kite - pearson education discovery – how the author creates character (text annotation and journal...

9 781405 816472

ISBN 1-405-81647-3

TEACHER’S BOOKLET

Pearson Education Limited, Edinburgh Gate, Harlow, Essex, CM20 2JEEngland and Associated Companies throughout the World

© Pearson Education Limited 2005

The right of Rob Batho to be identified as the author of this work has been asserted by himin accordance with the Copyright, Designs and Patents Act of 1988.

Extracts from Kite © 1997 Melvin Burgess

The original edition of Kite is published by Andersen Press Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrievalsystem, or transmitted in any form or by any means, electronic, mechanical, photocopying,recording, or otherwise without the prior written permission of the Publishers or a licence

permitting restricted copying in the United Kingdom issued by the Copyright LicensingAgency, 90 Tottenham Court Road, London, W1T 4LP

ISBN 1405 816473

First published 2005

kite

Introduction

2

AimThis resource provides materials to support the teachingof framework objectives through the reading of Kite.Reading can be a shared, social activity and it isimportant that pupils are given the opportunity to talkand write about their reading. Emphasis is placed onthe promotion and development of independentreading, as pupils are asked to reflect on the readingstrategies they use and encouraged to try out newones. Many of the activities encourage pupils to build abridge between their reading and writing. In particular,pupils are encouraged to develop the skills that readersin Year 8 need if they are to meet the reading andwriting demands made of them.

For the purposes of planning and teaching this unit ofwork, the novel has been divided into four sections,which reflect the structure of the novel. Each sectionaddresses two main objectives and two assessmentfocuses for reading. The sections and learningoutcomes are:

1 Discovery – how the author creates character (textannotation and journal entries) and character insight(drama presentation).

2 Rearing and freeing – how the author createshumour (text annotation and journal entries) andchapter structure (tension graph).

3 Hunting and the hunted – the structure of the novel(narrative structure chart) and independent research(presentation).

4 Survival – the structure of the novel, character,themes and issues (literature essay).

There is an emphasis throughout on teaching andlearning on the structure of the novel and the writer’scraft, two aspects that, according to QCA, pupils areleast successful with in the Key Stage 3 tests.

The lesson outlineThe lesson outline provides a structure for teaching ‘at aglance’. It is intended to provide a framework and canbe adjusted to suit your circumstances. The structureenables you to cover a longer text, while maintainingpace. Assessment focuses are addressed and frameworkobjectives are taught explicitly and clearly placed withinthe context of the book and the lesson structure. Therewill be issues about coverage, but it is more importantthat pupils are able to explore their reading through talkand other interactive approaches, rather than sittingpassively as the whole book is read to them, or worse,being asked to ‘read around the class’. It is alsoimportant to allow pupils to control their own reading. Ifthey want to read on, let them; re-reading chapters andrevisiting prior reading may highlight things that weremissed before.

Reading journals

While some pupils will eagerly share their impressions

about texts they have read, others feel less comfortablein class discussions, and will keep their thoughts tothemselves. In an effort to encourage all pupils to thinkmore about what they read and to share theirobservations and opinions confidently, some teachersuse reading journals to great advantage. Readingjournals provide pupils with the opportunity to reflect,speculate and express their immediate responses totheir reading. They can be an essential tool in trackinghow pupils are responding to the text.

Pupils can make a wide variety of entries, including:

• noting responses

• questions arising

• mind-mapping and other graphic representations

• jotting down words and phrases that need clarifying,or that they could ‘steal’ for their own writing

• keeping track of the plot.

Most pupils will need support if they are to write withclarity and understanding, even if they are just makingnotes. For example, if pupils are asked to delve intocharacters’ motivations and choices, this kind ofresponse will need to be modelled for them. You canalso provide key words and phrases to prompt criticalresponses from pupils, for example:

‘If it was me, I would …’

‘I was surprised when …’

Assessing the reading journal

It is important that pupils regard the journal as part of acontinuing dialogue with the teacher and with eachother, rather than work that is to be marked. However,there are three stages that reflect critical thinking andreading and these could be used as a teacher checklistfor assessment:

1 A literal encounter with the text – the pupil’sresponses are superficial and tend towards recount.

2 Analysis and interpretation – the pupil’s responsesare more reflective, for example empathy with acharacter is reflected in the journal.

3 Synthesis and evaluation – the pupil is able to makelinks within and beyond the text.

It is important to remember that more challengingcontent on its own does not always improve pupils’critical thinking. Equipping pupils with the rightvocabulary and the methods by which they can appraisetheir learning and progress is a key part of the process.

How often should pupils write in their journals?

Less is more! Writing in journals several times a weekwill soon become tedious and pupils will find that theyhave nothing new to add. It is much better to ask forfewer responses, and ones that require deeperengagement, so that pupils are writing for themselvesand not for the teacher. It may be worthwhileestablishing routines so that pupils know when they areexpected to make an entry.

Overview of objectivesThe notion of literacy being embedded in objectives involves much more than thebasic acquisition of skills. The objectives selected here focus on enabling pupils toread as readers in order to deepen their understanding and appreciation, and to readas writers so that they can identify typical features and explore how writers gainimpact. This is the point at which the bridge between reading and writing is made –when the pupil has the ability to step outside the body of a text and look at it as awriter. The objectives listed below encompass the ability to recognise, understandand manipulate the conventions of language and develop the pupils’ ability to uselanguage imaginatively and flexibly in the narrative context. Objectives (and pupils)benefit from being explicitly taught and from being identified and deployed incontext. Other objectives can also be taught (through starter activities), but it is upto the teacher to decide where the priority lies and to adapt the resource materialsaccording to the needs of the pupils.

3

W4 Complex and unfamiliar words

Reading

R2 Independent researchR3 Notemaking formatsR4 Versatile readingR5 Trace developmentsR7 Implied and explicit meaningsR10 Development of key ideasR13 Interpret a text

Writing

Wr2 Anticipate reader reactionWr10 Effective informationWr14 Develop an argumentWr16 Balanced analysisWr17 Integrate evidence

Speaking and listening

S&L10 Hypothesis and speculationS&L16 Collaborative presentation

Word

Year 8

4

Less

on

1 2

AFs

an

d o

bje

ctiv

es

•S&

L10

Hyp

oth

esis

an

dsp

ecu

lati

on

Rea

din

g A

F3 &

AF6

•R4

Ver

satil

e re

adin

g•

R7 Im

plie

d an

d ex

plic

itm

eani

ngs

Less

on

fo

cus

Ch

apte

r 1

•Pr

edic

t •

Spec

ulat

e

Ch

apte

r 2

•Pr

evio

us r

eadi

ngex

perie

nce

•Re

inte

rpre

t

Star

ter/

Intr

od

uct

ion

Pre-

read

ing

•In

trod

uce

the

use

of t

he r

eadi

ngjo

urna

l as

a w

ay t

o re

flect

on

plot

, ch

arac

ter,

idea

s an

dqu

estio

ns.

Prov

ide

sent

ence

star

ters

as

supp

ort.

•Ex

plai

n ou

tcom

es o

f th

e un

it of

wor

k: t

o re

ad a

nov

el (

Kite

),m

ake

a dr

ama

pres

enta

tion,

com

plet

e m

ood

and

stru

ctur

egr

aphs

, ca

rry

out

inde

pend

ent

rese

arch

, w

rite

a le

tter

and

writ

ean

ess

ay.

Ch

arac

ter

des

crip

tio

n•

Ask

pup

ils t

o sh

are

thei

rsu

gges

ted

title

s fo

r C

hapt

er 2

,gi

ving

rea

sons

.•

Resp

onse

par

tner

s. A

ctiv

ate

prio

rkn

owle

dge

by a

skin

g pu

pils

wha

tth

ey w

ould

exp

ect

to f

ind

in a

good

cha

ract

er d

escr

iptio

n.•

Rem

ind

pupi

ls o

f th

e in

gred

ient

sof

a g

ood

char

acte

r de

scrip

tion.

Dev

elo

pm

ent

•Fo

cus

pupi

ls o

n re

adin

g st

rate

gies

and

read

ing

jour

nals

. In

trod

uce

Kite

and

ask

pupi

ls t

o di

scus

s th

e tit

le,

cove

r, et

c.•

Read

Cha

pter

1.

Ask

pup

ils t

o su

gges

t a

title

for

the

cha

pter

and

to

writ

e in

the

irjo

urna

ls t

hree

to

five

ques

tions

tha

t th

eyho

pe w

ill b

e an

swer

ed b

y th

e en

d of

the

nove

l.

•G

roup

tas

k. A

sk p

upils

to

com

plet

e Pu

pil

wor

kshe

et 2

.1,

focu

sing

on

char

acte

rde

scrip

tion.

Pu

pil

wo

rksh

eet

•G

uide

d se

ssio

n. F

ocus

on

how

the

aut

hor

desc

ribes

and

cre

ates

a c

hara

cter

. G

uid

ed s

essi

on

pla

nn

er

An

no

tate

d t

ext

2.

32.

2

2.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk s

elec

ted

pupi

ls t

osh

are

thei

r qu

estio

nsw

ith t

he c

lass

.

Ho

mew

ork

•Re

ad C

hapt

er 2

and

sugg

est

a tit

le f

or t

hech

apte

r.

Plen

ary

•G

uide

d gr

oup

repo

rts

toth

e cl

ass

on t

hree

exam

ples

of

how

the

auth

or h

as c

reat

edch

arac

ter

in t

he e

xtra

ct.

Ho

mew

ork

•Re

ad p

ages

21–

26 o

fC

hapt

er 3

, an

d su

gges

ta

title

for

the

sec

tion.

Less

on

ou

tlin

e

5

Less

on

3 4

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F3 &

AF6

•R7

Impl

ied

and

expl

icit

mea

ning

s•

S&L1

6 C

olla

bo

rati

vep

rese

nta

tio

n

Rea

din

g A

F3 &

AF6

•W

4 C

om

ple

x an

du

nfa

mili

ar w

ord

s•

R7 Im

plie

d an

d ex

plic

itm

eani

ngs

Less

on

fo

cus

Ch

apte

r 3

•Em

path

ise

•Re

inte

rpre

t

Ch

apte

r 4

•M

eani

ng o

f ke

yvo

cabu

lary

•Re

-rea

d•

Rein

terp

ret

Star

ter/

Intr

od

uct

ion

Emp

ath

isin

g w

ith

ch

arac

ters

•A

sk p

upils

to

sugg

est

title

s fo

rth

e se

ctio

n of

Cha

pter

3 r

ead

for

hom

ewor

k. D

iscu

ss t

hese

and

vote

for

the

bes

t.•

Fini

sh r

eadi

ng C

hapt

er 3

, pa

ges

26–3

1.•

Mod

el p

ausi

ng t

o vo

ice

wha

tea

ch c

hara

cter

mig

ht b

e th

inki

ngas

the

y sp

eak.

An

no

tate

d t

ext

Ch

arac

ter

mo

tiva

tio

n a

nd

dev

elo

pm

ent

•Re

cap

Cha

pter

s 1–

3.•

Wor

king

in s

mal

l gro

ups,

pup

ilsco

mpl

ete

a ca

rd s

ort

activ

ity,

mat

chin

g un

fam

iliar

wor

ds f

rom

Cha

pter

s 4–

10 w

ith d

efin

ition

s.Pu

pils

writ

e th

e co

rrec

t m

eani

ngs

of t

he w

ords

in t

heir

read

ing

jour

nals

. Pu

pil

wo

rksh

eet

•D

iffer

entia

tion.

Giv

e so

me

pairs

blan

k ca

rds

on w

hich

to

writ

eth

eir

own

defin

ition

s; o

ther

pupi

ls c

an c

heck

wor

ds in

the

cont

ext

of t

he t

ext,

che

ck t

heet

ymol

ogy,

etc

.

4.1

3.1

Dev

elo

pm

ent

•G

roup

tas

k, f

ocus

ing

on c

onsi

derin

gch

arac

ters

’ th

ough

ts a

nd f

eelin

gs.

Ingr

oups

of

six,

pup

ils r

ead

anot

her

extr

act,

invo

lvin

g Ta

ylor

, hi

s fa

ther

and

Har

ris,

in a

sim

ilar

way

(pa

ge 2

8, f

rom

‘G

ood

mor

ning

, M

r H

arris

’, to

the

end

of

the

chap

ter)

. Pu

pil

wo

rksh

eet

•G

roup

tas

k, f

ocus

ing

on c

hara

cter

mot

ivat

ion

in C

hapt

er 4

. A

sk p

upils

to

choo

se c

hapt

er t

itles

fro

m p

hras

es in

the

text

and

to

disc

uss

Tayl

or’s

mot

ivat

ion.

An

no

tate

d t

ext

4.2

3.2

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk s

elec

ted

grou

ps t

opr

esen

t th

e ch

arac

ters

’th

ough

ts.

Oth

er p

upils

ask

them

for

evi

denc

e.

Plen

ary

•A

sk s

elec

ted

grou

ps t

osh

are

thei

r ev

iden

ceab

out

wha

t m

otiv

ated

Tayl

or t

o st

eal t

he e

ggs.

Ho

mew

ork

•Re

ad C

hapt

er 5

and

sugg

est

a tit

le f

or t

hech

apte

r.

6

Less

on

5 6

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F4 &

AF6

•R7

Impl

ied

and

expl

icit

mea

ning

s •

R13

Inte

rpre

t a

text

Rea

din

g A

F4 &

AF6

•R

5 Tr

ace

dev

elo

pm

ents

Less

on

fo

cus

Ch

apte

rs 6

an

d 7

•In

terp

ret

patt

erns

and

styl

e

Ch

apte

rs 7

–9•

Iden

tify

stru

ctur

e•

Inte

rpre

tpa

tter

ns

Star

ter/

Intr

od

uct

ion

Au

tho

r’s

styl

e an

d t

he

crea

tio

no

f h

um

ou

r•

Ask

pup

ils t

o su

gges

t tit

les

for

Cha

pter

5.

Dis

cuss

the

se a

ndvo

te f

or t

he b

est.

•M

odel

iden

tifyi

ng h

ow t

heau

thor

’s ge

nera

lly s

erio

us s

tyle

of

writ

ing

chan

ges

to a

hum

orou

sst

yle

and

how

hum

our

is c

reat

ed.

An

no

tate

d t

ext

Stru

ctu

re o

f th

e n

ove

l: h

ow

ten

sio

n is

cre

ated

an

d c

han

ges

•

Reca

p m

ain

poin

ts o

f C

hapt

ers

8–9

and

ask

pupi

ls t

o su

gges

ttit

les.

•M

odel

how

to

crea

te a

ten

sion

grap

h fo

r a

chap

ter,

usin

gC

hapt

er 5

as

an e

xam

ple.

Teac

her

pla

nn

er6.

1

5.1

Dev

elo

pm

ent

•G

roup

tas

k. A

sk p

upils

to

iden

tify

how

the

auth

or c

reat

es h

umou

r in

tw

o ot

her

pass

ages

in C

hapt

er 6

, an

d th

en t

o re

adC

hapt

er 7

. Pu

pil

wo

rksh

eet

•G

uide

d re

adin

g, f

ocus

ing

on id

entif

ying

the

auth

or’s

crea

tion

of h

umou

r. G

uid

edse

ssio

n p

lan

ner

•G

roup

tas

k. A

sk p

upils

to

wor

k in

pai

rs t

ocr

eate

a t

ensi

on g

raph

for

the

eve

nts

inC

hapt

ers

7–9.

A b

lank

ten

sion

gra

ph is

supp

lied.

Pu

pil

wo

rksh

eet

6.2

5.3

5.2

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk s

elec

ted

grou

ps t

ogi

ve e

xam

ples

of

the

auth

or’s

crea

tion

ofhu

mou

r.

Ho

mew

ork

•Re

ad C

hapt

ers

8–9

and

sugg

est

title

s fo

r th

ese

chap

ters

.

Plen

ary

•A

sk p

airs

to

shar

e th

eir

tens

ion

grap

hs w

ith t

hecl

ass.

Dis

cuss

any

diff

eren

ces.

7

Less

on

7 8

AFs

an

d o

bje

ctiv

es

Rea

din

g A

F4 &

AF6

•R7

Impl

ied

and

expl

icit

mea

ning

s

Wri

tin

g A

F2 &

AF3

•W

r10

Effe

ctiv

ein

form

atio

n

Rea

din

g A

F4

•R

10 D

evel

op

men

t o

fke

y id

eas

Less

on

fo

cus

Ch

apte

r 10

•Re

inte

rpre

t•

Empa

this

e

Ch

apte

rs 1

0–12

•Id

entif

y st

ruct

ure

•In

terp

ret

patt

erns

Star

ter/

Intr

od

uct

ion

Wri

tin

g a

lett

er t

o T

edd

y H

arri

s•

Wor

king

in p

airs

, as

k pu

pils

to

choo

se o

ne c

hara

cter

: H

arris

,Te

ddy

Har

ris,

Tayl

or o

r To

m.

They

cons

truc

t an

d th

en s

peak

one

sent

ence

tha

t su

ms

up t

heir

char

acte

r’s v

iew

s ab

out

red

kite

s.•

Read

Cha

pter

10,

pag

es 9

7–10

3.H

ighl

ight

and

dis

cuss

the

rea

sons

for

the

boys

’ ch

angi

ng e

mot

ions

and

thei

r de

cisi

on t

o w

rite

toTe

ddy

Har

ris.

•Re

vise

the

for

mat

of

a le

tter

and

the

use

of o

peni

ng p

arag

raph

san

d to

pic

sent

ence

s in

lett

ers.

Nar

rati

ve s

tru

ctu

re

•Re

view

the

hom

ewor

k ta

sk o

nC

hapt

er 1

1.

•D

emon

stra

te h

ow t

he s

truc

ture

of t

he n

ovel

fol

low

s an

dba

lanc

es t

he ‘

stor

ies’

of

the

four

mai

n ch

arac

ters

(Te

resa

, Ta

ylor

,To

m a

nd H

arris

). M

odel

ana

rrat

ive

stru

ctur

e ch

art

for

Cha

pter

11

and

expl

ain

that

chap

ters

will

gen

eral

ly f

ocus

on

one

char

acte

r’s s

tory

but

oth

erch

arac

ters

will

als

o fe

atur

e to

som

e ex

tent

. Te

ach

er p

lan

ner

8.1

Dev

elo

pm

ent

•G

roup

tas

k. P

upils

pla

n an

d w

rite

the

open

ing

para

grap

h of

the

boy

s’ le

tter

to

Tedd

y H

arris

. Th

ey t

hen

mov

e to

inde

pend

ent

writ

ing

to c

ompl

ete

the

lett

er.

Pup

il w

ork

shee

t •

Gui

ded

writ

ing.

Pup

ils p

lan

and

begi

n to

writ

e a

lett

er t

o th

e lo

cal n

ewsp

aper

com

plai

ning

abo

ut c

ruel

ty t

o bi

rds

of p

rey.

Gu

ided

ses

sio

n p

lan

ner

•Pa

ired

task

. A

sk p

upils

to

crea

te n

arra

tive

stru

ctur

e ch

arts

for

Cha

pter

s 10

and

12,

and

then

to

com

pare

the

thr

ee c

hart

s.Pu

pil

wo

rksh

eet

8.2

7.2

7.1

Plen

ary

and

Ho

mew

ork

Plen

ary

•A

sk g

roup

s to

rea

d th

eop

enin

g pa

ragr

aphs

of

thei

r le

tter

s.

Ho

mew

ork

•Fi

nish

lett

er.

Read

Cha

pter

11,

sug

gest

atit

le f

or it

and

not

ew

hich

cha

ract

er e

ach

sect

ion

is f

ocus

ed o

n.

Plen

ary

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© Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Group task1 As a group, re-read Chapter 2, pages 11–18. As you read, make brief notes on how the

author develops the character of Teddy Harris.

2 When you have finished reading, use a copy of the table below to note down the explicitfacts that you know about Teddy Harris (e.g. he is Mr Harris’s uncle) and also what is impliedabout him (e.g. he is bad-tempered). Record your evidence for each piece of information.

Pupil worksheet 2.1Lesson 2

Context

As a group we have:

• revised the range of reading strategies open to us

• read Chapters 1 and 2

• reminded ourselves of the ingredients of a good characterdescription.

Now you are going to explore how the author describes and creates acharacter.

Objective• R7 Implied and explicit meanings

10

Reading journal1 Write a paragraph describing the character of Teddy Harris.

Teddy Harris

Explicit information Evidence Implicit information Evidence

He is Mr Harris’s uncle. ‘I’m Teddy, the boss’s He is bad-tempered. The way he treats the uncle.’ (page 13) boys (pages 11–14).

Teaching objectives• R4 Review their developing skills as active, critical readers who search for meaning

using a range of reading strategies.

• R7 Identify the ways implied and explicit meanings are conveyed in different texts,e.g. irony, satire.

Focus• Chapter 2

• How the author creates the character of Teddy Harris

Introduction to task

Following the same structure as the group task, work with a group of pupils who are less secure with howcharacter is created.

Strategy check

Distribute the list of reading strategies and discuss expectations for developing active reading skills. Ask pupils toremember, and explain or illustrate, appropriate strategies they have used recently. The focus should then move toinference and deduction.

Independent reading and related task

Pupils explore how the author creates the character of Teddy Harris by recalling characters and plot events fromChapter 2 independently in order to remind themselves of the setting and events.

Return to text: developing response

Model reading the extract from pages 11–12 (see Annotated text 2.3). The reading process should be made explicitand responses from pupils should be drawn out as you read in order to highlight the way that the author explicitlyand implicitly creates the character of Teddy Harris.

In pairs, and following the example of the modelled reading, pupils should continue to explore pages 12 and 13,focusing on identifying ways in which the author creates and develops the character. Listen to pairs’ discussionsand intervene to support and guide them, where appropriate.

11

Guided session planner 2.2Lesson 2


‘Race you!’ And they launched themselves along thetrack, but …

‘YOU!’‘AH!’ It was awful! Alan actually fell over with surprise.

Taylor looked desperately about to find out what it was.There was a man. His head was surrounded in a fluff of

fine white hair and he was so small, and dressed all inbrown, that for a few seconds they thought they’d beencaught by some kind of wood gnome. He had wrinklyblack eyes, bulging with fury. He pointed his stick atTaylor’s nose.

‘What do you think you’re about? Eh?’Taylor gulped. ‘Looking for eggs, sir.’‘Eggs? EGGS?’snarled the little man. ‘What sort of eggs?’‘Owls’ eggs, sir. Long-eared owls,’ he added, hoping to

impress the man with his knowledge.‘Long-eared owls’ eggs!’ groaned the little man. He lifted

his stick and whacked it down hard on top of Taylor’s head.‘Ow!’ Taylor clutched his sore head and danced.‘You leave the owls alone!’‘Sorry, sir!’The old man was having trouble stopping himself from

hitting Taylor again. He gripped his stick and groaned andturned on Alan. ‘You’re a pair of thieves!’ he hissed.

Extract from Kite

Short, simplesentence to openparagraph, withno description ordetail. Leadsreader to want tofind out moreabout the man.

The imperativesentence andimpolite pronounimply the man’sauthority and hisdislike of theboys.

The man’s heightis emphasised bythe adjective.

The manyquestions suggestthe man’sirritation and aninterrogatingmanner.

The verb, nounsand adjectivescreate a clearpicture of theman’s head andimply his age.

The strong verband noun createa picture of theman’s anger.

The verb impliesthat the man ismaking Taylorfearful andrespectful.

The strong,onomatopoeicverb and adverbialphrase give astrong image ofthe man’s violentnature.

Pronoun evokesmystery.

The adjectiveexplicitly indicatesthe man’s age,but possiblyengages thereader’s sympathyfor the first time.

The comparisonreinforces theman’s height andoddness.

2.3 Chapter 2: pages 11–12

12

Modelled reading

The exclamationmarks emphasisethe man’s angrytone of voice.


It was a red kite.Taylor could hardly speak. Only twenty-four left, Teddy

had said! And now …‘But it’s a kite!’ he exclaimed.

His dad frowned. ‘Rare, aren’t they? Good job. I bet oneof them could get a fair few pheasants down it.’

Taylor licked his lips. ‘We’d better hide it…’ he began.

‘No, Harris’ll want to see it!’ his dad exclaimed.

‘No! It’s illegal! His uncle’s here, he’s bird mad, he…’His dad walked across and pulled at one of the long wing

feathers. The wing opened like a machine. ‘Big as abuzzard! What a shot!’

‘It’s a kite! It’s important. You can’t shoot them. They’reso rare, you see. They’re so few left. Harris’s uncle toldme. He’s come here just because of this bird. And now…’

Extract from Kite

How can I get through to you, Dad?! It’s a red kite and tokill it is illegal. Harris’s uncle is sure to find out and thenboth you and me will be arrested.

I’m really pleased to have shot down such a big bird.

You’re wrong, son. Harris will be pleased with me andpleased to see such a dead beauty.

In case Teddy Harris or the police see it. We could be in bigtrouble.

I’m not worried that it’s rare. I’m worried that alive, it couldkill my lovely pheasants.

What! How could Dad have killed such a rare bird?!

3.1 Chapter 3: pages 27–28

13

Modelled reading


Group task1 Work in groups of six. In each group, one pair of you is A, one is B and one is C. The As are

Taylor, the Bs are Taylor’s father and the Cs are Harris.

2 You are going to dramatise from ‘Good morning, Mr Harris’ on page 28 to the end of thechapter. One person in each pair should read dramatically exactly what their character saysand the other person in the pair should say what their character is actually thinking andfeeling at that moment.

3 Swap roles so that the other person in each pair gets a chance to suggest the thoughts andfeelings.

4 As a group, compare what each person suggested about the thoughts and feelings of thecharacters and discuss what evidence there might be for their suggestions.


Context

As a group we have:


• read Chapters 1 to 3

• identified how the author creates a character.

Now you are going to dramatise the thoughts of some characters inthe novel.

Objectives• R7 Implied and explicit meanings

• S&L16 Collaborative presentation

14



15

folly A building, often in the form of a castle, temple, etc, built with little or noChapter 4 practical use

cleft An indentation or split in somethingChapter 4

shilling An old British coin replaced by the five pence pieceChapter 4

turncoat A person who deserts a cause or group to join an opposing oneChapter 5

guinea An old British gold coin worth £1.05Chapter 5

bird of prey A bird, such as a hawk or owl, that hunts other animals for foodChapter 5

fledgling A young bird that has grown feathersChapter 6

cadge To get food, money or help by sponging or beggingChapter 6

vermin Small animals that spread disease and damage cropsChapter 6

perpendicular Upright or verticalChapter 7

clearing An area with few or no trees or shrubs in wooded or overgrown landChapter 7

carrion Dead or rotting fleshChapter 7

poacher A person who illegally catches game or fish by trespassing on another’s landChapter 7

scavengers Any animals that feed on discarded or decaying matterChapter 8

falconry The art of training hawks to huntChapter 8

pored Examined or studied closelyChapter 8

griffon A mythical winged monster with an eagle’s head and a lion’s bodyChapter 8

stalemate A situation in which further action by two opposing forces is impossible or Chapter 8 pointless

agape Wide openChapter 9

gaudy Bright, colourful and showyChapter 10

covey A small flock of partridges or grouseChapter 10

plumage The feathers of a birdChapter 10

beat To search woodland or undergrowth to rouse game birds for shootingChapter 10

✁


Group task1 Read Chapter 4. As you read, jot down any phrases from the text that might be a good title

for the chapter.

2 When you have finished reading, share the phrases you have chosen as possible chapter titleswith the rest of your group. Discuss these, and choose the best.

3 Now discuss the following questions as a group:

• Why did the author tell the reader about Taylor’s meeting with Harris the day before?

• What motivates Taylor to steal the eggs? Can you find evidence from the text to supportyour views?

Reading journals1 Write down your group’s chosen chapter title and give reasons for your choice of this phrase.

2 Write a paragraph about Taylor’s motivation for stealing the kite’s eggs.


Context

As a group we have:



• identified how the author creates a character

• dramatised the thoughts of characters.

Now you are going to explore character motivation.

Objective• R7 Implied and explicit meanings

16


‘It must be worth thousands and thousands of pounds,’said Alan.

The boys gulped.Suddenly Taylor began to giggle.‘What?’‘Look at it … look at it …’The chick was lying on its back against a big puff of

cotton wool, with its flabby little beak in the air and itsbald little wings folded over its tum.

‘It looks like someone’s gran!’ giggled Taylor. He was right. It looked just like a bald, bare, ancient old ladygone to sleep in a chair. And it was just a baby, it was sofunny …

They both began to laugh. Alan plumped the cotton woolup under its head. Taylor tried to rearrange its wings sothey were folded behind its head, but the little chick wokeup, tried to stand up and fell on its front, where it promptlystuck up its bottom and …

‘It pooed! It pooed!’ whooped Alan.Taylor got a bit of cotton wool and wiped it. ‘Wipe

your granny’s bum,’ said Alan, and they both startedhooting again. It was really hysterical.

Then at last, when the laughter died down, they foldedthe cotton wool ever so carefully over the top of the chick,and tiptoed out.

Adjectives createdetailed picturefor comparisonthat follows.

The two similesprovide a sharpcontrast andcreate humour.

Explicit andimplicitreferences,mainly verbs, toexpressions ofhumourencourage thereader to viewthe events asfunny.

5.1 Chapter 6: page 55

17

Modelled reading

Colloquial,human termspersonify the kiteand give aninformal tone.

The complexsentence, with itssubordinateclauses detailingthe continuousaction, creates ahumorous effectlike slapstickcomedy.


Group task1a Read Chapter 6. Find two other passages that are examples of humorous writing.

b In pairs, discuss how the humour was created in these two passages.

2 Decide on a title for the chapter. You could use a phrase from the chapter or make up yourown title.

3 Read Chapter 7. In pairs, consider how and where the mood of the boys changes.

Reading journals1 Record the page numbers of the passages in Chapter 6 that were humorous and the main

ways in which the humour was created.


Context

As a group we have:




• dramatised the thoughts of characters

• explored character motivation.

Now you are going to explore how the author creates humour.

Objectives• R7 Implied and explicit meanings

• R13 Interpret a text

18

Teaching objectives• R7 Identify the ways implied and explicit meanings are conveyed in different texts,

e.g. irony, satire.

• R13 Read a substantial text (novel, play or work of one poet) revising andrefining interpretations of subject matter, style and technique.

Focus• Chapter 6

• How the author creates humour

Introduction to task

Clarify objectives.

Return to text: developing response

Following on from the modelled reading of the extract from page 55, which considered how the author createdhumour (see Annotated text 5.1), ask pupils, with guidance, to read and annotate page 56, looking particularly forexamples of similes, slapstick humour, personification and explicit and implicit references to humour.

Independent reading and related task

Pupils read pages 59–61 independently and note down instances of where humour is created, deciding whetherthis was due to the use of any of the following techniques:

• similes

• slapstick humour

• personification

• explicit or implicit references to humour.

19


Model tension graph for Chapter 5High 10 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

9 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

8 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

7 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

6 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

5 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

4 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

3 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

2 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

1 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Low 0

20

Teacher planner 6.1Lesson 6

Harrisconfronts

andintimidates

Taylor

Taylorreturnshome

TeddyHarrisarrives and

Taylorworriesaboutbeingfound out

TeddyHarris notcross with

Taylor

TeddyHarris givesTaylor bird

book

Taylorremembers

egg andgoes to find it

Egg hashatched

and Taylorwonderswhat to do next

Ten

sio

n


Group task1 Look back at Chapters 7, 8 and 9 and make notes on the main events of each chapter.

2 Use these notes to create your own tension graph for these chapters, using the grid below.For each event that happens you should indicate how high the level of tension was.

3 When you have completed the graph, as a group discuss what it reveals about the structureof each chapter and the effect the tension has on the reader.


Context

As a group we have:





• explored character motivation

• identified how the author creates humour.

Now you are going to consider structure in the novel by creating atension graph.

Objective• R5 Trace developments

21

High 10 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

9 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

8 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

7 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

6 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

5 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

4 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

3 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

2 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

1 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Low 0

Ten

sio

n


Group taskIn the role of either Taylor or Alan you are going to write a letter to Teddy Harris.

1 As a group, discuss and agree on the events and issues that the two boys would want tobring to Teddy Harris’s attention in their letter. Each event or issue will form a separateparagraph in your letter.

2 Decide on the best order for your paragraphs.

3 Working as a group, write a draft of the opening paragraph of your letter. In this paragraph,you should introduce yourself and your main concerns to Teddy Harris.

Independent writing task1 Using the opening paragraph of the letter that you wrote as a group, and the order of the

paragraphs that you agreed, write the rest of your first draft of the letter to Teddy Harris.

2 When you have completed the first draft, share it with a response partner, who should giveyou feedback, for example, on the use of topic sentences in each paragraph and the tone ofthe letter.


Context

As a group we have:

• revised the range of reading strategies open to os





• identified how the author creates humour

• considered structure by creating a tension graph.

Now you are going to write a letter to Teddy Harris.

Objectives• R7 Implicit and explicit meanings

• Wr10 Effective information

22

Teaching objectives• Wr10 Organise and present information, selecting and synthesising appropriate

material and guiding the reader clearly through the text, e.g. a technologicalprocess, an information leaflet.

Focus• Chapter 10

• Writing a letter to the local newspaper complaining about the cruel treatment byhunters of birds of prey

Strategy check

Share the following list of writing strategies and discuss which of these will help to develop the writing skillsneeded for this letter writing task. Ask pupils to remember, and explain or illustrate, appropriate strategies theyhave used recently.

• Choose and use a planning format

• Stick to the objectives

• Have a reader in mind

• Visualise the whole piece

• Rehearse sentences in your head

• Consider the effect on the reader

• Re-read what you have written

• Ask questions

• Check what you have written against your plans and notes

• Select and apply techniques, vocabulary, etc. from your own reading.

Guided group taskGive pupils copies of letters from a local newspaper and guide pupils to identify some common features, such asterms of address and whether individuals who are criticised are named.

Pupils discuss and agree which events and issues from the story so far they will select to bring to the attention of alocal newspaper. Each agreed event or issue will form a separate paragraph in the letter. Pupils should then discussand agree the order of paragraphs.

Pupils write the introductory paragraph as a group. This should outline the main cause for complaint. Oversee andguide this process, where appropriate.

Pupils then work individually to compose the rest of the letter. Oversee and intervene to support and guide, whereappropriate.

23


Pages 105 106 107 108 109 110 111 112 113 114 115 116

Teresa

Taylor

Tom

Harris

Teaching objectives• R10 Analyse the overall structure of a text to identify how key ideas are

developed, e.g. through the organisation of the content and the patterns of language used.

Focus• Chapter 11

• Narrative structure

Use the chart below to demonstrate how the structure of the novel follows and balances the ‘stories’ of the fourmain characters (Teresa, Taylor, Tom and Harris). Explain that chapters will generally be mainly about one character’sstory, but other characters will also feature to some extent.

For each page of Chapter 11, colour in the boxes on the chart that correspond to each character whose story is amain focus on that page, as shown in the table below. You might want to use a different colour for each character.

24



Paired task1 Using the grid below, create a narrative structure chart for Chapter 10. For each page, ask yourself

‘Who is this part of the story mainly about?’ The first two pages have been done for you.

2 Read Chapter 12. As you read, note down whose story each page is mainly about. Thencreate a narrative structure chart for Chapter 12, using the grid below.

3 Look at the three narrative structure charts for Chapters 10, 11 and 12. Can you see anypatterns emerging? With your partner, discuss these questions:

• Are all four characters always present in each chapter?

• Does one character dominate any of the chapters?

• What do the charts and your discussions reveal about the structure of this part of the novel?


Context

As a group we have:







• considered structure by creating a tension graph

• written a letter to Teddy Harris or the local newspaper.

Now you are going to create a narrative structure chart.

Objective• R10 Development of key ideas

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Pages 92 93 94 95 96 97 98 99 100 101 102 103 104

Teresa

Taylor

Tom

Harris

Pages 117 118 119 120 121 122 123 124 125 126

Teresa

Taylor

Tom

Harris


Paired task1 You will have been allocated a specific topic to research, which is mentioned in or directly

relevant to Kite. Your task is to find out about the topic so that you can inform the rest ofthe class about it. Copy and complete the QADS grid below to help you sort out theinformation you need.

2 In the first column, write down any questions that you can think of relating to the topic youhave been given.

3 As you research your topic, each time you find information that relates to your questions,write down a brief answer to your question in the second column. You can add otherinteresting details that you discover in the third column. In the final column, make a note ofthe sources you have used to find out the information (e.g. title, author and page number ofa reference book or website and author).

4 When you have completed your research use the answers to your questions to write a briefsummary of the information you have found out about your topic which you can share in ashort presentation to others in your class.

Homework

Summarise your research findings in your reading journal and make brief notes on how theQADS helped you to carry out your research.


Context

As a group we have:








• written a letter to Teddy Harris or the local newspaper

• considered structure by creating narrative structure charts.

Now you are going to carry out independent research into topicsconnected with the novel.

Objectives• R2 Independent research

• R3 Notemaking formats

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Topic:Questions Answers Details Sources

Teaching objectives• R2 Undertake independent research using a range of reading strategies,

applying their knowledge of how texts and ICT databases are organisedand acknowledging sources.

• R3 Make notes in different ways, choosing a form which suits the purpose, e.g.diagrammatic notes, making notes during a video, abbreviating for speed and easeof retrieval.

Focus• Independent research

Topics

The following topics are relevant to independent research on Kite:

• Red kites

• Birds of prey

• Protection/conservation of birds in Britain

• Game birds

• Pheasants

• Shooting.

Websites

The following organisations have websites that may be useful for conducting research into the topics above:

• Royal Society for the Protection of Birds (RSPB)

• Royal Society for the Prevention of Cruelty to Animals (RSPCA)

• The Red Kite Feeding Station at Gigrin Farm

• National Birds of Prey Centre

• Department for Environment, Food and Rural Affairs (DEFRA)

• Game Conservancy Trust

• Countryside Alliance

• British Association for Shooting and Conservation

• Felstead Gun Dogs – this site has useful definitions and descriptions of game bird shooting terminology

• World Pheasant Association

• Pheasant Birds.

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Group task1 Read Chapter 14 from page 138 to the end of the chapter. As you read, note down any

evidence you find or thoughts you have that could help you decide what might happen toTeresa, Harris, Taylor and Tom in the final chapter of the novel.

2 As a group, discuss what you think might happen to Teresa, Harris, Taylor and Tom in thefinal chapter of the novel. Try to give evidence to support your views, either from Chapter 14or from what you have learned about each character earlier in the novel.

Reading journals1 Write a summary of what your group thought would happen to the four main characters in

the final chapter, including the evidence that supports these ideas.


Context

As a group we have:








• written a letter to Teddy Harris or the local newspaper

• considered structure by creating narrative structure charts

• carried out independent research into topics connected with thenovel.

Now you are going to speculate on the ending of the novel.

Objective• S&L10 Hypothesis and speculation

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29

Teaching objective• R10 Analyse the overall structure of a text to identify how key ideas are

developed, e.g. through the organisation of the content and the patterns of language used.

Focus• Chapter 15

• Narrative structure

Narrative structure chart for Chapter 15Ask pupils to create a blank narrative structure chart. Pupils should work in pairs to complete this, indicating themain events of the chapter on the chart and noting which characters are present. A completed version is providedbelow for your reference. Pupils could use a different colour for each character.

Pupils should then consider and discuss the build up and cooling down of tension in relation to character andevent.


Pages 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172

Teresa

Taylor

Tom

Harris


Essay titles• Structure: Discuss the structure of the novel as it follows and balances the stories of the

four main characters.

• Character development: Which two characters change the most in this novel? Whatinfluences these changes and in what ways does the author convey the changes?

• Theme: Who or what is labelled ‘vermin’ in the novel and who does the labelling? In yourview, who or what in the novel is ‘vermin’, and how has the author influenced your view?

• Issues: What issues about the treatment and protection of birds are raised in this novel?Having read the novel and carried out some independent research, what are your views onthese issues?

Group task1 You are going to work as a group to create a plan for your essay. Jot down the important

points you will need to consider. These points will form the basic structure of your essay.

2 Decide on the best order for the points you want to make. Think about the order that willbe most effective in answering the question.

3 Look back at the novel and note down evidence from the text to support each point.

4 As a group, write an opening paragraph that introduces the reader to the subject of youressay and gives an overview of what you will be covering.

Independent task1 Using the plan and the opening paragraph you have written as a group, write the first draft

of your essay.


30

31

Teaching objectives• Wr16 Weigh different viewpoints and present a balanced analysis of an

event or issue, e.g. an environmental issue or historical investigation.

• Wr17 Integrate evidence into writing to support analysis or conclusions, e.g. data,quotation.

Focus• Planning and drafting the essay: Who or what is labelled ‘vermin’ in the novel and

who does the labelling? In your view, who or what in the novel is ‘vermin’, andhow has the author influenced your view?

Strategies check

Distribute the following list of writing strategies and discuss which strategies will help develop the writing skillsneeded for this task. Ask pupils to remember, and explain or illustrate, appropriate strategies they have usedrecently.

• Choose and use a planning technique

• Stick to the objectives

• Have a reader in mind

• Visualise the whole piece

• Rehearse sentences in your head

• Consider the effect on the reader

• Re-read what you have written

• Ask questions

• Check what you have written against your plans and notes

• Select and apply techniques, vocabulary, etc. from your own reading.

Guided group task

Pupils should use a copy of the grid below to capture their discussions and thoughts.

Lead a discussion to identify who or what are called ‘vermin’ in the novel. Pupils enter notes in the first column ofthe table. The group should identify who gave the label in each case, and makes notes in the second column.

Pupils should then discuss, giving reasons, which characters they consider to be ‘vermin’ and make notes in thethird column. The group moves on to discuss what, either in the novel or in their research, has led them to use thelabel ‘vermin’ and makes notes in the fourth column.

Pupils should discuss different ways that the information they have gathered could be organised into a plan tostructure the essay. With your guidance, pupils work individually to plan the essay, before working as a group tocompose a shared opening paragraph.

Following the plan and using their notes, individuals begin to write the first draft of their essay. Intervene tosupport pupils, where necessary.


‘Vermin’ in the novel Who says? My view of ‘vermin’ Influencesin the novel


Paired task1 Take it in turn to read your essay aloud to your partner. When you are listening to your

partner’s essay, think about the following questions:

• Is the introduction clear and does it tell me what is going to be covered?

• Does the order and sequence of points in the essay seem right?

• Are any parts of the essay unclear?

2 When your partner has finished reading their essay, feed back your comments.

Individual task1 Before you write the final draft of your essay, think about your partner’s feedback and look

at your first draft to see where you can make improvements. Ask yourself the followingquestions as you read through your essay:

• Is the introduction clear to the reader? Could it be improved?

• What can I change in my essay that would help the reader have a better understanding ofwhat I mean?

• Are the paragraphs in the right order?

• Is the conclusion effective? Could it be improved?

• Are there any words, phrases or sentences that I can get rid of?

• Can I replace any words or phrases with others to improve the effect on the reader or thecoherence?

• Have I got any difficult spellings right?

• Is my punctuation accurate and does it help the reader understand what I mean?

❒ Check where sentences end and how they are punctuated.

❒ Check commas are not used where full stops would have been better.

❒ Check colons and semicolons are used effectively.

❒ Check quotations are set out correctly.

Homework1 Complete the final draft of your essay.


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Reading strategies

33 © Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

See images

Hear a readingvoice

Predict what willhappen

Speculate

Ask questions

Pass comments

Feel

Empathise

• Have a picture of the characters, the settings and the action inyour head. What do you see while you read?

• Ask others about their mental pictures and tell them aboutyours. Are they the same?

• As you read, think about whose voice you are hearing andhow it changes through the story.

• Think about how the central characters sound and the noisesof all the action. What can you hear while you read?

• What do you think will happen next?

• Share your predictions with others and see whether you agreeor not.

• What do you think will happen in the end? Think of as manydifferent possibilities as you can.

• Share your speculations with others and see whether youagree or not.

• Ask yourself questions all the time: who, why, what, where,when, how? Why do the characters do what they do? Whydid that event happen and why did it happen in that way?

• Ask yourself why the author has written the text in this way.What is the significance of the details the author includes? Dothe details mean something?

• Share your opinion of the characters, the settings and theaction with others. Do you like them? If not, why not?

• Try and feel what the characters are feeling in the situationthat they are in. What do you want to happen to them?

• What feelings does the author want you to have about thecharacters and what is happening? Does she/he want you tobe excited, scared, happy?

• Imagine you are in the same situation as the characters. Whatwould you do? How would you feel?

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Reading strategies

34 © Pearson Education Limited 2005. This may be reproduced for class use solely within the purchaser’s school or college.

Rationalise whatis happening

• Think logically about the characters, what they do and what happens to them. Does everything make sense? If not, why not?

Re-read • Read your favourite parts again. Can you spot anything newthat you didn’t see before?

Reinterpret • As you read, consider how your ideas about the text arechanging. Do you feel and think the same as you did at the beginning?

Interpretpatterns

• Think about how the characters are linked. What are thesimilarities and differences between them? Can you group someof them together? And if so, what does each group represent?

• Think about how the events are linked. Do they happen atrandom or are they leading to a particular event or climax?

Relate to yourown experience

• Does this remind you of anything you have done in your lifeor anything that you have seen or read? How?

Pass judgements • Share your opinions about what you read with others. Do youthink it is good or bad? Why?

Relate toprevious readingexperience

• Compare what you are reading with other texts that you haveread. In what way is it similar or different to other texts thatyou have read?

Establish arelationship withthe narrator

• Think about the narrator. Do you like her/him? What wouldyou say to her/him if she/he were in the room now?

Establish arelationshipwith the author

• Can you hear the author’s voice? What do you think theauthor is trying to say to you? Why has the author botheredto sit down and write this book?

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