1. Write a story about a locked door. You should write three paragraphs.

You should consider:

• where your story is set
• what characters to include in your story.

Grade: B
Corrections
1. Spelling and Grammar:
"When he was ask" should be "When he was asked."
"his siter's luggage" should be "his sister's luggage."
"The Door eventually opens" should be "The door eventually opened." (for consistency in past tense).
"she disappeared a long time ago." should be "She disappeared a long time ago." (capitalize the "S" for proper
sentence structure).
2. Structure and Pacing:
The story has good potential, but it can be improved by providing more context about Jake’s curiosity, emotions,
or the house setting in the first paragraph. Consider adding details to make the place feel more eerie or intriguing.
The transition between the second and third paragraphs is a bit abrupt. Maybe Jake could have some internal
thoughts or feelings as he opens the box, which would build suspense for the moment when his grandfather
appears.
3. Character Development:
Jake’s curiosity is clear, but his emotions (fear, excitement, or confusion) could be explored more to add depth to
his character. For example, does he feel nervous about disobeying his grandpa, or is he confident he will find
something important?
The grandfather's reaction could be more emotional when he speaks about his sister. Perhaps he could show
regret, or his sadness could be described more vividly to make the reveal more impactful.
4. Plot Clarity:
The story hints at a mysterious family secret, but the ending could be more poignant. You might want to hint a
little more at why the grandfather has kept the memories hidden. Does Jake feel sympathy for his grandfather, or
does this discovery change how he sees him?

Revised Example (with minor edits):

One day, Jake was exploring his grandpa's house. The house was huge and filled with dust, as if it hadn't been
cleaned in years. In the far corner of a dark hallway, he noticed a locked door. The knob wouldn't turn when he
tried to open it. Curiously, he asked his grandfather about it, but his grandpa simply replied, "Don't worry about
it."
Jake couldn't stop thinking about the locked door. Late that night, while everyone was asleep, he snuck into the
hallway again. He had borrowed a hairpin from his sister’s luggage and, like in the movies, he carefully inserted it
into the keyhole. After several attempts, the door creaked open. Inside, he found a small, dimly lit room with an
old wooden box sitting on the floor.
Jake cautiously stepped closer and opened the box. Inside were old photos of his grandpa and a woman he didn’t
recognize. Just as he was about to inspect them further, he heard footsteps behind him. He turned to see his
grandpa standing in the doorway, his face somber. "That was my sister," he said, his voice barely above a whisper.
"She disappeared a long time ago." Jake realized this hidden room held not only his grandfather’s memories but
also untold family secrets.
CAMBRIDGE LOWER SECONDARY ENGLISH 8: DIAGNOSTIC CHECK
1 Give one word from lines 1–5 which means ‘about’.

[1]
2 Give one word from lines 1–5 which means ‘main’.

[1]
3 Give one phrase from lines 1–5 which suggests that cycling is not usually a suitable
way of travelling long distances.

[1]
4 Explain, using your own words, the benefit of allowing bicycles on trains and buses
(lines 10–11).

[1]
5 Give two pieces of evidence from lines 12–19 which show that cycling helps people to
keep physically fitter.

[2]
6 What structural feature is ‘Make sure you start looking for one now!’ (lines 20–21) an
example of?

[1]
7 How is the last paragraph (lines 20–23) different from the rest of the text and what is the
effect of this?

Difference:

Effect:
8 What is the main purpose of the text?

Tick () one box.

to inform people about the health benefits of cycling

to persuade people to start cycling regularly

to show how cheap cycling is compared to other transport

to explain how popular cycling is all over the world [1]

Section B: Writing
Spend around 20 minutes on this section.

1 Write a talk for your class about how to keep fit and healthy. You should write
three paragraphs.
You could consider:
• the importance of keeping fit and healthy
• ways of getting regular exercise
• how friends and family can keep fit and healthy together. [10]

Space for your plan:

Write your talk.

 CAMBRIDGE LOWER SECONDARY ENGLISH 8: DIAGNOSTIC CHECK

Part 2: Fiction
Section A: Reading
Spend around 20 minutes on this section.
Read the text below (an extract from The Silver Box by Louise Lawrence), then answer
questions 1–6.

Lonely and boring, the hours stretched endlessly ahead. She might have
switched on the radio or studied her school books, but listening to music
made her headache worse and she could not concentrate. Curled with the
cat she tried to sleep but then she grew hot and sweaty and small sounds
5 distracted her . . . the whine of the wind down the boarded-up chimney,
the flutter of snow against the window pane, and the creak of a
floorboard. It was as if someone were there, quietly moving at the far end
of her room. Carole raised her head. She saw nothing unusual . . . just a
shimmer of heated air above the electric convector heater and the walls
10 receding into distances, the effects of her fever. But the sounds went on,
movements and footsteps, soft and disturbing. And did she imagine the
room growing dark?
There was a humming noise too, like a high-frequency static almost
beyond the range of her hearing. Once more Carole raised her head and
15 for one panic-stricken moment she thought she was going blind. There
was light around her bed, but the rest of the room had vanished, dissolved
in a curtain of shimmering air and darkness beyond it. Or maybe
something was wrong with the convector heater? The electronic hum was
clearer now, increasing in pitch. Even the cat could hear it. And they
20 moved together, Carole and Splodge, propelled by the same fear. He rose
from the bed with green eyes blazing, arched and spat and bolted for the
door, his tail bushed as a fox’s brush . . .

Glossary
brush: tail

1 Give one phrase from lines 1–3 that tells you time seems to be going slowly for Carole.

[1]

2 Give two pieces of evidence from lines 1–12 that show Carole isn’t feeling well.

• [2]
3 What is ‘the whine of the wind’ (line 5) an example of?
Tick () one box.

metaphor

rhyme

simile

personification [1]

4 Give one structural feature used to build up tension in lines 8–12 (from ‘Carole raised …’)
and explain its effect.

Feature:

Effect: [2]

5 Which two features from the text suggest that it is from a mystery story?
Tick () two boxes.

use of a flashback

unexplained noises

a lonely setting

the inclusion of a cat

the use of bad weather [2]

6 Suggest two ways that the writer uses language or structure to describe the cat’s
fear in lines 19–22.

[2]

Section B: Writing
Spend around 20 minutes on this section.

1 Write a story about a locked door. You should write three paragraphs.
You should consider:
• where your story is set
• what characters to include in your story. [10]

Space for your plan:

TRANSFORMATION OF SENTENCES (SIMPLE, COMPLEX, COMPOUND)

A. the following simple sentences into complex or compound sentences.

1. Knocking at the gate, he demanded admission.

2. Blinded by a dust storm, they lost their way.

3. Deceived by his friends, he lost all hope.

4. Driven by hunger, he stole a piece of bread.

5. Overwhelmed with grief, the poor widow killed herself.

6. The sea being smooth, we went for a sail.

7. Weather permitting, the match will be held tomorrow afternoon.

B. Transform the following simple sentences into complex sentences:

1. Alex could not go to school due to his mother’s illness.

2. Murphy knows Mr. Rashid.

3. I prayed for your job.

4. He admitted his guilt.

5. He is too weak to carry this heavy bag.

6. He is working relentlessly to finish the work.

7. He was born in the year of liberation war.

8. In spite of being a good student, he could not do well on the exam.

9. Despite being sick, Robin went to school.

10. He is too weak to continue walking.

11. They are too strong to lose.
C. Transform the following complex sentences into simple sentences:
1. I know that he is an honest guy.

2. We could not figure out what he said.

3. I believe that God exists..

4. Those that are helpless deserve our pity.

5. The statue that is made of marble was bought from Jaipur.

6. We saw trees that were laden with fruits.

7. They took shelter under a tree because they were driven by the rain.

8. He lost all hope because he was deceived by his own friends.

D. Transform the following complex sentences into compound sentences.

1. Walk carefully lest you should fall.

2. Although she is rich, she is not happy.

3. As soon as we heard the gunshot, we rushed to the spot.

4. If you are honest, you need not fear anybody.

5. I called for John who came at once.

6. Though he is brave, he is careless.

7. You will pass if you work hard.

8. He could not catch the train because he was late.

9. If you cannot obey me you have to quit.

 Answers: D
1. Walk carefully or you will fall.
2. She is rich but she is not happy.
3. We heard the gunshot and rushed to the spot.
4. Be honest and fear nobody.
5. I called for John and he came at once.
6. He is brave but careless.
7. Word hard and you will pass.
8. He was late and could not catch the train.
9. Obey me or quit.

MODALS
I. Fill in the blanks with the correct Modals of Obligation or Ability
1. We have a lot of work tomorrow. You __________ be late. (mustn’t, don’t have to, can’t, couldn’t)
2. We ________ get to the meeting on time yesterday, because the train was delayed by one hour.
(couldn’t, can’t, mustn’t, don’t have to)
3. You _________ tell anyone what I just told you. It's a secret. (can’t, must, mustn’t)
4. You ___________ cheat in the exam. (mustn’t, may, must)
5. She's seven years old, but she ___________ read yet. (can’t, shouldn’t, mustn’t)

We have a lot of work tomorrow. You mustn’t be late.

(Explanation: "Mustn't" indicates prohibition, which is suitable because being late is not allowed.)
We couldn't get to the meeting on time yesterday, because the train was delayed by one hour.
(Explanation: "Couldn't" shows inability in the past due to external circumstances.)
You mustn't tell anyone what I just told you. It's a secret.
(Explanation: "Mustn't" indicates prohibition — telling the secret is not allowed.)
You mustn't cheat in the exam.
(Explanation: "Mustn't" is used to express strong prohibition against cheating.)
She's seven years old, but she can’t read yet.
(Explanation: "Can't" indicates lack of ability at the present time.)

II. Choose the right modal verb

1. There are plenty of tomatoes in the fridge. You _____________ (mustn’t, needn’t, may not, should
not) buy any.
2. This is a hospital. You ______________ (mustn’t, needn’t, may not, don’t have to) smoke here.
3. Take an umbrella. It _____________ (need, should, mustn’t, might) rain later.
4. Drivers _____________ (could, can must, may) stop when the traffic lights are red.
5. I ____________ (could, might, can, must) speak Arabic fluently when I was a child and we lived in
Morocco. But after we moved back to Canada, I had very little exposure to the language and forgot
almost everything I knew as a child. Now, I ___________ (may, can, must, need) just say a few things
in the language.
6. The teacher said we __________ (can, needn’t, must, should) read this book for our own pleasure as
it is optional. But we ________ (could, need, needn’t, must) read it if we don't want to.
7. You _____________ (shouldn’t, needn’t, may not, could not) leave small objects lying around. Such
objects ____________ (must, may, need, should) be swallowed by children.
8. You’ve got plenty of time. You __________________ (couldn’t, needn’t, can’t, mustn’t) hurry.
9. There’s a knock at the door. I’m expecting Paul. It __________________ (may, must, can, need) be
him.
10. ________________ (can, should, may, might) you turn down the volume? – It’s too loud.

There are plenty of tomatoes in the fridge. You needn’t buy any.
(Explanation: "Needn't" indicates that buying tomatoes is not necessary.)
This is a hospital. You mustn’t smoke here.
(Explanation: "Mustn't" indicates prohibition in a hospital.)
Take an umbrella. It might rain later.
(Explanation: "Might" expresses a possibility of rain.)
Drivers must stop when the traffic lights are red.
(Explanation: "Must" is used for a strong obligation or rule
 III. Fill in the blanks using must, mustn’t, needn’t, should, shouldn’t, might, dare, can, can’t!
1. You really _________ go to the Louvre if you’re in Paris. It’s wonderful.
2. How did he ___________ to strike me?
3. I don’t know where Kelly is. She _________ be at the sister’s house.
4. You have passed all your tests. You _________ be very pleased with yourself.
5. You _________ smoke in your car, especially if there are children sitting in the back.
6. You _________ work this evening. I have done the tasks for you.
7. John doesn’t need a calculator. He _________ do sums in his head.
8. Passengers _________ open the door when the train is moving.
9. It _________ rain today. It’s getting cloudy already.
10. You _________ pay for the tickets because I got them from Sam for free.

You really should go to the Louvre if you’re in Paris. It’s wonderful.

(Explanation: "Should" gives a recommendation.)
How did he dare to strike me?
(Explanation: "Dare" expresses a challenge or boldness.)
I don’t know where Kelly is. She might be at her sister’s house.
(Explanation: "Might" suggests a possibility.)
You have passed all your tests. You must be very pleased with yourself.
(Explanation: "Must" expresses a strong assumption or conclusion.)
You mustn't smoke in your car, especially if there are children sitting in the back.
(Explanation: "Mustn't" indicates prohibition.)
You needn't work this evening. I have done the tasks for you.
(Explanation: "Needn't" indicates that it’s not necessary.)
John doesn’t need a calculator. He can do sums in his head.
(Explanation: "Can" shows ability.)
Passengers mustn't open the door when the train is moving.
(Explanation: "Mustn't" is used to prohibit an action.)
It might rain today. It’s getting cloudy already.
(Explanation: "Might" suggests a possibility.)
0.You needn't pay for the tickets because I got them from Sam for free.
(Explanation: "Needn't" indicates that paying is not necessary.)
 MODALS
I. Fill in the blanks with the correct Modals of Obligation or Ability
1. We have a lot of work tomorrow. You __________ be late. (mustn’t, don’t have to, can’t, couldn’t)
2. We ________ get to the meeting on time yesterday, because the train was delayed by one hour.
(couldn’t, can’t, mustn’t, don’t have to)
3. You _________ tell anyone what I just told you. It's a secret. (can’t, must, mustn’t)
4. You ___________ cheat in the exam. (mustn’t, may, must)
5. She's seven years old, but she ___________ read yet. (can’t, shouldn’t, mustn’t)

II. Choose the right modal verb

1. There are plenty of tomatoes in the fridge. You _____________ (mustn’t, needn’t, may not, should
not) buy any.
2. This is a hospital. You ______________ (mustn’t, needn’t, may not, don’t have to) smoke here.
3. Take an umbrella. It _____________ (need, should, mustn’t, might) rain later.
4. Drivers _____________ (could, can must, may) stop when the traffic lights are red.
5. I ____________ (could, might, can, must) speak Arabic fluently when I was a child and we lived in
Morocco. But after we moved back to Canada, I had very little exposure to the language and forgot
almost everything I knew as a child. Now, I ___________ (may, can, must, need) just say a few things
in the language.
6. The teacher said we __________ (can, needn’t, must, should) read this book for our own pleasure as
it is optional. But we ________ (could, need, needn’t, must) read it if we don't want to.
7. You _____________ (shouldn’t, needn’t, may not, could not) leave small objects lying around. Such
objects ____________ (must, may, need, should) be swallowed by children.
8. You’ve got plenty of time. You __________________ (couldn’t, needn’t, can’t, mustn’t) hurry.
9. There’s a knock at the door. I’m expecting Paul. It __________________ (may, must, can, need) be
him.
10. ________________ (can, should, may, might) you turn down the volume? – It’s too loud.
III. Fill in the blanks using must, mustn’t, needn’t, should, shouldn’t, might, dare, can, can’t!
1. You really _________ go to the Louvre if you’re in Paris. It’s wonderful.
2. How did he ___________ to strike me?
3. I don’t know where Kelly is. She _________ be at the sister’s house.
4. You have passed all your tests. You _________ be very pleased with yourself.
5. You _________ smoke in your car, especially if there are children sitting in the back.
6. You _________ work this evening. I have done the tasks for you.
7. John doesn’t need a calculator. He _________ do sums in his head.
8. Passengers _________ open the door when the train is moving.
9. It _________ rain today. It’s getting cloudy already.
10. You _________ pay for the tickets because I got them from Sam for free.
 6 Monsters

In this unit, you will read accounts of different monsters and explore things that people are afraid
of. You will read fiction about a giant, poetry about a fearsome creature and an article about a
monster below the ground created by humans.

6.1 A modern monster

• identify the main points in an artide about a monstrous animal

•.....considera writer's attitude towards-thetopic they
are explaining
• explore the effect of emotive language on readers
• write your own account of a modem myth.

The hunt for Chupacabra

 Extract 1
The world's first 'internet monster' - a cruel creature that empties the blood from its animal victims -
has been caught ...
Humans are fascinated and frightened by monster stories. We love hearing about strange, shadowy
creatures that bring fear to communities around the world. Most societies have legends like this. In
Mongolia, the Death Worm is a huge red creature that spits
acid at its victims. In Colombia, Alligator Man swims along the coast looking for human wives. In Japan,
man-eating spiders disguise themselves as attractive women before devouring their victims.
And then in Puerto Rico, there's the feared Chupacabra ...
Chupacabra means 'goat sucker' in Spanish, because this monster buries its teeth into animals, but
descriptions of the creature vary. Typically (as with most supposed monsters), no photographs or
footprints of the original Chupacabra exist - there's just a handful of eyewitness reports and a lot of
dead animals. When the creature was first reported in 1995, it was said to have glowing red eyes, huge
claws, spikes along itsback and the ability to leap large distances. Over the next five years, more
Chupacabras were rumoured to have been seen in Spanish-speaking countries such as Argentina,
Mexico and Chile. The description of the monster also changed: by 1998, it was a fierce, hairless dog.
Unusually, these later Chupacabra bodies were actually tested by real scientists, rather than the
'experts' on web forums. The creatures had been shot by farmers and, for once, modern science could
examine not only the victims of a monster, but the monster itself. The reality was a little less exciting
than the myth. A Chupacabra was pretty awful to look at - skinny, hairless and with burnt areas on its
skin. However, tests proved beyond doubt that the Chupacabras
that had been found were less exotic animals - dogs, coyotes and racoons. Skin infections had caused
these animals to develop bald patches, and as they scratched, their skin became inflamed, giving them a
gruesome appearance. In short, there was no Chupacabra. Of course, that was no real surprise to most
people!
 List the main pieces of information about the appearance and behaviour of
Chupacabra in the different sightings.
In your own words, write down what the following phrases mean.
For each one, note down the effect the writer may have intended them to have.
Humans are fascinated and frightened by monster stories.
The reality 1ras a little less exciting than the myth.
OJ course, that 1ras no real surprise to most people!
In pairs, discuss the attitude the writer takes towards the subject.
Make a list of words and phrases that reveal the writer's attitude.
:I
What approach did you take to identifying the words.and phrases that reveal the writer's
attitude? l

Answer
1. Main pieces of information about the appearance and behaviour of Chupacabra in the different
sightings:
1995 Description: Glowing red eyes, huge claws, spikes along its back, ability to leap large distances.
Rumors (1995-2000): Seen in various countries such as Argentina, Mexico, and Chile. The appearance and description
evolved over time.
By 1998: Described as a fierce, hairless dog.
2. Meanings of the phrases:
a) "Humans are fascinated and frightened by monster stories."
Meaning: People are both curious and scared of mythical creatures.
Effect: The writer may be suggesting that monster stories are intriguing to people because they provoke fear and
excitement.
b) "The reality was a little less exciting than the myth."
Meaning: The actual findings were less sensational than the imagined or rumored accounts.
Effect: This creates a contrast between the fear and thrill associated with the myth and the disappointing truth,
emphasizing that the myth was exaggerated.
c) "Of course, that was no real surprise to most people!"
Meaning: It wasn’t surprising to most people that the Chupacabra was a myth and that the truth was not as dramatic.
Effect: This phrase suggests that the writer believes most people were skeptical of the Chupacabra legend and
expected a more mundane explanation.

3. The attitude the writer takes towards the subject:

The writer’s attitude towards the Chupacabra legend seems skeptical and somewhat dismissive of the myth, presenting it
as a mere superstition rather than a real creature.
Words and phrases that reveal this attitude:
"Fascinated and frightened" (Implying the allure of myth despite lack of evidence)
"No photographs or footprints" (Suggesting a lack of proof)
"The reality was a little less exciting than the myth" (Dismissing the myth as exaggerated)
"No Chupacabra" (Final and clear dismissal of the creature's existence)
"That was no real surprise to most people" (Implying the myth was not taken seriously by most)
Approach to identifying the words and phrases:
Focused on phrases that suggest a contrast between myth and reality.
Looked for expressions that either discredit the creature or convey the mundane truth behind the legend.
Considered the tone of the writing, noting how it seems to downplay the supernatural aspect.

150)
Extract 2
Extrad 2
The internet was crucial in the spread of the Chupacabra myth. Modem communication has allowed
rumour and myth to spread rapidly. A decode earlier, before global communication was so easy, this monster
would have remained a local legend. But stories on the internet ore like wildfires - they bum out of
control. People told and retold the stories, changing descriptions of the creature each time. Without
photographic evidence, the accounts of the Chupacabra were impossible to confirm. They seemed so
exaggerated that it was hard to believe
they were true, as this eyewitness account from Chile shows:
The thing that I remember most was its horrific red eyes. I only saw it for a second, but it looked a time
and struck fear into my heart. Those eyes will stay with me forever. Every time I go to sleep, I see them.
And the speed with which it moved was inaedible. I’ve seen nothing like
It before or since. Those sharp spikes on its back and its horrendous -.
claws could do serious damage to someone. rmonly glad I was
indoors when I saw it.'

151 )
150)
 6.1 A modern monster

In fact, details about the original sighting of Chupacabra in 1995 go some way to explaining how the
myth took hold. The first person to report the creature was Madelyne Tolentino, from Canovanas in
Puerto Rico. She reported seeing a frightening creature that looked like an alien from her window. Upon
closer investigation, Tolentino's description was very like that of an alien creature featured in the film
Species, which she had recently watched. It seems likely that she saw one of the real animals that had
a skin disease, and her imagination got the better of her. Once her description had been repeated and
exaggerated online, the Chupacabra myth was born.

The first paragraph uses the phrase stories on the internet are like ll'i!dfires- they hum out of
control. In pairs, discuss how this simile could be interpreted and what effect it has.

The eyewitness account of the Chupacabra is written in emotive language. Write a paragraph

Emotive language means words and phrases intended to

produce an emotional response in readers. Writers choose
emotive words when they want readers to have a strong reaction
to the text - for example, shock, anger or terror. For example:
• The creature used its claws to attack the sheep.
• The menacing creature slashed at the terrified sheep with
its razor-sharp claws.
The first example describes the action in a straightforward
way. The second is much more dramatic, using strong verb
and adjective choices such as 'menacing', 'slash', 'terrified' and
'razor-sharp' to draw the reader into the scene and make them
feel the horror and fear of the situation.

explaining the overall impact on the reader of the words and phrases the speaker uses.
Using both extracts from the article, write your own account of the Chupacabra
myth. You should write 150 words. Focus on:
the background to the original sighting how the internet played a part in the myth
how science helped to clear up the myth.

Answer

4. Interpretation of the simile: "Stories on the internet are like wildfires – they burn out of control."
153 )
This simile compares the spread of Chupacabra stories on the internet to a wildfire, which grows uncontrollably,
spreading rapidly and without much direction. It suggests that once a myth or rumor gains momentum online, it is
difficult to stop and may continue to grow and evolve. The effect of the simile is to highlight the uncontrollable nature of
online gossip and exaggeration, conveying how easily misinformation can spiral out of control.

5. Impact of the eyewitness account:

The eyewitness account uses strong, emotive language to make the reader feel the fear and unease experienced by the
witness. Phrases like "horrific red eyes," "struck fear into my heart," and "horrendous claws" create a vivid and terrifying
image of the creature. The repetition of "forever" and "every time I go to sleep" emphasizes the lasting emotional impact
the creature had on the witness. These words stir emotions of terror and suspense in the reader, engaging them more
deeply in the story. The account is designed to make the reader feel the intensity of the experience, making them more
likely to believe in the creature's frightening existence.

6. Account of the Chupacabra myth:

The Chupacabra myth began in 1995 in Puerto Rico when a woman named Madelyne Tolentino reported seeing a strange
creature with red eyes, spikes along its back, and sharp claws. Her description closely resembled an alien creature from
the film Species, which she had recently watched. It's likely that what she saw was a real animal suffering from a skin
disease, which distorted its appearance. This initial sighting fueled rumors, and as stories spread online, they morphed
into an even scarier version of the creature.
The spread of the Chupacabra myth was heavily influenced by the internet. Without photographic evidence, each retelling
of the story grew more exaggerated. The stories quickly reached a global audience, and the myth expanded beyond Puerto
Rico. However, modern science eventually debunked the creature’s existence. Investigations revealed that the so-called
Chupacabras were, in fact, just sick dogs, coyotes, and raccoons with skin infections. These findings put an end to the
Chupacabra legend, showing that the creature was a product of imagination rather than reality.

150)
 6 Monsters

D I can use reading strategies to identify the main points

in an article.
0 I can use language choices to interpret a writer's
towards a topic.
attitude
D I can explain how emotive language choices affect a
reader.
D I can use information from a source to write my own

> 6.2 Fear of monsters

• identify and summarise the main points in an informative text

• consider howand audience influence the way
a text is written
• produce a leaflet for a specific purpose and audience.

How are advice leaflets presented? How are they set out?
What grammatical features of advisory writing can you
remember from Unit 5?

Fear of the dark

Read this online article by Joshua A. Krisch which explains why
people are afraid of monsters. It includes the opinions of Peter Gray,
a professor of psychology.

How Monsters Under the Bed Became a

Common Childhood Fear
Your children are afraid of the dark, and they are
certain that monsters live under their beds.

152 )
 6.2 Fear of monsters

It's not because of horror films. It's because the dark is scary, and monsters do exist.
'It's no surprise that infants have some fear of the dark. Throughout our evolutionary history. the
dark was dangerous.' Humans rely on vision above all other senses, Gray explains, and the dark
placed us in danger for thousands of years. It follows that a healthy fear of the dark is deeply
ingrained in the human psyche.
Humans are born with a handful of fears. From birth, we're afraid of falling from great heights
and afraid of loud noises; shortly thereafter we acquire fear of snakes and spiders. Among our
earliest learned fears is fear of the dark.
At nightfall, Gray says, we instinctively want to be tucked away
in a cave or bedroom, surrounded by other people who might help us fend off an attack when our
senses are at their worst. This is probably why small children cry when they're left alone in a dark
room. 'Over the course of natural selection, infants who expressed fear of being left alone by
crying out were more likely to survive,' he says.
Which accounts for fear of the dark, and explains why your child only becomes truly afraid of the
dark once you leave the room. If a lion is going to attack, it'll be then.

Look at two terms that are underlined in the text. Research what they mean. In your
own words, write a brief glossary.
You have been asked to give a very brief summary of why children are afraid of the
dark. Identify the main points in the article and then summarise them using as few words as
possible.

Swap books with a partner. Read each other's work.

• Has your partner identified all the main points?
• Are there any subsidiary points that you do not think should
have been included?
• Which of you has used the fewest words?

153)
Monsters

4. Articles can be found in many sources - in newspapers,

magazines and online. They are written with different
readers in mind and for different purposes.
Who do you think is the intended audience for this article? Who would read it and why? Explain
your answer using quotations.
What type of article is this - what is its purpose? How is it meant to help the intended reader?

5. You have been asked by a health education company to design a leaflet giving parents advice
about helping their child to overcome a fear of monsters. You have made the following notes
from your initial research.

Technical name for fear of monsters is teraphobia.

In the past, people were frightened of sea dragons.
Listening to children’s fears is essential.
·
Fear of monsters normally disappears by age nine, although adults can still get scared at times.
alchin horror- filwis can make leena r-s fr-i1hlened.
. Children lik_e r-ewo.r-ds - r-ewo.n1 lhem for- 'br-aver- with
slick_er-s and lr-eals.
Lau hin al childr-e s fears never- helps.
Ask.in a child lo dr-aw their- m0nsler- can help lhem.
Some childr-e s mOnster-s ar-e inspired b':l cartoons or
-( even nei hbour-s.
If a fear- lasls for more lhan six monlhs, il is
--f. officiall':l a phobia.
1-\avin a bedtime routine helps children over-come fears - balh and st.e>r-ies help.

154 >
 6.2 Fear of monsters

You can use information from the article, but you will need to Writing tip
rewrite it in a suitable way. Remember that some of the information It is important to
may not be useful for your audience or purpose. structure a leaflet
appropriately.
Read through the notes in Activity 4 and the Most advice
article - work out which bits will be most useful for your audience. leaflets start by
giving general
Plan a structure for your leaflet - think about the information
order of your content. before moving
on to specific
Draft the text for your leaflet. Remember that your advice. Breaking
audience is parents who may be concerned about their children and information
into separate
are reading your leaflet because they want information, advice and sections using
reassurance. Consider the tone and level of formality you should subheadings will
help your reader.
use. Take care with spelling, using some of the strategies you learnt
in Session 3.6 to spell words correctly.
Use the features of advisory texts that you learnt about in Session
5.4, including:
headings, subheadings, bullet points and numbered lists
clear, direct advice written in straightforward language
imperative sentences and modal verbs.

Read your draft and consider whether you have:

• provided clear advice to your readers
• structured your leaflet in an effective way.

Select some images that you could use in your leaflet. Use a search engine, books or
your own imagination to decide on suitable pictures. Once you have completed your draft and
selected images, edit your work before producing your final text. Try to make your leaflet look as
attractive and convincing as possible.

Think about the various stages of producing our leaflet:

• Which parts did you enjoy most and wh'Y?

I
Which other parts were most challengini.:g and what did you learn from them?

155)
156 >
 6.2 Fear of monsters

6 Monsters

I can locate the main points in a text and summarise them

concisely.
I can explain how purpose and audience influence the way a
text is written.
0 I can plan and write a leaflet using language and structural
features appropriate for the purpose and audience.

6.3 The giant

• read a fable and identify the key features of the genre

• explore methods for presenting cha"'ct,ers
• comment on figurative language, including symbols
• analyse how time connectives and sentence openings
help structure a story.

In pairs, discuss stories written for younger children, such as

fairy tales and fantasy stories. What type of monsters are used in
these stories? Make notes based on your discussion.

'The Selfish Giant' Key word

'The Selfish Giant' by Oscar Wilde was written in 1888. It is a
fable. fable: a short
These types of stories often contain some or all of these story designed
features: to teach a moral
lesson
They are short prose texts.
They are written in a simple style.
They are written to entertain, but also contain a moral lesson.
They are written for children, but the deeper ideas in them
appeal to older readers too. 157)
They usually only have two or three characters.
158 >
 6.3 The giant

They contain fantasy elements, such as monsters or talking animals.

Characters in them may be named for what they are (for example, King or Wolf) and
Remember thatdefined by
their name. attitude or power. genres are loose
classifications.
The story usually has a happy ending. Most stories will
• The ending reveals the moral message. Read the first part of the
notstory.
contain all of
the typical
features of the
Extract 1 genre they
Every afternoon, as they were coming from school, the children used belong
to go to, so do
and play in the
not expect every
Giant's garden. single one to
appear.
It was a large lovely garden, with soft green grass. Here and there over theItgrass
can bestood
useful to consider
beautiful flowers like stars, and there were twelve peach-trees that why
in the spring-time
certain genre
broke out into delicate blossoms of pink and pearl, and in the autumn bore
features have rich fruit. The
birds sat on the trees and sang so sweetly that the children used tobeen
stop included
their games in
in a story while
order to listen to them. 'How happy we are here!' they cried to each other.
others have not.
One day the Giant came back. He had been to visit his friend the ogre, and had stayed with
him for seven years. When he arrived he saw the children playing in the garden.
'What are you doing here?' he cried in a very gruff voice, and the children ran away.
'My own garden is my own garden,' said the Giant, 'any one can understand that, and I will
allow nobody to play in it but myself.' So he built a high wall all round it, and put up a
notice-board.

TRESPASSERS WILL BE PROSECUTED

He was a very selfish Giant.
The poor children had now nowhere to play. They tried to play on the road, but the road
was very dusty and full of hard stones, and they did not like it. They used to wander
round the high wall when their lessons were over, and talk about theprosecuted:
beautiful garden
inside. taken to court for
'How happy we were there,' they said to each other. doing something
illegal

157)
 6 M • > really only a little linnet singing
Which features of fables can you identify so far? outside his window, but it was
Compare your answers in small groups. so long since he had heard a
Fables often seem like simple stories, but they bird sing in his garden that it
contain deeper meanings. These meanings are often seemed to him to be the most
beautiful music in the world. 'I
represented by symbols. In your groups, discuss what the
believe the Spring has come at
garden and the wall might symbolise in this story. last: said the Giant; and he
In this story, the antagonist and eponymous jumped out of bed and looked
character is a giant - a monster figure. The writer uses different out.
techniques to characterise the giant. Write a paragraph What did he see?
explaining how word choice, dialogue and the narrator's
descriptions are used to present this character. Now read the
next part of the story. As you read, see if you can identify the
symbols.

Extract 2
Then the Spring came, and all over the country there were
little blossoms and little birds. Only in the garden of the
Selfish Giant it was still Winter. The birds did not care to sing
in it as there were no children, and the trees forgot to
blossom. The only people who were pleased were the Snow
and the Frost. 'Spring has forgotten this garden,' they cried,
·so we will live here all the year round.' The Snow covered the
grass with her great white cloak, and the Frost painted all the
trees silver. Then they invited the North Wind to stay with
them, and he came. He was wrapped in furs, and he roared
all day about the garden, and blew the chimney-pots down.
'I cannot understand why the Spring is so late in coming,· said
the Selfish Giant, as he sat at the window and looked out at his
cold, white garden; 'I hope there will be a change in the
weather.'
But the Spring never came, nor the Summer. The Autumn
gave golden fruit to every garden, but to the Giant's garden
she gave none. 'He is too selfish,· she said. So it was always
Winter there, and the North Wind, and the Frost, and the
Snow danced about through the trees.
One morning the Giant was lying awake in bed when he
heard some lovely music. It sounded so sweet to his ears that
he thought it must be the King's musicians passing by. It was
158)
 6.3 The giant

<

Key words

antagonist: a
character who
creates problems
in a story; a 'bad'
character who
stands in the way
of the hero
eponymous
character: the
character whose
name is in the
title of the story

159)
 6.3Thegia
nt

In groups:
list the examples of personification in this extract
discuss what the seasons, fruit and music might symbolise. In group
discussions,
The writer's language choices belp to make this seem like a remember
simple story.
to For
example, in this story, the writer uses mainly coordinating conjunctions ('and',ask'but', 'or'). What does
questions
and explore
this
everyone's
tell you about the sentence types? What overall effect does it have in the story?
ideas. You
might
Stories written for children are usually clear and straightforward. disagree
Young readers need
with someone's
to understand what is happening in the plot and when it happens. interpretation
Look at the sentence openings in this extract. How many contain a time connective
when youor first
a noun? Write
hear it, but it is
a paragraph analysing how the writer uses connectives and sentence openings.important
Explain to
how they help
give
the reader make connections in the story. them a chance
to explain their
ideas, using
evidence from
the text.
What have you learnt about 'The Selfish Giant' so far? Make a list Key words
of brief details about:
• the plot
time connective:
• the characters
a word or phrase
• the way it is written. used to show how
events in a story
are sequenced
and linked
by time-for
example, 'then',
'next', 'before',
I can identify and explain the key features offables. 'after'
Icanexplain-themethodstl\at-wntersitJS&to .
dlaracters;;
,··can } ifi oil i a and
comment on their eneas.
I can analyse how time connectives and sentence openings
helpstructure a stery.·

159)
 6 Monsters )

> 6.4 The little boy

• explore the effect of introducing a new character into a

story
• trace a character's personal 'journey'
• discuss different interpretationsof a story
• write your own fable.

In pairs, remind yourselves of what has happened in 'The

Selfish Giant' so far. Make some predictions about what will
happen next. What do you think the giant sees as he looks
out? Key words
The next part of 'The Selfish Giant' introduces a secondary character secondary
who has an effect on the giant. character: a
supporting
character in a
Extract 3 story; not the
main character
In every tree that he could see there was a little child. The
were flying
birds about and twittering with delight, and the top of the tree, and then I will
flowers were looking up through the green grass and knock down the wall, and my
laughing. It was a lovely scene, only in one comer it was garden sha11 be the children's
still Winter. It was the playground for ever and ever.' He
farthest comer of the garden, and in it was standing a little was really very sony for what he
boy. He was so small that he could not reach up to the had done.
branches of the tree. and he was wandering a11 round it, So he crept downstairs and
crying. opened the front door quite
And the Giant's heart melted as he looked out. 'How selfish softly, and went out into the
I have been!' he said; 'now I know why the Spring garden.
would not come here. I will put that poor little boy on the But when the children saw him
160)
they were so frightened that they all ran away, and the 6.3Thegia
nt

crept: walked quietly

161)
 6.4 The little boy

garden became Winter again. Only the little boydid not run, for his eyes were so full of
tears that he did not see the Giant
coming. And the Giant stole up behind him and took him gently in his hand, and put him
blossom: flowers
up into the tree. And the tree broke at once into blossom, and the birds came and sang
on a tree
on it. And the other children, when they saw that the Giant was not wicked:
wicked any longer,
mean
and angry
came running back, and with them came the Spring. 'It is your garden now, little children,'
said the Giant, and he took a great axe and knocked down the wall.

In pairs, discuss the effect of the writer introducing this character: what impact does
the little boy have on the Giant?
Stories often take characters on a journey of self-discovery, where they learn
something important and change for the better because of it. The writer shows this change in the
Giant through language choices. For example, at the start of the second paragraph we learn that the
Giant's heart melted. The figurative use of the past tense verb melted suggests a change in the
state of the giant's feelings.
Reread the story so far, then write a paragraph commenting on any other language choices that show
the Giant's development. Use quotations in your answer.
Now read the final part of the story.

Extract 4
All day long they played, and in the evening they came to the Giant to bid him goodbye.
'But where is your little companion?' he said: 'the boy I put into the bid
tree.'
him: say
'We don't know,' answered the children; 'he has gone away.' longed for:
'You must tell him to be sure and come here tomorrow,' said the Giant.missed or wished
But the children said
he could see
that they did not know where he lived, and had never seen him before; and the Giant felt
feeble: weak
very sad.
The Giant was very kind to all the children, yet he longed for his first little friend, and
often spoke of him. 'How I would like to see him!' he used to say.
Years went over, and the Giant grew very old and feeble. He could not play about any more,
so he sat in a huge armchair,

161 )
 6 Monsters )

and watched the children at their games, and admired his garden. 'I have many beautiful
flowers,' he said; 'but the children are the most beautiful flowers of all.'
One winter morning he looked out of his window as he was dressing. He did not hate the
Winter now, for he knew that it was merely the Spring asleep, and that the flowers were
resting.
Suddenly he rubbed his eyes in wonder, and looked and looked. It certainly was a marvellous
sight. In the farthest comer of the garden was a tree quite covered with lovely white
blossoms. Its branches were all golden, and silver fruit hung down from them, and
underneath it stood the little boyhe hadloved.
Downstairs ran the Giant in greatjoy, and out into the garden. He hastened across the grass,
and came near to the child. hastened: moved
quickly
And the child smiled on the Giant, and said to him, 'You let me play once in your garden,
today you shall come with me to
my garden.'
And when the children ran in that afternoon, they found the Giant lying dead under the tree.
all covered with white blossoms.

Readers react to stories in various ways. On a simple level, you could express whether
you enjoyed a story or not. On a more detailed level. you could discuss different
interpretations of a story before deciding what you think of it. Here are three different readers'
views about 'The Selfish Giant'.
In groups, discuss these views and find evidence in the text to support or challenge each one.
 6.4 The little boy

This is a story about

people cooperating and accepting each
other. The message is that the whole
world needs to understand each other and
worlt together.

This is a story reminding

adults they have responsibilities - they
have a duty to malte the world a better
place for future generations.

In group
discussions, wait
for your turn to
This is a story that speak, then make
suggests the purpose of lge is a clear point with
to become the best and wisest some detail. Ask
human you can be. others whether
they agree or not,
to develop the
discussion further.

You are going to write a short fable for children. Your fable should show one of
these moral messages:
appearances can be deceptive
being honest is better than telling lies
being patient (rather than rushing) leads to good outcomes.
Start by planning the basic plot of your fable and deciding which characters you will include.
Remember that you must show events that lead to the moral you have chosen. Use simple language
and some of the techniques you have learnt in this session and Session 6.3. Your finished fable should
be approximately 200 words in length.

Swap books with a partner. Read their fable and then:

• check that their story conveys a moral message
• tell them which part of the fable you enjoyed most and
which part they could improve.

163 >
 6 Monsters )

Summary checklist
Ican comment on the effect of introducing a new character
intoa story.
I can explain how a character develops and changes
throughout a story.
I can participate in an effective discussion about how readers
respond to texts.
I can write my own fable, expressing a clear moral message.

6.5 A smaller monster

• read a poem aloud

• •explore a poet's inettioclsofcharactimsation
• compare the techniques two poets use to explore
a similar theme. Key words
rhythm: a
regular,
repeating pattern
In this session you will compare two poems about a smaller of sound or
type of monster - a scorpion. Think of books and films you 'beat', common
know that feature small animals. What different impressions of in music and
these characters are created? Are they comic, frightening or poetry
impressive? Discuss your ideas in pairs. rhyme: words
where the
end part
'The Scorpion' sounds the
This poem by Hillaire Belloc presents a scorpion in a comic way. The same (for
example,
poet achieves this effect through specific use of rh) thm and rh)me.

soot: a black
The Scorpion is as black as soot, powder
He dearly loves to bite; dearly: greatly,
very much
He is a most unpleasant brute
brute: a cruel
To find in bed at night. person or animal

164 >
 6.5 A smaller monster

In pairs, take turns reading 'The Scorpion' aloud.

In your reading, try to bring out the rhythm of the poem.
What language techniques does the writer use to
characterise the scorpion? Write a paragraph explaining the impact
of these techniques.
Key words
You could consider the use of:
comparative
similes
adjective: an
specific verbs and adverbs adjective that
specific adjectives and comparatiH· adjl'cfocs. (usually
implicitly)
compares two
'Shadow of the Scorpion' nouns (for
The second poem is set in an unnamed village. The narrator example, 'the
describes the dramatic events of a night when a scorpion enters the tall boy' and 'the
taller boy')
family home. The poem focuses on the reactions of the family chronological
members. The events of the evening are recounted in chronological order: the order
in which events
order. occurred in time

- Ictrawled in front of the lamp,

A huge shadow case on the wall, flickering like a monster
in an old fiIm.
We sac, paralysed.
Then it scutded away somewhere, silendy.
Ir was a long night seared in rhc memory of our family. My mother, using a broom co search into
dark comers,
My father, scared
but joking - playing the brave man we all needed.
My sister and me, frightened, strangely excited.
Ir struck in the night. My sister screaming. Her hand, numb and swollen. paralysed: unable
to move
seared: burned

165 >
 6 Monsters )

It was a long night seared in the memory of our family. My mother, weeping and praying
My father, scared
but playing the brave man we all needed.
My sister, feverish, mumbling, struggling to breathe. Me, frightened, desperate
casts a longfor her to survive.
shadow: a
As the sun rose, she was sitting up, smiling weakly. metaphor
meaning to have
Years later, I found out scorpion bites are unlikely to kill, But the night still casts a long shadow.
a long-term
effect and to be
remembered
Draw a ten-part storyboard showing the main events of thevividly story in the poem. Before
you start, think carefully about which are the ten most important parts of the story. Beneath
each part of the storyboard, make brief notes commenting on how the ideas and viewpoints
have developed at each point.
One of the themes of the poem is about how humans react to - and remember -
difficult situations. In pairs, look at the ways in which the family members react to the scorpion's
attack and discuss what the poem shows about the way humans handle difficult situations.
You are now going to analyse how similar themes are presented in the two poems. Read the task:

Compare the way scorpions and human reactions to them are presented in 'The Scorpion'
and 'Shadow of the Scorpion'.
In your answer, you should comment on:
how scorpions are presented in both poems
how the poets present human attitudes and reactions to the scorpions.

Start by planning your answer. Copy and complete the table on the next page in your notebook.

166)
 6.5 A smaller monster

Poem Scorpions Human attitudes and reactions

'The • seen a.s t.hr-ea.t.eninj
Scorpion' o.nd O.jjr-essive
• SUjjeSt.s lhe scorpion
ertlo s co.usinj po.in
(dear/ loves to bi-le)
• lur-ns up une)(pededl
• co.uses o. sense of fear:
'Shadow • see!'\ o.s l'Y\ljst.er-ious o.nJ fr-ijhbinj - lhe
of the simile
Scorpion' /ik._e a mOnster SUj St.s t.he f ea.r- it. inspir-
es
• fijur-a.t.ive t.er-m paral sed sh0ws ph
sico.l o.nd emoliono.\ r-eo.dion
• differ-ent. cho.r-o.der-s sh0w differ-ent. r-
eo.dions
• sist.e s po.in (feverish)
• endinj
Now write your response to the task, using su est.stable
your completed lon -\o.st.in
to no.t.ur-e of
human
help you. Make sure your phrasing makes clear and a.Hit.Ude.
logical sense,
your spelling is accurate, and your handwriting is fluent. Write about A comparison
200 words. can be structured
in two ways. You
could spend half
of your response
Read through your response. Check that: on one text in
detail before
• you have made comparisons between the poems comparing it to
• you have included comments on the most significant features the second text,
of language or you could
regularly alternate
• your phrasing makes clear sense. between the two
texts. Whichever
way you choose,
make sure it
allows you to
develop your
points in detail.

167 >
Monsters >

Summary checklist
I can reada poem aloud with expression and accuracy.
I can comment on the way a poet characterises a aeature and
the narrMor in a poem.
I can write an analysis comparing the way two poets present a similar theme.

6.6 Monster below ground

• read and respond to an informative article

• constder the use nd impact of extended metaphors
• •lisllluQ8Rllilf'l'alce-,qteson adescription
• write a"account:using an extended metaphor.

In pairs, write a definition of the term 'metaphor', giving some

examples. Then discuss what the term 'extended metaphor'
might mean.

Monster fatbergs
You are now going to find out about another monster. Although, this one is different - it is huge
and found below ground, but this monster does not live and breathe.
Read this newspaper article by Chris Baynes, whose purpose is to inform people about 'fatbergs':
giant lumps of fat that collect in sewers.

168 )
 6.6 Monster below ground

Monster fatbergs weighing more than 100 tonnes cleared from London sewers
Two 'monster' fatbergs as heavy as eight double-decker buses have been cleared from sewers in
central London. sewers:
underground
Engineers armed with power tools tackled the greasy giants - weighingpipesa combined
that carry l 03
tonnes - due to fears they could flood homes and businesses. waste water
colossal: very big
Thames Water said one 63-tonne fatberg. which included several tonnes of concrete. was cleared
clump: a compact
from a sewer close to Buckingham Palace. mass
the Shard: a
Another colossal 70 m clump of fat,oil and grease was removed from the sewers near the
well-known
Shard. in London Bridge. tall building in
London
The two fatbergs were blocking drains and threatening to spew wastewater into nearby
spew: to force out
properties the water supplier said. in large quantities
Fatbergs are formed when fat and oil are poured down sinks and drains and stick
chunks: thick, to items
solid pieces
that should not be flushed down the toilet.
around the clock:
Engineers use tools to break up the lumps before removing chunks by hand. all day and night
'It's an extremely difficult job getting them out of our sewers.It's hot and very unpleasant.
especially when a chunk of fatberg is disturbed.The smell can be overpowering: said Stephen
Pattenden. network manager at Thames Water.
The water company said the two recent discoveries served as a timely reminder about
the importance of properly disposing of cooking fat.It urged people not to 'feed the fatberg'
and to take care of how they dispose of cooking fat.
Mr Pattenden said:'Fatbergs are like monsters from the deep, lurking and growing under our feet.
and the team worked around the clock to defeat these two before they could cause damage to
our customers or the environment.
'We've all seen the problems and damage they cause. and I'd therefore ask everyone to please
make sure they don't pour fats and oils down the sink.
'By letting the fat cool. putting it in a proper container like a
glass jar and then in the bin stops a fatberg growing into a monster.'

169)
 6 Monsters )

In pairs, discuss your reactions to the article. Consider:

how the details about fatbergs made you feel
whether you would like to do Mr Pattenden's job.

An extended metaphor is a comparison that is used and extended

developed throughout a piece of writing. The metaphor adds metaphor:
layers to build up a dramatic picture of an event or character. a figurative
For example, a simple metaphor might compare a sly character language
to a snake. An extended metaphor would make the comparison that
comparison central to the whole description: is developed
throughout a
• He slithered into the room slowly and silently, looking
piece of writing
for his next victim. His narrow, beady eyes took in
their Key words
surroundings and his head moved slowly from side to side,
trying to catch sight of his prey. Once he found what he was
looking for, he coiled himself on a chair and sat still, waiting
to strike.
Notice how the features of a snake are used several times in this
description. The writer extends the metaphor to emphasise the
man's sly, threatening nature.

In newspaper articles, journalists often present situations in a sensationalised way.

This means that they exaggerate descriptions to make them sound dramatic, to attract and
maintain the reader's interest. In this article, the writer uses an extended metaphor to present
the fatberg as a monster. This helps the writer convey the fatberg's large size and makes the
situation sound alarming and exciting to readers. Where possible,
Read the article again, noting down how the fatbergs are presented aslistenmonsters.
to spokenWrite a
texts several
paragraph explaining the effect of this extended metaphor, using examples from the text.
times. The first
Later in this session, you are going to write imaginatively about fatbergs.
time, you should Todo so, you
will need to gather some background try to get a sense
of the overaII
information.
points and
Listen to a man called Bill Hall talking about his experience with fatbergs. As youOn
messages. listen, take notes
on how it feels to confront a fatberg and the sensation of working in athe sewer.
second listen,
focus on the
smaller details.

170)
6.6Monster below ground
.,

171)
 6.6Monster below ground

Before you write your own account of a fatberg, read the opening part of a
learner's response to the task. In pairs, identify the techniques the learner has used, including the
use of extended metaphor and different sentence types. Which features do you think are the
most useful in helping you imagine the fatberg and the writer's feelings?

Mee.tin with a monster

I look.ea into lhe small, dar-k.openin5 in -lhe r-oad an& k,_new what. la in wait.. Il was dC>vJ11 -lher-e. Somewher-
e. 'les, dC>vJl1
-lher-e - in the sewer- - was a m0ns-ler:- I -l sat wait.it15 in its lair-, sl0wl 5r-Owin5 bi5 an& block!n5 the
tunnel, dar-in5 humans -lo tr- lopass it. Gr-0wlin5 noises echoed al0n5 -lhe
tunnel as I l0wer-eJ m self dC>vJl1 lhe hole, swi-lched m -lor-ch
On and waded -lhr-ou.5h -lhe dir-t. waler:- This was it: a wieetin5 with a mOnster:- I k,_new what -lo exped. A
faceless Cr-eatur-e
whose l0n5 le5s slr-e-lched in bolh dir-edi0ns. Even -lhou.5h it. had no e es, I felt. the m0ns-ler- wa-lchin5 ..-
ne, desper-ale
dr-a5 me in and wiak,_e me a par--l of itself.
e
"c;2.

lo
Now, writing from the point of view of a worker, describe the process of going
underground for the first time to confront a fatberg. Your writing should capture a mild sense of
horror as well as the sights and sounds of the expenence.
Start by deciding on a metaphor that you can extend. You could use the idea
of a monster or another idea of your own.
As you draft your writing, remember to choose words that convey the sights, sounds and feelings
of the sewer.
Vary your sentences for effect and use any strategies you know to spell words
correctly.

171)
 6 Monsters )

Read your account again.

How does your draft compare to the learner's answer?
Which parts could you redraft to improve your response?
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Summary checklist
I can understand and explain the impact of information in an article.
D I can comment on the effect of extended metaphors.
I can make effective notes to inform my own writing.
0 I can plan and write an imaginative account using
an extended metaphor.
Check your progress
Answer the following questions.
Explain what the term 'emotive language' means. Give examples from Session 6.1, Extracts I and
2.
What advice would you give about structuring an advice leaflet?
List some genre features of fables.
'The introduction of the little boy into the story has an effect on the giant'. Explain what this
statement means in relation to 'The Selfish Giant'.
What advice would you give someone about the best way to compare two
poems or similar themes?
What is an extended metaphor? Give an example.

Project: In this unit, the monsters you have read about have been defeated or problems
associated with them overcome. Most books and films that feature monsters (or characters
who act like monsters) usually end with the reassuring message that monsters can be defeated or
changed.
In groups, you are going to research a range of books about monsters aimed at different
audiences and try to find common patterns in these stories - not only the endings, but the
settings, characters and events. Some monster stories you will have read, but there will be many
that you will need to research. You can do this by reading plot summaries and study guides
online.
Start by making a list of stories featuring monsters - for example, A Monster Calls by Patrick Ness
and Monster by Frank Peretti. Then use the internet to help you extend the list. You should
research:
stories aimed at young children
books written by international authors
pre-20th century texts (such as
Frankenstein by Mary Shelley).
Once you have concluded your research, find an interesting way to present your findings. This
might be a large display poster, a presentation with images or
a booklet.