Genre Tropes

Following on from the initial lesson, you should begin to cover setting, character,

and themes/plot with pupils. These lessons should both serve as a basic introduction

to the concept of each element and show how these elements are used within the

chosen genre. Prioritise the element that is most important to writing this genre, this

could be setting for a genre like fantasy or plot devices for detective fiction. Spend

more than one lesson on it if need be, as this will ensure that pupils have a through

understanding of at least one aspect of the genre and, therefore, their final outcome

will be more appropriate.

Look at this place:

What do you think has happened here?

Why do you think it happened?

This place is an example of a ‘dystopia’. What do you

think a dystopia is?

A utopia is the exact opposite of a dystopia.

What is a utopia?

(2 mins to come up with some answers!)

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Setting Activities

1. Establish common elements of the genre setting. Where are the stories

normally set? What time period is appropriate? What is the social setting?

What is the mood or atmosphere? What could different settings look like?

Give examples of a specific setting, model a description of this and get pupils

to write a short paragraph describing it from a first-person perspective.

2. Analyse examples of setting in genre texts. This is useful as it builds close-

reading skills and will help with writing openings as the setting is often one of

the first things established.

3. Give them a prompt (eg. A character – where would this person live?) and

ask pupils to create their own setting.

4. A carousel activity where pupils are given a setting and they write

associations that they have with that place (eg. Descriptive words, events,

characters, tropes). Sensory descriptive activities are also very useful.

Once the genre setting has been fully established, provide a checklist for setting with

various genre specific options. This could be tick box and will help pupils of a

lower ability create a good setting for their story – include type, atmosphere, the

MC’s location and any themes that they might include in their story. If teaching a

Level 2 class, for example, it would be useful to select the setting yourself to avoid

any confusion. Furthermore, assure eager pupils that the sheet is merely a guide

and that they can choose their own setting if they wish. This will be useful for pupils

when they write their story as they can continually refer back to it.

Character Activities

1. Introduce the basic needs that a character has – appearance, personality,

background, occupation, strengths, weaknesses, goals etc. More on this in

the “character” section.

2. Establish character archetypes with examples from popular film/literature to

help illustrate your example. List their main traits and behaviours below so

that pupils can understand WHAT characteristics these archetypes have. For

fantasy this could be the hero, the wise mentor, the damsel-in-distress, and

the joker/ally. Try not to complicate things too much, stick to two-character

archetypes for their own stories, with others merely as an example.

3. Pupils could “fill-in-the-blanks” with these characters based on appearance.

4. Reading passages from relevant texts and then ask the pupils to describe the

personality of the character (helps close reading skills and they can grasp the

idea of implicit meaning).

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Once the concept of character is grasped, provide a character worksheet with space

to draw a character and fill in their character worksheets. It is also helpful to create

your own character as a model for pupils. Below is a basic example that could be

reworked for any genre.

Example

Character Profile:

Name:

Age:

Personality Traits:

Strengths:

Weaknesses:

Goals/Motivations:

Family/Relationships:

Arch Enemy:

Character’s Appearance:

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Plot Activities

1. Introduce pupils to a basic 3-arc plot structure (Level 2). Additionally, you

could cover different methods of story telling: journal written retrospectively,

newspaper reports, flashbacks, beginning in medias res, beginning at the end

(Level 3 and 4).

2. Make sure you use an example, perhaps from a text previously studied with

the class or a well known story. Get the pupils to identify the exposition,

conflict, climax and resolution to make sure that they understand the plot

structure.

Finally, provide them with a plot sheet where they can fill in elements of their plot

before they write. An extension task could also include story boarding their plot.

TEACHER’S NOTES

Before they write

This advice is applicable to any type of creative writing approach.

Make sure that you cover the technical aspects of writing, such as using effective

language (using examples from earlier lessons on setting or character can be

useful); using sentence structure to enhance; writing speech; correct punctuation

activities.

Provide pupils who are lower ability with word banks (genre specific descriptive

words), sentence starters (even some cloze sections if need be), body language

examples, punctuation examples, and reminders of sentence types.

Make sure any necessary notes that pupils made on character, setting and plot are

available to them while they write – this will assist them if they get some writer’s

block and keep them on track.

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Imaginative response

TEACHER’S NOTES:

Imaginative response – Why should I choose this approach?

This could be a fun task to ease pupils into more independent imaginative writing. It

could be set as a task during (or at the end) of reading of a novel, play, short story,

or after studying a group of poems. This can work as a perfect springboard for

developing imaginative writing skills, without the learner having to start completely

from scratch. It can also crossover with functional writing.

TEACHING IDEAS:

A letter from a character: Once reaching a certain part of a text, a task could be

planned whereby a main character has to write a letter (or an email) to someone.

This is best planned where the letter is to someone that is not already in the story,

so that the pupil has to demonstrate that they have understood what has happened

in the plot, as well as demonstrating understanding of character and setting.

Another idea, if you are studying war poetry, is to get pupils to imagine that they are

a soldier at the front and to write a letter home to a loved one.

Teaching Tips:

• Provide pupils with an example of a letter format.

• Give sentence starters as options to use.

• Give outline of the subject matter of each paragraph (e.g first paragraph,

explain what has been happening, second paragraph explain how the

character is feeling, third paragraph, predict what will happen next).

• Show, don’t tell. Spend some time teaching implicit and explicit descriptions.

Diary entry:

Like a letter, this could be a good task to do during reading a longer text or if you

are studying war poetry, you can get pupils to write a diary entry about what it is

like being at the front.

TIPS:

• Show examples of famous diaries and highlight language features.

• Give breakdown of what they can write in each paragraph.

• Do a mind map to plan, with sections on character, plot and setting.

Drama:

If studying a play, you can ask pupils to write a scene with the existing characters.

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• Teach pupils how to write dialogue (see p. for example)

• Use a page or two of the play to highlight the feature of writing drama (e.g.

how to write stage directions and layout of characters speech).

Establish aims:

• Suggested word count

- Level 2 (100 – 200 words)

- Level 3 (200 - 500 words)

- Level 4 (500 – 700 words)

• Format

- Always display an example of the format, letter, diary entry

etc.

• Differentiation: Must/should/could

- Give different word limit options

- Give example starter lines as an option to use

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Non- specific prompt

TEACHER’S NOTES:

Non-specific prompt – Why should I choose this approach?

There are many different ways to approach a creative writing unit. One way that is

often talked about but is not immediately accessible is the non-specific prompt

approach. The non-specific prompt approach is when you are given an object, title

or any other “non-specific” thing that gives you a start for your creative piece. It is

“non-specific” because it gives you a choice as to how you bring it into your writing.

One way to do this as a teacher is to look at the levels you are teaching and what

your students should be getting out of this task. I would often say that creative

writing is a very open task where levels are more accessible as all of the writing

comes from one’s self. However, if you were struggling with levels for this task you

could break it down so that if your class were set as level 2 you would create the

start of the story for them and see where they want to take it, this would be a

scaffolding technique, so that you were modelling a standard for them that they can

follow. If you were teaching a set level 3 class you could give them a title to see

what they would take from that and to motivate creativity. However, if you were

teaching a level four class bringing an object that is “non-specific” into the story is a

another way in which learners can start to create their own individual styles and

responses to stimuli.

TEACHING IDEAS

Non-specific prompt types:

Story starter:

The overarching shadows seemed to reach for me, as I walked on towards that eerie

building. The darkness drawing me in as I arrive at the door. A shiver runs down my

spine as I push down the handle and step inside…

[This type of prompt creates a setting, stage or platform from which learners can

move the story on.]

Titles for your work:

The Ghost Ship The Pirates Before Tomorrow

The Accident The Portal A Promise

The Surprise The Descendant A Dream Come True

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For this to work the class must understand what the words in the title connotes. This

can be part of the planning stage or followed as a model for class discussion

displaying whole class ideas. This is useful for learners to take initiate but also for

learners who struggle to fabricate somewhere to go within the story. This can be

covered in the section regarding plot but as we know plot is the makeup of what is

created by your characters and your setting.

Object Prompt:

This is an approach that I think can be so much fun for the creative process. It

involves bringing in a random object into the class and making it a focus or at least a

part of the writing process. Ways to do this can be by passing the object around first

and asking for adjectives to describe it or ideas as to where you would find it. This is

useful as it helps to familiarise learners with said objects and to make links with it

between both different times and spaces in which the object would appear. There

are many different objects you can use such as; a medal, a map, a watch or even

something as mundane as a pencil. The important part of this task is that they start

to create an idea around the time or the situation in which this object was

important.

It is also important to realise that many classes will not be set and you can have an

array of ability that you are working with and working for. This is when I would

suggest using the must, should and could format for differentiating the task. This

simply means that you pick one of the above methods and break it down across all

the following levels: level 2 is for your must, level 3 is for your should and level 4 is

for your could groups. This is for your marking schemes as well as for the task

sheets you will give out for each level.

Must – This will be aimed at level 2 and will follow an almost fill in the blanks

approach so that for anyone who struggles to fabricate the links between the

different parts of the story there is an outline to follow. This should still allow for

creative choices in the blanks.

Should – This will be aimed at level 3 and will do the same as the must but only for

two paragraphs so that the creative process is modelled for them before they begin

to model their own.

Could – This will be aimed at level 4 and will be very much an open task for them. I

would suggest giving paragraphs headings for them to follow such as; setting,

character, conflict, climax and resolution.

What is stated above would link to the benchmarks for creative writing and should

be specifically set with the task you have created in mind.

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However to arrive at this point of writing for such a story, you must have covered

many different aspects of writing such as; plot, character and setting. All of these

must be understood individually to bring together a cohesive story.

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Teaching notes and resources

Setting

Setting can be defined as the “place or type of surroundings where something is

positioned or where an event takes place”

Useful Definitions:

Time: This is When the story takes place

Place: This is the location where the story is set

Words commonly associated with setting are mood and atmosphere. An

understanding of these two things will help you to create a setting.

[I would recommend asking the following question to help bridge any

gaps in understanding.]

1. What sort of emotion is the setting trying to convey?

Top Tip:

Different Tasks

1. A way you can help your learners start to see the link between the above is to

give them a list of locations and time periods and ask them to match them to

the different pictures shown on the board. This should familiarise them with

what fits together. You can take this step further by asking them how they

could tell what went with what and why this was? You can also ask them

what mood they associate with each picture. This is another way to break

down the task via the must, should and could format.

2. Another task to help further understanding of setting is to display a set of

words under a picture and ask the class to create their own adjectives. This

should further an understanding of what a setting feels like and how they can

show this through language.

Both mood and atmosphere are used to convey the feeling of

a story. If students can tell what feeling is created it means

they can start to see the markers that led them to this

understanding.

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3. When it comes to setting the senses are what is important as they

communicate something about where we are. The five senses; sight, smell,

taste, touch and hearing are vital to creating a viable setting in a story.

Creative writing is supposed to take us somewhere different and believable. A

task that I think is useful for this is one that will actively bring the senses into

our use of language. I would create a task where groups would be asked to

describe the following; how an object looked, the smell of a flower, the feel of

a fabric, the voice of someone they care about and what chocolate tastes like.

This would be achieved as a carousel activity before it became a whole class

discussion to show that we all respond differently to things which is why

creative writing is so much fun as it is completely our own. It is also is a great

opportunity to share adjectives and to further our vocabulary as a class.

Technical Aspects of Creative Writing:

- Metaphors

- Similes

- Personification

Metaphor: a figure of speech in which a word or phrase is applied to an object or

action to which it is not literally applicable.

Simile: a figure of speech involving the comparison of one thing with another thing

of a different kind, used to make a description more emphatic or vivid (e.g. as brave

as a lion)

Personification: the attribution of human characteristics to an object or setting.

All of the above create more belief in the mood and atmosphere of a setting.

Task: You can show the class different extracts of writing that focus on setting and

ask them to pick out the language or parts of the writing that create a believable

world through mood and atmosphere. This is really interesting because you can pull

sections from specific genres and talk about how the setting creates a feeling for

what the story is about as a whole. It is interesting to choose extracts from different

genres to show this contrast more clearly. This means that learners understand

more fully the process of creating a setting and in what way it sets up the model for

the story.

Task: Creating sentences which contain aspects of metaphorical language and

asking the students to find them and tell you what they suggest is another useful

task in creating a move towards a writing piece. From here students can make up

All of these are important as they

tell us more about a setting.

They liken it to something which

displays a feeling towards it.

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their own sentences and create answers as to what they are suggesting about a

time, place or object. They will swap with another student and see if they can judge

the feeling of the sentence.

This is all a part of a modelling process. See below a process of planning:

Place (General Location):

Things we would find in

the location:

Time (year):

Time of day:

How does this link

with the place

(think feeling and

atmosphere):

Weather:

Think about your

senses (what are

they telling or

showing you

about this place)

Metaphors, Similes

or Personification

you could use:

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Teaching notes and resources

Characterisation

[Teacher’s notes are in [ ] and in bold throughout, everything else is

intended as resource for pupils to use]

What do you think we mean by characterisation?

• Characterisation means creating characters. This involves two separate

processes. First, you get to know your character (s) and, secondly, you select

information to communicate to your readers.

One of the first things that a writer does to tell us about a character is to

describe them.

TASK 1:

[Teacher’s note: Task 1 is aimed at both Level 2 and 3, and can be

adapted for Level 4 to include character descriptions of a text that is

being read in class]

Task 1: The Secret Garden - Characters

Here is an example of a character being described.

MRS MEDLOCK: Housekeeper

She was a stout woman, with very red

cheeks and sharp black eyes. She wore a

very purple dress, a black silk mantle with

jet fringe on it and a black bonnet with

purple velvet flowers which stuck up and

trembled when she moved her head.

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PUPIL TASK: Read the description of the two characters and then draw a

picture of the character in the box. Try to include all of the descriptions that the

writer gives us.

MARY LENNOX: Young girl

When Mary Lennox was sent to Misselthwaite Manor to live with her uncle everybody

said she was the most disagreeable looking child ever seen. It was true, too. She

had a little thin face and a little thin body, thin light hair and a sour expression. Her

hair was yellow, and her face was yellow because she had been born in India and

had always been ill in one way or another.

Draw Mary in this box.

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DICKON:

He was a funny looking boy about twelve. He looked very clean and his nose turned

up and his cheeks were as red as poppies and never had Mistress Mary seen such

round and such blue eyes in any boy’s face.

Draw Dickon in this box

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Creating your own character

[Teacher note: Level 2, Level 3 and Level 4 are all separate work

sheets, colour coded]

[Level 2]

You are going to write a description for your own character.

Things to think about…

1. What does your character look like?

Are they short, tall? What is their hair colour? Describe their facial features.

2. What do they wear, and how do they wear it?

What a character wears and how they wear it can tell us a lot.

“Andy wore a smart suit with the shirt buttoned right to the top.”

“Debbie wore a baggy jumper with a scarf slung over her shoulder.”

What do these descriptions tell us about these people. What type of people

do you think they are from these descriptions?

3. What kind of sounds do they make?

Can you describe their voices, their footsteps, their verbal mannerisms?

“Mrs Wilson had a shrill laugh and a high-pitched voice that made her

sound like a bird chirping.”

4. How do they smell – pleasant, unpleasant, natural or artificial?

“Jacob smelled like firewood and fresh air, which suggested that he

worked outside.”

TASK 2:

[Teacher note: see also ‘character profile’ sheet on p.5 which can be used

to build character description]

1. Get a good picture of your character into your head before you begin writing.

You may not use all the details you have decided on, but your character will

be more realistic if you have given him / her careful consideration. Try to

include at least one description from points 1 – 4 above.

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Write a paragraph to describe your character.

2. Now, swap your worksheet with a partner. Draw a picture in the box below using your partner’s description.

Draw a picture using the character description.

3. Does their drawing look like how you have imagined your character? ____________________________________________________________________________________________________________________________________________________________________________________________________________

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Remember, the reader can’t see inside your head and read your thoughts. You have to describe in words the picture that you see in your own head. If the drawing is not like how you imagined your character, think about what you have missed out. Could you use more description so that the reader has an accurate picture?

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LEVEL 3








“Andy wore a smart suit with the shirt buttoned right to the top”.

“Debbie wore a baggy jumper with a scarf slung over her shoulder”.









worked outside.”

5. Taste and touch can also be used.

Do they grab or claw? Do they savour each morsel when they eat?

“Katie snatched the cake out of the boys hand and devoured it in one

bite.”

What do these actions suggest about Katie?

6. Name your character.

Remember, names come with associations. They may suggest the character is

old-fashioned, exotic, aristocratic, babied or despised. You can choose names

which are affectionate diminutives or associated with screen or pop stars. But

whatever names you choose, think about the associations first.

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TASK 2:







Unusual details can be most evocative, so use your senses.


2. Now, swap your worksheet with your partner. Draw a picture in the box below using your partners description.

Draw a picture using the character description:

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Does their drawing look like how you have imagined your character?


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LEVEL 4








“Andy wore a smart suit with the shirt buttoned right to the top”.

“Debbie wore a baggy jumper with a scarf slung over her shoulder”.









worked outside.”

5. Taste and touch can also be used.

Do they grab or claw? Do they savour each morsel when they eat?

“Katie snatched the cake out of the boys hand and devoured it in one

bite.”

What do these actions suggest about Katie?

6. Name your character.

Remember, names come with associations. They may suggest the character is

old-fashioned, exotic, aristocratic, babied or despised. You can choose names

which are affectionate diminutives or associated with screen or pop stars. But

whatever names you choose, think about the associations first.

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TASK 2:







Unusual details can be most evocative, so use your senses.


2. Now, swap your worksheet with your partner. Draw a picture in the box below using your partners description.

Draw a picture using the character description:

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Does their drawing look like how you have imagined your character?


Level 4 extended task:

Going forward with your character writing:

• Characterisation and plot are connected.

Characters will be more effective if they are shown to be doing something at a

specific time and place in your story. Your characters should also change or develop

during the narrative – only cardboard cut-outs are untouched by the course of

events.

• Don’t forget the past.

What has happened to make your characters the way they are? How do they feel

about themselves? How do they interact with others? What is the driving force in

their lives?

• Really know your character.

If you’ve been thorough in your characterisation, then you will know exactly how

your character speaks, which brings us to direct speech and the individual speech

patterns we mentioned earlier.

• Direct speech is when you put the words your character speaks directly into

the text. It is a powerful tool when creating characters. [see additional

resources p.33]

• Direct speech is when you put the words your character speaks directly into

the text. It is a powerful tool when creating characters.

• So, how do we reveal character through speech?

• Well, we can say that Jack asked for an apple. This is indirect or reported

speech, because we do not know the exact words that Jack said. It is a far

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weaker way of writing than if you use direct speech. Jack can ask for an apple

in many different ways; each time he is a different person.

• “Gimme that apple there!”

• “Please may I have an apple?”

• “No, not that one! The Granny Smith!”

• “Pleez, give me apple?”

• As we study various stories, examine how direct speech is used. Try to

imagine how dull they would be if they used only indirect speech.

GENERAL NOTES

• Time is essential for writing.

• You need time to think. This is something your brain is doing all the time

anyway. Ideas come and go and are either stored , developed or rejected.

• When you do get an idea, you need time to write it down. This can happen at

any time, so it’s best to carry a note pad to jot ideas down. If not they’ll be

gone by the time you reach paper and pen.

• When you’ve written a piece, you also need time to distance yourself from it.

You can be far too close to your writing to be able to see it objectively. You

need objectivity to appraise your own work. You need to put it aside for long

enough so that when you come back to it, days or weeks later, you feel as if

a different “you” had written it.

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PLOT – How to Teach It

What is a plot?

The plot is the series of events / revelations that unfold as your story is

told from beginning to end.

Three Arc Plot Structure

Exposition: the beginning of the story, establishment of setting and

characters

Conflict: the problem(s) faced by the characters

Putting a series of obstacles in the way of your character, which they overcome,

is a good way to include change and conflict in your writing. This is something

that changes the normal (whatever that is) situation. It pushes the main

character to act.

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Rising Action: events in the story leading up to the climax

Climax: the culmination of events in the story, point of highest reader

interest.

Resolution: how events and problems of the story are solved

Endings

Endings are crucial. Not because your stories must stop sometime, but

because they must stop at the right point and in the right way. The best

endings are unexpected and yet inevitable. They should leave the reader

feeling satisfied and without unanswered questions, unless, this is the

author’s intention.

A twist ending can be particularly effective, although not all stories are

suited to this device. Such endings involve a turnaround in events –

information is revealed which was previously unknown to the reader,

and everything that has come before suddenly shifts into a different

perspective. Of the stories we will look at, only two do not feature twist

endings. The authors of these stories are aiming for something other

than the thrill factor of surprising the reader.

Finally… Something Else to consider!

Point of View: To identify the POV in a story, students must ask “who is

telling the story?” Is it a first, third, or even second (rare!) person

narrator? Are they omniscient or limited in their perspective? Does the

perspective shift between different characters?

Your character doesn’t just arrive at the main action – there is usually a journey,

a series of events or problems that they need to solve before they get there. This

is a good space for the reader to get to know your character, where they meet

allies and investigate/plan. This section will build tension and anticipation.

This is the final confrontation, the shock reveal, the twist in your story.

Everything has been leading to this in your story – this is the most exciting part!

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Activities for Students

Read, Roll, and Retell

This simple activity is a fun way for students

in a group to review material they have

recently read. It begins with a student rolling

a die or dice. The number they roll

corresponds to a list of questions on each

story element.

For example, the student rolls a 3 which corresponds to a question on

setting, such as Where and when did this story take place? The student

then answers in as much detail as possible with reference to the text.

This activity can easily be differentiated by increasing the number and

complexity of the questions, as well as by broadening the range of

elements included. More than one question about each element can be

included too.

Pick a Part

This activity works well with students working in pairs. Each student has

a copy of the story. The various story elements are written on pieces of

card: character, setting, mood, tone etc. Students take turns picking out

a piece of card, making sure their partner does not know which element

they have selected. They must then read a brief extract from the story

that corresponds to that element. Their partner must attempt to identify

the element. When their partner has successfully identified the story

element, it is then their turn to pick a card.

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Story Maps

Story maps help students to organize the elements of the story in a visual manner that assists in gaining that fuller comprehension. Students examine the assigned text and extract the information related to each element. They can then record this information on their copy of the story map.

Story maps easily lend themselves to being differentiated, as the teacher can select the elements most appropriate for the age and ability of the students. In the beginning, students should gain experience identifying the basic elements in simple stories - fairy tales for example - before moving on to more sophisticated stories employing a wider range of elements.

Eventually, in regards to reading, students will be able to identify a story’s elements naturally, without the aid of a story map or graphic organizer of any sort - though this option will always remain for those who require the additional support a story map offers.

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Below is a diagram for you to fill in your own plot!

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Additional resources:

Technical Writing

TEACHER’S NOTE:

This section focuses on the technical aspects of teaching imaginative

writing. This will be something you will do before pupils begin to write

their stories to ensure that they have a firm grasp on writing sentences,

appropriate and effective vocabulary, and using speech.

Writing Speech

What is the purpose of speech in a piece of writing?

- What a character says shows what type of person he/she is.

- Speech can convey emotion and attitude to the reader.

- Consider the use of “said”. When your characters speak use

synonyms (other words) for said.

Said is Dead!

As we can see, the word said does not give the reader much

information.

“Come here,” said Jack.

Was Jack angry?

Was Jack being

friendly?

Was Jack concerned?

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Speech and Emotion

You are able to convey how afraid characters are when they hesitate in

their conversation.

WORDS TO USE INSTEAD OF “SAID”

Anger:

Shouted, bellowed, yelled, snapped, cautioned, rebuked.

Affection:

Consoled, comforted, reassured, admired, soothed.

Excitement:

Shouted, yelled, babbled, gushed, exclaimed.

Fear:

Whispered, stuttered, stammered, gasped, urged, hissed, babbled,

blurted.

Determination:

Declared, insisted, maintained, commanded.

Happiness:

Sighed, murmured, gushed, laughed.

Sadness:

Cried, mumbled, sobbed, sighed, lamented.

Why are you er… so um…

um… mean to me?

DIALOGUE

ALWAYS GOES

IN SPEECH

MARKS!

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Conflict:

Jabbed, sneered, rebuked, hissed, scolded, demanded, threatened,

insinuated, spat, glowered.

Making up:

Apologised, relented, agreed, reassured, placated, assented

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Sentence Structure

Your writing can be improved by using certain aspects of sentence

structure to enhance ideas throughout your story.

For example, ellipses, question marks, short and long sentences, minor

sentences and lists.

Ellipses

Imagine your story contains dialogue where one character interrupts

another – ellipses can be used to highlight this. It can also be used to

convey confusion, hesitance or fear.

Question Marks

• These can be used effectively when using rhetorical questions. For

example, if a character is fearful, confused or inquisitive.

• Question marks can be used as a stand in for the reader

themselves, almost like the character is “wondering aloud” for the

reader’s benefit.

Eg. What is happening to me? How did I end up at this abandoned

hospital? Why does everything hurt?

Lists

Lists are self-explanatory and can be useful when describing a setting or

someone’s appearance.

Short and Long Sentences

Short sentences add tension, they quicken the pace of the writing and

reel the reader into the action.

Long sentences allow for more detailed descriptions of the action or

places, but can be used to show that time is moving slowly, that

something seems never-ending or boring to the protagonist.

Here some minor sentences are also used (sentences without verbs)

I stopped.More explosions. I moved slowly. I stayed low.

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IMPLICIT VS EXPLICIT CHARACTERISATION

Remember to show a character’s emotions and personality through a

few things:

1. Body Language

2. Inner thoughts

3. Speech

4. Actions

5. Appearance

Below is a handy guide to body language, if your character is feeling one

of these emotions then you can use these BEHAVIOURS to show it.

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DESCRIPTIVE LANGUAGE

Simile: A comparison using like or as.

The sticky layer of blood stuck to the ground like skin.

Metaphor: A direct comparison. Saying something is something else.

I gazed at my enemy’s twisted face, it seemed to be that of the devil’s.

Personification: Giving an non-human object human qualities.

With his skilful movements laser spear seemed to dance in mid-air.

Twirling and twisting like a ballerina.

developing imaginative writing skills for bge teaching … · 2020. 6. 5. · this could be a fun...

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