Activities For Responding To Reading in Year 6

Activities for
Responding to
Reading in
Year Six
Written and compiled by the Lancashire Literacy
Consultants
Year 6 – Teacher’s Notes
 The activities are not intended to be issued without prior discussion and preparation.
 The activities require a range of reading strategies to complete. Wherever possible, each
activity has a reference to the Assessment Focus being developed. This will support teachers
in covering a range of comprehension strategies and provide part of the ongoing evidence for
assessing a child’s reading.
 Many can be used as part of a Guided Reading session and completed with teacher support.
 Some may be used more than once with different texts.
 You may decide not to use all of the sheets, and some children may have a different selection
to others.
 You may choose sheets that support work done in the shared and guided session, or sheets
appropriate to individual children’s personal reading.
 Some of the activities are designed to be completed over time – such as collecting aspects of
language to use in the children’s own writing. These could be enlarged and displayed so that all
the children could contribute.
 Some activities may need to be differentiated – they are on the Literacy web site and you
may download them and alter them or use a sheet from a younger age group
(www.lancsngfl.ac.uk/nationalstrategy/literacy).
 If you do not want to use photocopied sheets, these ideas are easily transferred to paper or
exercise books. Or why not download the activity and work on screen.
 Most of the activities provide opportunities for Speaking and Listening about books and
reading.
Year 6 Reading Objectives:
Strand Objectives
Appraise a text quickly, deciding on its value, quality or usefulness.
Understand underlying themes, causes and points of view.
7 Understand how writers use different structures to create coherence and impact.
Explore how word meanings change when used in different contexts.
Recognise rhetorical devices used to argue, persuade, mislead and sway the reader.
Read extensively and discuss personal reading with others, including reading groups.
Sustain engagement with longer texts, using different techniques to make the text
8 come alive.
Compare how writers from different times and places present experiences and use
language.
The Reading Assessment Focus - Overview grid
AF Strategies Key phrase
Use a range of strategies, including

Decode accurately.
1 accurate decoding of text, to read for
Read with understanding.
meaning
Understand, describe, select or

Seek, find and understand.
retrieve information, events or ideas
2 Literal responses to text.
from texts and use quotation and
Text reference.
reference to text
Between the lines

Inference and deduction.
Deduce, infer or interpret information,
3 Interpret.
events or ideas from texts
Put yourself in their shoes.
Text reference.
Identify and comment on the structure Structure.

and organisation of texts, including Commenting on presentational features.
4
grammatical and presentational Why is the text presented and
features at text level organised as it is?
Language.
Explain and comment on the writers’
Why did the writer use that word /
use of language, including grammatical
5 phrase / image / sentence etc.
and literary features at word and
Literary awareness.
sentence level
Impact on reader.
The Writer.
Identify and comment on the writers’
Writer’s purpose.
6 purposes and viewpoints, and the
Writer’s attitudes and values.
overall effect
Big messages about life.
The Text and the World.

Relate texts to their cultural and
How the text fits into its social,
7 historical contexts and literary
historical, cultural, literary heritage
traditions.
context.
In addition to a wide ranging read aloud programme, and children’s own choices, pupils in
Year 6 will read:
 A range of fiction genres

 Extended stories
 Authors and texts
 Short stories with flashbacks
 Biography and autobiography
 Journalistic writing
 Argument
 Formal and impersonal texts
 Poetry – powerful imagery
 Poems about issues
 Narrative and plays
 A range of non-fiction
 A range of poetry
 There’s a Boy in the Girls’ Bathroom
 The Midnight Fox
 The Street Child
 The Highwayman
 Sensational
… use my knowledge of
word derivations and form … read aloud fluently,
… use my knowledge of
… talk about how and pausing at full stops,
to understand new words grammar to read and
why a text affects me and changing voice for
in reading understand complex
as a reader exclamation, question
sentences
and speech marks
… discuss what I like to

… understand that
read and give my
connectives signal
reasons
changes of tone, voice,
opinion, in different
text-types
… quickly decide how
useful a text might be
… recognise and
describe the styles of
… navigate texts different writers
quickly and effectively
The … use my knowledge of

… comment critically on Year 6 Reader different text types to
help me understand the
the impact of language
and themes in my books ‘I can…’ meaning
… can tell the

… analyse and discuss how the … decide how difference between a
author conveys moods, successful a text is in stated point of view
messages, feelings and affecting the reader in and one that is ‘hidden’
attitudes using inference and the way the author in the text
deduction intended
Books I have read this year
Date Title Author

Fiction
Books I have read this year
Date Title Author

Non-Fiction
Title, Author, Cover and Blurb
Title:
Author:
Cover
illustration:
Genre:
What does the title suggest about the plot of the story?
Have you read other books by this author? If so, what might you expect?
Is the cover attractive? Does it make you want to read the book?
Summarise the blurb on the back of the book:
What do you think this book may be about?
Do you think you will enjoy this story? Why?
What sort of stories do you usually like to read?

Title, Author, Cover and Blurb
Framework objectives:
Strand 7: Appraise a text quickly, deciding on its value, quality or usefulness.
Strand 8: Compare how writers from different times and places present
experiences and use language.
Assessment focuses:
Reading AF4: Identify and comment on the structure and organisation of texts,
including grammatical and presentational features at text level
This activity is intended to be undertaken over time. The children are asked to respond
in different ways at different stages of the book. This can be done as a class activity
linked to a class novel, a guided reading activity or by individuals reading independently.
The activity may be repeated for different titles over the year.
Before the children start to read ask them to look at the cover of the book and discuss:
- what is the title? What does it suggest about the story?

- what genre do we think this is?
- what does the cover illustration show? What does it suggest about the story? What
age group is the cover designed to attract?
- who is the author? Do we know anything about him/her already? What information is
there on the cover or inside?
- what does the blurb say? Does it tempt the reader to read the book?
First Impressions
Read the first ten pages or so, stopping, if possible at the end of a chapter or section.
What the story easy to get into? Why? Why not?
Did the story start with dialogue, description or action? What effect did this have?
Who are the characters? What are they like? How do you feel about them so far? How does
the author describe them?
Make brief notes about what has happened so far
Is the story what you expected? In what way?
What do you think is going to happen next?
Write down any questions you have about the story?

First Impressions
Strand 8: Read extensively and discuss personal reading with others,

including reading groups.
Compare how writers from different times and places present

Assessment focuses:
Reading AF6: Identify and comment on the writers’ purposes and viewpoints, and
the overall effect
Encourage the children to discuss the points on the activity sheet before writing
anything down. This will provide an opportunity for children to articulate their responses
and argue for their point of view if the opinions within the group differ.
What Might Happen?
The Situation
What Might Happen Now?
OR OR OR
What Might Happen?
Strand 7: Understand underlying themes, causes and points of view.
Strand 8: Sustain engagement with longer texts, using different techniques

to make the text come alive.

Assessment focuses:
Reading AF3: Deduce, infer or interpret information, events or ideas from texts
This part of the reading response should be done when the story reaches a point where
several options are possible.
Discuss with the children the story so far, and the situations that the characters find
themselves in. Ask the children to note down the current situation in the book and
three possible outcomes of that situation.
About Halfway Through
Look back at your first impressions. Have your thoughts or feelings about the story or characters
changed? How or why not?
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What do think is going to happen in the end?
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Has there been anything in the book that has surprised you?
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About Halfway Through


Assessment focuses:
Reading AF2: Understand, describe, select or retrieve information, events or

ideas from texts and use quotation and reference to text
Ask the children to reflect upon their initial impressions about the book. Discuss the
ways in which these impressions have been confirmed or changed. Ask the children to
predict what might happen in the end and to give reasons for their predictions based
upon clues in the text.
Language Detective
Keep a look out for the ways in which the author uses language to describe
characters’ appearances, actions, feelings; settings and situations. Note these
words and phrases down and comment upon the effect they have upon you, the
reader.
Words and phrases – characters The effect
Words and phrases – settings The effect
Words and phrases – situations and events The effect

Language Detective
Strand 7: Understand how writers use different structures to create

coherence and impact.
Explore how word meanings change when used in different

contexts.
Assessment focuses:
Reading AF5: Explain and comment on the writers’ use of language, including
grammatical and literary features at word and sentence level
Children find articulating their response to language and authorial intent particularly
challenging. The language of response needs to be modelled constantly within the
classroom so that the children become used to expressing their opinions clearly and
confidently.
Provide the children with ‘response stems’ to help them form their answers:
- The effect of this phrase is to make the reader feel/think/expect

- I think that the author wants me to . . . because. . .
- The author uses these words to create an effect that . . .
- The author uses . . . to make the character seem . . .
- The author shows the relationship between the characters by . . .
- The author creates the setting by using words like . . . which makes it feel . . .
- In this story the author shows the passage of time by using words like . . .
- The author creates atmosphere/tension by using words like . . .
- I think that . . . because it says in the text . . .
- WHAT I think . . . WHY I think it . . . EVIDENCE from the text . . .
Comparing Characters
Compare two characters from the book
Character 1: Character 2:
Main purpose in story: Main purpose in story:
Appearance: Appearance:
Typical behaviour: Typical behaviour:
What do they think of character 2? What do they think of character 1 ?
How they changed at the end of the story: How they changed at the end of the story:
Comparing Characters
Understand how writers use different structures to create

Assessment focuses:

the overall effect
Discuss two main characters from the book.

- How are they similar? How do they differ?
- What do they think of each other?
- How do they behave?
- What do they look like?
- What is their main function in the story?
- How do they change/what have they learned by the end?
Encourage the children to give reasons for their opinions AND to back these up with
reference to the text and the language used by the author. Use the ‘response stems’
listed on sheet 4.
The children can draw small portraits in the frames at the top of the page.
In The End
Write down how you feel about how the book ended. Were you surprised, pleased
or disappointed?
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If you did not like the ending, how would you have liked it to end?
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Write an alternative ending that is quite different to the one in the book.
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In The End


Sustain engagement with longer texts, using different techniques

Assessment focuses:

the overall effect
Discuss the finished book with the children. How do they feel about the way it ended?
Was the ending satisfactory or were the children left wondering about certain things?
Encourage the children to refer to incidents in the book that led to, or hinted at the
way the book would end. Did they like the ending or would they have preferred an
alternative ending?
Book Review
Write a brief summary of the book that you have finished reading.
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Would you recommend this book to other children of your age? Why? Why not?
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Book Review


Assessment focuses:

the overall effect
Encourage the children to summarise the book by referring to the characters and key
events in sequence. They should not refer to the ending if other children in the class
have not read the book.
Discuss the aspects of the book that would appeal to other children of this age and any
that would not. Discuss the ways in which both positive and negative comments can be
made and the importance of justification. Discourage children the children from using
‘boring’, ‘bad’ or ‘O.K.’ as these do not tell the reader anything.
Model the use of ‘response stems’:

- I enjoyed this book because I like books about . . .
- The book made me feel . . .
- The character reminded me of . . .
- The setting reminded me of when . .
- The author kept me turning the pages by building up tension . . .
- I couldn’t put the book down because . . .
- I found the book slow at first but after a while . . .
- I was really sad at the end because . . .
- I think this book is perfect for children of my age because . . .
- I don’t think this book is suitable for children of my age because . . .
Author! Author!
Write a profile of one of your favourite authors. You will find information on the
covers or inside their books. Another great source of information is the
Internet. Use the search engine and look for Children’s Authors UK. Many of the
sites have biographies of famous authors.
Name:
Born: Died:
Publishers:
Titles:
Any other interesting information:

Author! Author!

Strand 9: Select words and language drawing on their knowledge of literary

features and formal and informal writing
Assessment focuses:

There are hundreds of sites on the Internet devoted to children’s authors. The children
would be very unlucky not to find the one they want. This activity could be done as an
author poster with photographs of the author scanned from the Internet page. Book
covers could also be scanned and pasted onto the poster.
This activity is about the authors rather than the books. The children should follow this
up by reading and appraising the work of the authors.
My Favourite Author
Name:
What type of books does this author write?
Titles of the books you have read:
What is it that you particularly like about this author’s work?
Which is your favourite book by this author? Why?
What questions would you like to ask the author if you could meet them?
My Favourite Author


Assessment focuses:
the overall effect
Encourage the children to discuss their favourite authors and their reasons for their
preferences. Model the activity by running through the questions and talking about your
own favourite children’s author.
Book or Film?
Choose a book that has been made into a film for television or the cinema and is available
on video or DVD. READ THE BOOK FIRST! Compare the two versions using the questions
below.
Title: By:
Book Film
What is the opening scene? What is the opening scene?
What do you imagine the setting to look like? What does the setting look like?
What do you imagine the characters to look What do the characters look like?
like?
Give a very brief outline of the plot. How does the film’s plot differ from the book?
What happens in the end? What happens in the end?
Which did you prefer and why?

Book or Film?




Assessment focuses:

Reading AF7: Relate texts to their cultural and historical contexts and literary
traditions.
It is important that the book is read See the BBC web site for lists of
before the film is seen. It is difficult to children’s books that have been turned
form your own imaginings of settings into films. Some examples:
and characters if these have been
influenced by a film. However, another  Harry Potter
approach is to compare short scenes  The Sheep Pig and Babe
from a book and compare them to the  Black Beauty
same scene in a film, alternating  The Secret Garden
between the two.  The Borrowers
Children are particularly vocal about the  When the Whales Came
liberties that film makers take with  The Queen’s Nose
their favourite books and it is unusual  Tracey Beaker Stories
for children to prefer the film to the  Peter Pan
book, unless the book was particularly  Beauty and the Beast and Shrek
hard going. This activity is ideal for  Swallows and Amazons
encouraging children to use the language  Oliver Twist
of comparing and contrasting.  Charlie and the Chocolate
Factory
Points of View
Think about someone in your book who is not the main character. Rewrite a
scene from your book from this character’s point of view. Do they feel
differently about the situation? Do they know something that the main
character does not know? Would the main character be surprised about how
they feel?
Title: ………………………………………………………………………………………………………………………………………
Chapter: …………………………………………………………………………………………………………………………………
Scene: ……………………………………………………………………………………………………………………………………
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Points of View

Strand 9: Use different narrative techniques to engage and entertain the

reader
Assessment focuses:

the overall effect
Discuss the relationships between the characters in the children’s book. Speculate
about how the characters feel about each other.
Identify the viewpoint of the story and from whose perspective it is being told.
Ask the children to consider the story from another character’s point of view and to
write part of the story from that point of view. Cite examples from other well known
books, e.g. How might Dudley Dursley view Harry Potter?
First or Third Person Viewpoint?
Choose a passage from your book where the main character is involved in the
event. Choose a section where there is no or little dialogue. Is it written in the
first or third person? Copy the passage out but change it from first to third, or
third to first.
Book title: ……………………………………………………………………………………………… Page: …………………
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What effect does this change have upon you, the reader?
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First or Third Person Viewpoint?


reader
Assessment focuses:
the overall effect
Discuss the viewpoint from which the story is being written. Is it being told by a
narrator or by a character? Is it written in the first or third person? Read out a short
text in first then third person, then vice versa. Discuss the effect that these changes
have upon the text. Do you feel more empathy with the character one way or the other?
A Double Modern Retelling
Read a short, traditional story that you first read when you were younger. Retell
the story in the same style but from two different viewpoints.
Title:
Version One, told from the viewpoint of:
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reader
Assessment focuses:

the overall effect
Ask the children to consider the stories they read when they were younger. Discuss the
viewpoint from which the stories were told. Give examples, such as Jack and the
Beanstalk which is told by a narrator, but from Jack’s point of view. How would the
story have sounded had the giant being telling the story, or Jack’s mother?
Give the children some possible stories to manipulate:

Jack and the Beanstalk (the giant, Jack’s mother)
Little Red Riding Hood (the wolf, the woodcutter, Grandma)
The Three Bears (Daddy Bear, Mummy Bear or Baby Bear)
Cinderella (the ugly sisters, the fairy Godmother)
Rumplestiltskin (Rumplstiltskin, the king)
The Three Little Pigs (the wolf, the pigs’ mother)
Hansel and Gretel (the witch, the woodcutter, the stepmother)
Title:
Version Two, told from the viewpoint of:
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reader
Assessment focuses:

the overall effect
Ask the children to consider the stories they read when they were younger. Discuss the
viewpoint from which the stories were told. Give examples, such as Jack and the
Beanstalk which is told by a narrator, but from Jack’s point of view. How would the
story have sounded had the giant being telling the story, or Jack’s mother?
Give the children some possible stories to manipulate:

Jack and the Beanstalk (the giant, Jack’s mother)
Little Red Riding Hood (the wolf, the woodcutter, Grandma)
The Three Bears (Daddy Bear, Mummy Bear or Baby Bear)
Cinderella (the ugly sisters, the fairy Godmother)
Rumplestiltskin (Rumplstiltskin, the king)
The Three Little Pigs (the wolf, the pigs’ mother)
Hansel and Gretel (the witch, the woodcutter, the stepmother)
From Prose to Playscript!
Choose a scene from your reading book that contains dialogue between two or
three characters. Change the scene into a playscript. Remember to show who is
speaking and how they are acting by giving a stage direction.
Cast:
Scene:
Narrator
Characters: (stage direction) What they say



reader
Assessment focuses:

Writing AF2: Understand, describe, select or retrieve information, events or

Writing AF3: Deduce, infer or interpret information, events or ideas from texts
Writing AF7: Relate texts to their social, cultural and historical contexts and
literary tradition
Help the children to find a piece of prose from their book that would translate well into
playscript. Remind them of the conventions of playscripts – cast list, scene, narrator’s
introduction, indications of who is speaking and stage directions.
Characters: (stage direction) What they say



reader
Assessment focuses:

Writing AF2: Understand, describe, select or retrieve information, events or

Writing AF3: Deduce, infer or interpret information, events or ideas from texts
literary tradition
Help the children to find a piece of prose from their book that would translate well into
playscript. Remind them of the conventions of playscripts – cast list, scene, narrator’s
introduction, indications of who is speaking and stage directions.
‘To cut a long story short!’
Read through the piece of text that your teacher has given to you. Using only
words and phrases, make very brief notes of the key ideas. Using these notes,
summarise the text in the number of words that your teacher has specified.
Key idea:
Notes:
Summary:
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‘To cut a long story short!’
Assessment focuses:

Provide the children with a piece of narrative or non-fiction text (one of each during
the term). Reinforce the skills of skimming and scanning to gain the gist and pick up key
words and ideas. Ask them to note down the key words and ideas. They could use these
notes to tell the rest of the class about what they have read.
Specify the number of words that you would like the summary to be. This will depend
upon the original text you have given to the children.
Public information leaflets
Look at some of the public information documents to see which are
effective and easy to understand and those that are not. Discuss these with your friends.
 Who is the leaflet for?
 What is the purpose of the document? What is trying to persuade the reader to do?
 What does the introduction tell you?
 How is the information laid out?
 What tense is the leaflet written in?
 Is the text written in an impersonal voice or in the second person? What is the effect of this?
 Does the text tell the reader about anything that MUST be done? What?
 Does the text tell the reader about anything that SHOULD be done? What?
 Does the text contain any conditionals? ‘If’ ‘then’. What are they?
 Is there any link between paragraphs? Give an example.
 Are there any diagrams or pictures? How do they help the reader?
 Is there any action the leaflet wants the reader to take? What?
 What extra helpful information is included?
 Is the leaflet successful in persuading you? Why?

Public information Leaflets
Recognise rhetorical devices used to argue, persuade, mislead and

sway the reader.
Assessment focuses:

Reading AF5: Explain an comment on the writers’ use of language, including

Provide the children with a selection of the free promotional leaflets that can be found
in any supermarket, tourist office, hotel, dentists’, doctors’, police station or council
offices. The structures and features of these will have been discussed previously. Ask
the children to choose one and, using the questions and prompts on the sheet, critically
appraise its effectiveness in persuading the reader.
Daily Telegraph December 14th 2003 Its luck changed in 1993 when it starred in Free Willy, about a boy
fighting the evil owner of an oceanarium to free its star attraction. The film
became a world-wide hit, and when the living conditions of the real-life
Whale star of ‘Free Willy’ dies after return to wild “Willy” became known, adults and children funded a multi-million dollar
campaign to save Keiko from its tank in Mexico. It was taken to a
BY ADAM LUSHER
‘It is possible for an orca to be returned to the wild, but Keiko wasn’t the
KEIKO, the killer whale that
best candidate’
starred in the film Free Willy,
died yesterday, a year after being
released into the wild where it vast, specially built pool in Oregon,
remained dependent on humans where its luxuries included a wide-
until the end. screen television. It was air-lifted to
The 35ft-long, six-ton orca Iceland in 1998, to begin training for
became too ill to eat and died of returning to the wild where it had
pneumonia, bringing to a sad been captured.
conclusion a five-year, $20 million (£12.5 million) attempt to help Keiko to adapt to life “We took the hardest candidate
back at sea. and took him from near death in
Dane Richards, Keiko’s animal care specialist, announced the whale’s death in a Mexico to swimming with wild
Norwegian fjord yesterday, saying that disease had struck the 27 – year-old orca quickly. whales in Norway,” said David
“Two days ago he began to be a bit lethargic and wouldn’t accept food. We suspect he Phillips, the director of the San
came down with a bit of pneumonia. We checked his breathing and it was a bit irregular. Francisco based Free Willy-Keiko Foundation. “Keiko proved a lot of
He wasn’t doing too well. Early in the evening he passed away,” he said. people wrong and this can be done.”
Keiko became the centre of worldwide attention after the release of Free Willy in 1993.
In the film, a killer whale is coaxed to jump over a sea park wall Mr Phillips hopes that even after death Keiko will help with whale research.
to freedom. This proved more difficult in real life. “My choice would be to bury him on land,” he said. “If you bury him on
Keiko, whose name means “Lucky One” in Japanese, was freed in Iceland in July 2002, land we could use his skeleton in a museum or something, but that it still
after five years training to help it to survive in the wild. However, the orca swam 870 miles being worked out.”
and in September 2002 appeared in Skaalvik Fjord in western Norway, where it allowed Some people had been very critical about the attempt to free Keiko. John
swimmers to play with it and even ride on its back. Norwegians drove for hours for a Gunnarson, the Icelandic aquarium owner who first captured Keiko, said last
chance to see and play with “the movie star whale”. year that it was “ridiculous” to try to return such a tame animal to the wild.
Its handlers, from the Keiko Project, a team of marine experts from the Humane Society
of the united States and the Free Willy-Keiko Foundation charity, coaxed it a few miles to “Other whales will never
the more remote Taknes Fjord in November 2002. They still often fed it the 110 pounds of accept Keiko now,” Mr
fish that it needed every day. Gunnarson told a newspaper
“It’s a really sad moment for us, but we do believe we gave him a chance to be in the soon after Keiko appeared in
wild,” said Nick Braden, of the Humane Society of the US. Norway. “He’s too different
In the wild, orcas live for an average of 35 years. Keiko was captured off Iceland in from, them and he will always
1979. It was exhibited in aquariums in Iceland and Canada, before ending up performing rely on humans.”
in a run-down amusement park in Mexico City. Erich Hoyt, a scientist who found Keiko in Mexico said, “I think it is
For 11 years its home was a rusty tank of dirty, warm water just 12 feet deep. Its skin possible for an orca to be returned to the wild, but Keiko wasn’t the best
became infected with a wart-like virus which caused patches on its skin. candidate.”
Whale star of ‘Free Willy’ dies after return to
wild

sway the reader.
Assessment focuses:
the overall effect
This article appeared in The Daily Telegraph on 14 th December 2003. It provides scope
for all of the above layers of the objective.
Discuss with the children:

- the balance between the views of the people who thought the release of Keiko was a
good thing or a bad thing;
- what would be the cause of the public’s interest in this story, especially the
children’s;
- the different types of information present in this article, (facts, opinions,
conjecture);
- reported and indirect speech;
- the ethical issue of captured wild animals used for entertainment;
This activity could be followed up with work on a discursive or persuasive text on the
last point.
The Highwayman by Alfred Noyes
And he kissed its waves in the moonlight, Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!
The wind was a torrent of darkness among the gusty trees, (Oh, sweet black waves in the moonlight!) Nearer he came and nearer. Her face was like a light.
The moon was a ghostly galleon tossed upon cloudy seas. Then he tugged at his rein in the moonlight, and he galloped away Her eyes grew wide for a moment; she drew one last deep
The road was a ribbon of moonlight over the purple moor, to the west. breath,
And the highwayman came riding – Then her finger moved in the moonlight,
Riding – riding – He did not come in the dawning. He did not come at noon; Her musket shattered the moonlight,
The highwayman came riding, up to the old inn-door. And out of the tawny sunset, before the rise o’ the moon, Shattered her breast in the moonlight and warned him – with
When the road was a gipsy’s ribbon, looping the purple moor, her death.
He’d a French cocked-hat on his forehead, a bunch of lace at his A red-coat troop came marching –
chin, Marching – marching – He turned. He spurred to the west; he did not know who stood
A coat of the claret velvet, and breeches of brown doe-skin. King George’s men came marching, up to the old inn-door. Bowed, with her head o’er the musket, drenched with her own
They fitted with never a wrinkle. His boots were up to the thigh. red blood!
And he rode with a jewelled twinkle. They said no word to the landlord. They drank his ale instead. Not till the dawn he heard it, and his face grew grey to hear
His pistol butts a-twinkle, But they gagged his daughter, and bound her, to the foot of her How Bess, the landlord’s daughter,
His rapier hilt a-twinkle, under the jewelled sky. narrow bed. The landlord’s black-eyed daughter,
Two of her knelt at her casement, with muskets at their side! Had watched for her love in the moonlight, and died in the
Over the cobbles he clattered and clashed in the dark inn-yard. There was death at every window; darkness there.
He tapped with his whip on the shutters, but all was locked and And hell at one dark window;
barred. For Bess could see, through her casement, the road that he Back, he spurred like a madman, shouting a curse to the sky,
He whistled a tune to the window, and who should be waiting would ride. With the white road smoking behind him and his rapier
there She twisted her hands behind her; but all the knots held good! brandished high.
But the landlord’s black-eyed daughter, She writhed her hands till her fingers were wet with sweat or Blood-red were his spurs i ‘the golden noon; wine-red was his
Bess, the landlord’s daughter, blood! velvet coat;
Plaiting a dark red love-knot into her long black hair. They stretched and strained in the darkness, and the hours When they shot him down on the highway,
crawled by like years, Down like a dog on the highway,
And dark in the dark old inn-yard a stable-wicket creaked Till now, on the stroke of midnight, And he lay in his blood on the highway, with the bunch of lace at
Where Tim the ostler listened. His face was white and peaked. Cold, on the stroke of midnight, his throat.
His eyes were hollows of madness, his hair like mouldy hay, The tip of one finger touched it! The trigger at least was hers!
But he loved the landlord’s daughter. And still of a winter’s night, they say, when the wind is in the
Dumb as a dog he listened, and he heard the robber say – The tip of one finger touched it. She strove no more for the trees,
rest. When the moon is a ghostly galleon tossed upon cloudy seas,
“One kiss, my bonny sweetheart, I’m after a prize tonight, Up she stood to attention, with the muzzle beneath her breast. When the road is a ribbon of moonlight over the purple moor,
But I shall be back with the yellow gold before the morning She would not risk their hearing; she would not strive again; A highwayman comes riding –
light; For the road lay bare in the moonlight; Riding – riding
Yet, if they press me sharply, and harry me through the day, Blank and bare in the moonlight: A highwayman comes riding, up to the old inn-door.
Then look for me by moonlight, And the blood of her veins, in the moonlight, throbbed to her
Watch for me by moonlight, love’s refrain. Over the cobbles he clatters and clangs in the dark inn-yard.
I’ll come to thee by moonlight, though hell should bar the way.” Tlot-tlot; tlot-tlot! Had they heard it? The horse-hoofs ringing And he taps with his whip on the shutters, but all is locked and
He rose upright in the stirrups. He scarce could reach her hand, clear; barred.
But she loosened her hair in the casement. His face burnt like a Tlot-tlot, tlot-tlot, in the distance! Were they deaf that they He whistles a tune to the window, and who should be waiting
brand did not hear? there
As the black cascade of perfume came tumbling over his breast; Down the ribbon of moonlight, over the brow of the hill, But the landlord’s black-eyed daughter,
And he kissed its waves in the moonlight, The highwayman came riding, Bess, the landlord’s daughter,
Riding, riding! Plaiting a dark red love-knot into her long black hair.
The red-coats looked to their priming! She stood up, straight
and still.
The Highwayman by Alfred Noyes


contexts.

sway the reader.
Strand 9: Use different narrative techniques to engage and entertain

the reader
Assessment focuses:

The Highwayman by Alfred Noyes is a Discuss the convention of journalistic

great ‘story’. It contains action, crime, report writing, using the Free Willy
deceit, romance and a chase! All the article:
ingredients for a great newspaper - Headline
article. The poem will have been studied - Byline
previously using objectives relating to - opening sentences that ‘says it all’;
poetry. - the short clauses demarcated by
commas; (‘Bess, 21, of The Ship Inn,
Discuss the story with the children: Polperro, . . .’)
- When? Where? Who? What? - eye-witness accounts;
- the relationship between Bess and - opinions;
the Highwayman; - conjecture – ‘it is thought that. . .’
- the relationship between Bess and ‘sources have suggested that. . .’ ‘the
Tim; Highwayman was thought to have. . .’
- who would be eye-witnesses? - ‘No one will ever know . . .’
- who could be quoted directly or
indirectly?
Connectives Collection
Connectives link pieces of text – clauses, sentences, paragraphs or chapters.

Different types of text use different connectives. When you are reading, look
out for the types of connectives the author has used, Remember to use them in
your own writing.
Text type: Text type: Text type:
Text type: Text type: Text type:

Connectives Collection
Strand 11: Express subtle distinctions of meaning, including hypothesis,

speculation and supposition, by constructing sentences in varied
ways
Assessment focuses:
Writing AF4: Construct paragraphs and use cohesion within and between
paragraphs
The children could be given examples of each of the main text types and asked to list
the connectives used, or to list connectives as they encounter them in their own
reading.
In Year 6, the children are required to read and write formal, discursive, persuasive,
explanatory and instructional texts. These have particular connectives of their own
which should be used in writing.
Biography and Autobiography
Read the two texts that your teacher has given to you.
List the features of each in the boxes below.
Biography title: Autobiography title:
Written in the person. Written in the person.

Subject: Subject:
D.O.B. D.O.B.
Place of birth: Place of birth:
Famous for? Famous for?
Most important event in their life: Most important event in their life:
Facts about the person: Facts about the person:
Opinions about the person: Opinions of the person:
How do you think people feel/felt How do you think people feel/felt
about this person? about this person?
Biography and Autobiography

sway the reader.
Assessment focuses:

Discuss the differences between biography and autobiography. Provide the children with
two texts; one of each type. The texts could be about the same subject or different
subjects.
Ask the children to read both texts and identify the points on the activity sheet. The
difference between fact and opinion should be modelled in depth as it can be quite
subtle.
This activity can be followed up with biographies of a famous person or an

‘Autobiography’ and ‘Biography’ of a fictional character e.g. the autobiography and
biography of Cinderella.
Foreign English!
Word Word class Country of origin Definition

Foreign English!
Strand 6: Spell familiar words correctly and employ a range of strategies to

spell difficult and unfamiliar words
Assessment focuses:
literary tradition
Children enjoy activities which involve an element of detection. They also enjoy
collecting things. Combine these two and children will respond enthusiastically.
Discuss the origins of the English language and the fact that much of it is not English at
all. Provide the children with an etymological dictionary and a list of words. Or ask them
to choose words of interest from their own reading. Ask them to investigate the origins
and derivations of the words.
Checklist for
non-chronological reports
Draw lines to indicate these features on the

text on forests
 Clear opening paragraph that indicates what the

report is about;
 Generalisations or classifications in the opening
paragraph;
 Clearly organised main body of the report into
paragraphs or sections of linked information;
 Factual, accurate information;
 Logical order;
 Formal style, no personal pronouns;
 Present tense (unless historical reports);
 Language:
- Precise;
- factual;
- descriptive;
- technical;
 Subtitles;
 Language to:
- contrast;
- compare;
 Diagrams to clarify text;
 Summarising comment
Checklist for non-chronological reports


sway the reader.
Assessment focuses:
Reinforce the structures and language features of non-chronological reports. Ask the
children to identify those features on the text on forests. The children should also be
encouraged to comment critically on the effectiveness of the text – its strengths and
ways in which it might be made clearer.
This sheet might be better enlarged onto A3 so that certain language features can be
circled when they are identified.
The Listeners by Walter de la Mare
‘Is there anybody there’ said the Traveller,
Knocking on the moonlit door;
And his horse in the silence champed the grasses
Of the forest’s ferny floor;
And a bird flew out of the turret,
Above the Traveller’s head:
And he smote upon the door a second time;
‘Is there anybody there?’ he said.
But no one descended to the Traveller;
No head from the leaf fringed sill
Leaned over and looked into his grey eyes,
Where he looked perplexed and still.
But only a host of phantom listeners
That dwelt in the lone house then
Stood listening in the quiet of the moonlight
To that voice from the world of men:
Stood thronging the faint moonbeams on the dark stair,
That goes down to the empty hall,
Hearkening in an air stirred and shaken
By the lonely Traveller’s call.
And he felt in his heart their strangeness,
Their stillness answering his cry,
While his horse moved, cropping the dark turf,
‘Neath the starred and leafy sky;
For he suddenly smote on the door, even
Louder, and lifted his head: -
‘Tell them I came, and no one answered,
That I kept my word,’ he said.
Never the least stir made the listeners,
Though every word he spake
Fell echoing through the shadowiness of the still house
From the one man left awake:
Ay, they heard his foot upon the stirrup,
And the sound of iron on stone,
And how the silence surged softly backward,
When the plunging hoofs were gone.


contexts.
Assessment focuses:

*Ask the children to read The Listeners - the rhythm;

aloud. Ask them to discuss the ‘story’ behind - the rhyme;
the poem. - alliteration;
- Who could the traveller be? Model ‘response stems’ to comment upon the
- Where has he come from? poem:
- What does he want with the people in - the poem’s rhythm feels like . . . which
the house? makes it seem . . .
- Who does he expect to see at the - the rhyming scheme is . . .
house? - the effect of this line is to make the
- Who ‘lives’ in the house? reader feel/think . . .
- What does the Traveller mean by ‘I kept - the poet has used . . . to give the reader
my word’? the feeling that . . .
- Discuss the layers of meaning – e.g. - the poet wants the reader to think . . .
What does ‘to that voice from the world - the poet shows the Traveller’s
of men’ imply about the listeners in the nervousness by . . .
house?
*Ask the children to follow up this
Return to the poem to talk about the discussion by writing this poem as a
effects of: narrative using their ideas from the initial
discussion of the poem.
The Listeners by Walter de la Mare (cont.)
Discuss ‘The Listeners’ with your friends and note your thoughts on the
following:
Who might the Traveller be?
Where has he come from?
What does he want with the people in the house?
Who does he expect to see at the house?
Who ‘lives’ in the house?
What does the Traveller mean by ‘I kept my word’?
Use your notes to write a short story based upon The Listeners.


contexts.
Assessment focuses:


house?
The Listeners by Walter de la Mare (cont.)
Read ‘The Listeners’ once more. Copy words and phrases the poet uses to create:
The setting: The effect the poet is trying to achieve:
Atmosphere: The effect the poet is trying to achieve::
Actions: The effect the poet is trying to achieve::
The Traveller’s feelings: The effect the poet is trying to achieve::



contexts.
Assessment focuses:


house?
Jabberwocky
‘Twas brillig and the slithy toves

Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
“Beware the Jabberwock, my son!

The jaws that bite, the claws that catch!
Beware the Jubjub bird and shun
The frumious Bandersnatch!”
He took his vorpal sword in hand:

Long time the manxome foe he sought –
So rested he by the Tumtum tree,
And stood awhile in thought.
And, as in uffish thought he stood,

The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One, two! One, two! And through and through

The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
“And hast thou slain the Jabberwock!

Come to my arms my beamish boy!
A frabjous day! Callooh! Callay!”
He chortled in his joy.
‘Twas brillig, and the slithy toves

Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
by Lewis Carroll
Jabberwocky


contexts.


Assessment focuses:

Jabberwocky is a nonsense poem but it obeys all the rules f grammar. It is obvious
which words are verbs and which are nouns.
Ask the children to read the poem aloud and to discuss their reactions to it.
- What do they think it is about?
- Do they like it? Why? Why not?
- Ask the children what they think specific nonsense words might mean and what word
class they belong to.
- Ask the children to annotate the poem:
- ‘verbs’, ‘adjectives’, and ‘nouns’ circled in different colours and ‘translated’ at the
side of the poem.
- A real challenge would be to ‘translate’ and retain the rhythm and rhyme! (See
Jabbermockery by Trevor Millum in The Works chosen by Paul Cookson)
A Favourite Poem
Chosen by ____________________________________________________
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I have chosen this poem because …………………………………………………………………………………
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A Favourite Poem


contexts.


Assessment focuses:
the overall effect
Ask the children to choose their favourite poem from the past. Encourage discussion
about why the poems have been chosen and the effect they have upon the reader. Pay
particular attention to the language and theme.
Model ‘response stems’ to help the children to articulate their responses.

- the poem’s rhythm feels like . . . which makes it seem . . .
- the rhyming scheme is . . .
- the effect of this line is to make the reader feel/think . . .
- the poet has used . . . to give the reader the feeling that . . .
- the poet wants the reader to think . . .
Use the terms rhyme, rhythm, metaphor, simile etc. Each child should copy their
favourite poem onto the sheet provided and these can be compiled into a class
anthology.
Time in Stories
Story time line:
Start Finish
Words or phrases linked to time:
Events, e.g. flashbacks, dreams, stories within stories:
Changes in setting or seasons:

Time in Stories

Assessment focuses:

From a range of known texts children should find examples of flashbacks, stories with
stories, dreams, examples of handling two characters in different settings.
See NLS activity resource sheet page 16, from original ‘lunchbox’ training materials.
Ask the children to note words and phrases that indicate a change in time in their
reading.
Fiction Texts – Key Features
Text type: ……………………………………………………………………………………………………………………………
Story one: Story two: Story three:
Typical characters: Typical characters: Typical characters:
Theme: Theme: Theme:
Plot: Plot: Plot:
Dilemmas: Dilemmas: Dilemmas:
Setting, atmosphere, mood: Setting, atmosphere, mood: Setting, atmosphere, mood:
Language style: Language style: Language style:
Opening: Opening: Opening:
Ending: Ending: Ending:

Fiction Texts – Key Features

Assessment focuses:
- Choose a genre such as ghost stories, science fiction or fantasy.

- Identify and compare the characteristics of the genre you have chosen.
- Read an extract from a story that typifies the genre and reinforce the
characteristics.
- Provide the children with a range of short stories or extracts of the genre.
- Ask the children to list the extracts in order of preference and to say why they
prefer some to others.
- Ask the children to note down examples from each extract or story under the
headings on the activity sheet.
(Enlarge to A3 if the children require more space.)

More Haste Less Speed
Proverbs are sayings that contain a lesson or message. Look up some

proverbs and explain what they mean. Write down the situation in which
the proverb may be used.
Proverb: What it means: When you say it:

More Haste Less Speed


contexts.
Assessment focuses:
Ask the children to collect proverbs and to explain their meanings. Discuss the
situations in which they may be used.
Dictionaries of proverbs are available from the library or book shops.
See google.com
The Phrase Finder
For and Against
Read the argument/discussion text that your teacher has given you. Note the
points in the table below.
For and against ………………………………………………………………………………………………………………………
Issue:
Points for:
Supporting evidence:
Points against:
Supporting evidence:
Writer’s recommendation:
Your opinion:
Connectives used:
For and Against

sway the reader.
Assessment focuses:

the overall effect
How do Explanation Texts Work?
Explanation texts explain how or why something happens. You will need to write
these texts in science, geography and design technology. Most explanations
contain information, too.
Read the explanation text below and then change it into a diagram or flow chart.
Where does the rain come from?
The Water Cycle
Water moves in a never-ending cycle. The Sun shines upon the Earth and heats
up the water in the seas, lakes and rivers. This makes the water evaporate and
rise into the atmosphere. As the water vapour meets the cold air high in the
sky, it condenses into water droplets. These droplets form the clouds.
Eventually, the water droplets become larger and heavier and fall to the ground
as rain where the whole process starts again.
The Water Cycle

How do Explanation Texts Work?

Strand 10: Use varied structures to shape and organise text coherently
Assessment focuses:

Ask the children to read the explanation text of the water cycle. Discuss the sequence
of events that lead from evaporation to rain and how this might be presented as a
labelled diagram.
This task could also be done with:
- a river from source to mouth;

- the circulatory system;
- the life cycle of an insect;
- the life cycle of a flowering plant;
Non-Fiction Texts – Key Features
Text 1: Text 2: Text 3: Text 4: Text 5: Text 6:
Type: Type: Type: Type: Type: Type:
Purpose: Purpose: Purpose: Purpose: Purpose: Purpose:
Audience: Audience: Audience: Audience: Audience: Audience:
Subject: Subject: Subject: Subject: Subject: Subject:
Layout: Layout: Layout: Layout: Layout: Layout:
Key ideas: Key ideas: Key ideas: Key ideas: Key ideas: Key ideas:
Language features: Language features: Language features: Language features: Language features: Language features:
Non-Fiction Texts – Key Features


sway the reader.
Assessment focuses:
Provide the children with examples of the six main non-fiction text types;
- non-chronological report;
- explanation text;
- instructions/procedures;
- discussion text;
- persuasive text;
- recount.
Discuss the meaning of each of the prompts in the grid:

- Text 1 = title;
- Type = text type;
- Purpose = what is it for?
- Audience = who is it for?
- Subject = what is it about?
- Layout = e.g. headings, sub-headings, bullet points, lists, diagrams, paragraphs fact
files, etc;
- Key ideas = main points/ideas/information;
- Language features = tense, person, passive, formal, informal, short sentences, long
sentences, technical language etc.
(This sheet might be better enlarged to A3 or changed to three text types over two
pages.)
Costing the Earth?
Web of Life Important Notice Dragonflies
An invisible web, World Wildlife Industries sadly announces They used to fly
as fragile as dreams, that we may soon have to close due to fierce over all the ponds
links mountains to forests competition from Human Beings International. in summer, Granny says
and rivers to streams.
Many of our famous products are already like sparkling sapphire helicopters,
Through woodlands and forests; unavailable including, to name but three, our dodo, purple aeroplanes,
where seas flow and ebb, quagga and once healthy passenger pigeon lines. with eyes of bright topaz,
over ice caps and deserts, wings flashing, emerald light, brightening the
life weaves a great web. Currently under threat are many of our countryside
ancient stock of mammals and fishes as well as in their jewelled flight.
From plankton to whales, birds, reptiles, amphibians and insects.

all life great and small Sun-glow brilliance winging
depends on each other. But even now we could be helped to survive. over every pond,
Life’s web links us all. Work together with your parents and teachers someday I hope to see one
to find out how you could all help before it is too late. - smallest last dragon.
And we must take care

of each gossamer thread, And remember – without us and the products Joan Poulson
for we are all part of of our branch, World Vegetation Industries,
this great world wide web. our world too might soon be without your company.
Jane Clarke Let’s work together to stay in business.
Mother Nature
Managing Director
Philip Waddell
Read the three poems on this page. Discuss with your friends the theme of the poems and the ways in which each poet has expressed the way he or
she feels about the subject of their poem. Which is the most effective and why?
Costing the Earth?


contexts.

sway the reader.


Assessment focuses:

Ask the children to read the three poems and to discuss their responses to them.
Encourage the children to articulate the ways in which each poet has put their point
across. Discussion should focus on:
- language – similes and metaphor;
- style;
- the theme.
Model the ways in which the children could articulate their responses using ‘response
stems’:
- the effect of this simile is . . .
- the poet wants me to feel . . .
- the message that the poet is trying to convey is . . .
- the poet has used the style of a . . . to . . .
- I think the most effective poem is . . . because . . .
Poets and Poems
Choose a selection of poems by a single poet. Make notes of your thoughts and
feelings about the poet’s style.
Poet’s name:
Titles of poems: Theme of poems:
Style and Form:
Words and phrases: The effect upon the reader:
What you particularly like about this poet’s work:
What you dislike about this poet’s work:

Poets and Poems


contexts.


Assessment focuses:

Ask the children to select a few poems by a single poet. Discuss the style and form of
the poems that the children have chosen. Encourage the children to articulate and
justify their responses.
Model the ways in which the children could articulate their responses using ‘response
stems’:
- the effect of this simile is . . .
- the poet wants me to feel . . .
- the message that the poet is trying to convey is . . .
- the poet has used the style of a . . . to . . .
- I like the work of this poet because . . .
- I can tell that these poems are by the same poet because . . .
Ask the children to complete their activity sheets using ideas from the discussion
Blurb!
Write a brief summary of the book you have just read for the back cover of the book. Remember to give an overview of
the story without giving too much away. Use techniques to intrigue the reader and make them want to read the book. You
could make up some quotes from reviews to add at the bottom. Design the cover, too.
Back Spine Front

Blurb!

sway the reader.

Strand 9: Select words and language drawing on their knowledge of literary

features and formal and informal writing
Assessment focuses:

Encourage the children to write an overview of the story without giving too much detail;
just enough to tempt the reader. Ask them to design a cover that includes clues about
the type of story it is. Make sure that they know that the cover is on the right and the
back is on the left.
Book Review
Book Title:
Author:
Where is the story set?
Who are the main characters?
What is the plot? (Don’t give away the ending!)
Who would this book appeal to?
Would you recommend this book to a friend? Why? Why not?
Written by:
Book Review


Assessment focuses:

the overall effect
Ask the children to think about a book they have recently finished and to write a
review for the other children in their class.
Year 6 and Year 7 Transition Unit



Assessment focuses:

the overall effect
Reading AF7: Relate texts to their cultural and historical contexts and literary
traditions.
The Year 6 and Year 7 Transition Unit is a two-week unit of work based on the above
objectives.
A reading journal is used to respond to Kensuke’s Kingdom and

Dancing Bear by Michael Morpurgo and The Suitcase Kid by
Jacqueline Wilson
Ref: DfES 0113/2002

Tel: 0845 60 222 60

Activities For Responding To Reading in Year 6

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Activities for

 Some may be used more than once with different texts.

Year 6 Reading Objectives:

Use a range of strategies, including

Understand, describe, select or

Between the lines

Identify and comment on the structure Structure.

The Text and the World.

 A range of fiction genres

… discuss what I like to

The … use my knowledge of

… can tell the

Date Title Author

Date Title Author

Summarise the blurb on the back of the book:

What do you think this book may be about?

Do you think you will enjoy this story? Why?

What sort of stories do you usually like to read?

Strand 7: Appraise a text quickly, deciding on its value, quality or usefulness.

- what is the title? What does it suggest about the story?

What the story easy to get into? Why? Why not?

Make brief notes about what has happened so far

Is the story what you expected? In what way?

What do you think is going to happen next?

Write down any questions you have about the story?

Strand 8: Read extensively and discuss personal reading with others,

Compare how writers from different times and places present

What Might Happen Now?

Strand 7: Understand underlying themes, causes and points of view.

Strand 8: Sustain engagement with longer texts, using different techniques

Compare how writers from different times and places present

What do think is going to happen in the end?

Strand 7: Understand underlying themes, causes and points of view.

Strand 8: Sustain engagement with longer texts, using different techniques

Compare how writers from different times and places present

Reading AF2: Understand, describe, select or retrieve information, events or

Words and phrases – characters The effect

Words and phrases – settings The effect

Words and phrases – situations and events The effect

Strand 7: Understand how writers use different structures to create

Explore how word meanings change when used in different

- The effect of this phrase is to make the reader feel/think/expect

Main purpose in story: Main purpose in story:

Typical behaviour: Typical behaviour:

What do they think of character 2? What do they think of character 1 ?

Strand 7: Understand underlying themes, causes and points of view.

Understand how writers use different structures to create

Reading AF2: Understand, describe, select or retrieve information, events or

Discuss two main characters from the book.

Strand 7: Understand underlying themes, causes and points of view.

Understand how writers use different structures to create

Strand 8: Read extensively and discuss personal reading with others,

Sustain engagement with longer texts, using different techniques

Reading AF2: Understand, describe, select or retrieve information, events or

Strand 7: Understand underlying themes, causes and points of view.

Strand 8: Read extensively and discuss personal reading with others,

Compare how writers from different times and places present

Reading AF2: Understand, describe, select or retrieve information, events or

Model the use of ‘response stems’: