SUMMARY SHEET FOR ASSIGNMENT 2: DIFFERENTIATED LEARNING EXPERIENCE

Name & Student Number: Lyndal Riley (2121870)

Curriculum (Learning) Area of Lesson or Learning Task: Essential English
Specific Topic of Lesson or Learning Task: Short Story writing
Year Level/s: Year 11

DIFFERENTIATION CHOICES
1. For this assignment, I have chosen to design a differentiated:
o Learning Menu or Agenda
o Choice Board
RAFT
Summative Assessment Task for Unit of Work
o Lesson with Specific Adjustments for Students with Special Needs
o Series of Tasks for Learning Centres of Stations
o Learning Task or Lesson with Innovative Use of Technology to Support Differentiation

2. My lesson or learning task is differentiated to address differences in student:

Readiness
Interest
Learning profile preferences
CONTEXT
School cohort:
Seaview High School is a co-educational, state, secondary school in the southern Suburbs of
Adelaide. Currently, there are over 600 students who are enrolled to study in a variety of school-based and offsite
courses. Although Seaview is a zoned school students can apply for entry through the specialist programs; tennis,
performing arts or any of the additional educational courses. Additionally, Seaview is a specialist site for STEM and
Advanced Technologies which has expanded the range of students on campus. As an International Education
Services (IES) accredited school, Seaview has an established international community and encourages the
development of global citizens.
The school operates within a Middle School (Year 8 & 9) and Senior School (Year 11& 12) structure.
Class cohort:
This Stage 1 Essential English class has 28 students, all of who have a different ability level. The students are from
diverse backgrounds, including five students who study English as an additional language. There is one student with
a diagnosed learning difficulty who studies on a Negotiated Education Plan (NEP), however as a lower level English
class, it is expected many students may have some struggles with literacy. With this in mind and in an effort to
appeal to the learning profiles of the class, students are able to present assessed work orally or through electronic
submission. In class assignment work is central to the theme of this cohort. These students are known to struggle
with self-organisation and or have time commitments off-campus, which may disadvantage the quality of work they
are able to produce for assessment.
Unit Overview:
This unit aims to assist students to develop creative writing skills with application in authentic settings. The school
operates a timetable structure of two double (100minute) lessons per class, and, as such, the unit will be delivered
over the course of three weeks.
Characterisation and character traits will be the focal point of the unit with students analysing how their characters
respond to plot and environmental developments. The final task of the unit will require students to create a short
writing piece (RAFT) and present this in a negotiated format (i.e. written, oral or multimodal).

1
As this learning task is designed to address both the Text Production and Text Analysis elements of the course, it is
hoped all students, regardless of ability, will be able to succeed. Throughout the unit students are given multiple
opportunities to collaborate and discuss with peers when drafting and creating texts. The summative task asks
students to choose their own assignment from six possible options (one of which is completely negotiable) linking to
student interest and readiness. Research has found student interest is tied directly to student motivation to learn
[and] when student interest is engaged, motivation to learn is heightened, and learning is enhanced (Tomlinson &
Imbeau, 2010, p.71). This learning task, therefore, involves the differentiation approaches of readiness, interest and
learning profile in addition to cooperative learning activities in order to develop higher order thinking.

LEARNING OBJECTIVES
As a result of engaging with the differentiated lesson or task, students will illustrate development
of the following content descriptors (ACARA, 2017):
Understand that:
Different texts are created for specific audiences and purposes
Texts can grow, develop and change depending on a variety of elements including character, setting, plot
and theme.
Skills developed from creative writing can be applied in real life settings.
Know: Be able to (do): What specific skills are they
The elements required when writing a short story. required to do in the
A variety of writing prompts to help in the Analyse the ways texts are created for
production of a creative text. specific purposes and audiences.
How characterisation, plot and setting are integrated Compose creative texts with clear and
and used effectively in creative writing. accurate format.
Vocabulary/terminology: narrative, characterisation, Create texts using appropriate language for
epistolary, theme personal and creative purposes.
Compose a creative text using accuracy,
clarity and fluency of expression.
Demonstrate the standard structure of a
short creative story
Essential Questions
Why do people write creative stories?
How is creative writing used in daily life?
SACE PERFORMANCE STANDARDS (See AppendixB)
Communication Comprehension Analysis Application
C1 Cp1 Ap1
C2 Cp2

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 Lyndal Riley EDUC4720 26th March 2017
ID#: 2121870 A2 Jillian Huntley

RAFT: Producing a Creative Story

ROLE AUDIENCE FORMAT TOPIC

Disney Animator Disney Producer (for a new film) Story Board: Must include People seem to be obsessed with
captions and annotations. weird things

Donald Trump Twitter followers Twitter Profile using fake posts to Sunday is now called Trumpday
tell a story

Screenwriter Producer Script for 1 or 2 characters The character/s are up and

coming professional athletes with
a team selection tomorrow

You Classmates Digital storytelling: using iMovie Your dog and you have switched
to include narration, sound bodies!
effects and or images.

Soldier Public Epistolary: Tell the story through Surviving a zombie attack
blog posts

Negotiable Negotiable Negotiable Negotiable

3
 Lyndal Riley EDUC4720 6th April 2017
ID#: 2121870 A2 Jillian Huntley

TASK PLAN (3 weeks)

Lesson 1/2
Overview of learning objectives of the unit.
Outline schedule by which they must have completed their work ready to present (lessons 9-10).
Introduce summative task RAFT.
Students decide on a RAFT and collect the specific activity card (Appendix A).
Provide rubric (Appendix B).
Show examples of RAFTS (Appendix C)
Planning time for remainder of lesson.
Students share with the class ideas for their creative summative task.
Exit card (Appendix D)
Lessons 3/4, 5/6
Address any issues or queries of note from the exit cards either with the individual student or the class as a
whole.
Students will continue with text production with reference to performance standards. Teacher assistance will be
available to ensure students make the most of the limited class time.
Continually remind students of performance standards and the due dates of the assessment.
Lesson 7/8, 9/10
These lessons will be centred on peer feedback (Appendix E) and collaborative work where students will help edit
each others RAFT pieces and provide guidance.
The groupings will be decided based on pre-assessment exit card from first lesson. Students who expressed a lot of
knowledge in the area will be paired with students who knew less to mix
In lesson 7/8, students will complete the presentation exit cards (Appendix F) to determine how presentations will
occur.
Students can negotiate to present to the class:
o by reading/presenting the text to the class live OR pre-recorded
o by providing copies of the text to all peers with a presentation of their idea developments
o by negotiating a station set up where students move around the room to present the text in smaller groups
o by negotiating a one on one with the teacher OR pre-recorded multimodal presentation only for the
teachers viewing
Lesson 11/12
Presentation of creative pieces
Students complete post-unit exit card (Appendix G).

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 Lyndal Riley EDUC4720 6th April 2017
ID#: 2121870 A2 Jillian Huntley

EXPLANATION
INTRODUCTION
The Australian Curriculum and Assessment Reporting Authority [ACARA](n.d) states, all students are entitled to
rigorous, relevant and engaging learning programs[to] address individual learning needs. We as teachers,
therefore, are responsible to ensure teaching and learning environments will draw on students interests, strengths,
learning needs by addressing the cognitive, affective, physical, social and aesthetic needs of all our students (Jarvis,
2017a; Tomlinson, 2014). Building on this, the body responsible for teacher professional standards in Australia, the
Australian Institute for Teaching and School Leadership [AITSL] (2014) complied compiled a nationally recognised set
of professional standards all educators must address to provide the best learning opportunities for students. As
graduate teachers, we are expected to Demonstrate knowledge and understanding of strategies for differentiating
teaching to meet the specific learning needs of students across the full range of abilities (AISTL, 2014, Domain 1.5).
I have included a number of differing teaching strategies (AISTL, 2014, Domain 3.3) useful in professional practice -
an example of which is the use of a RAFT as a summative assessment. Differing teaching strategies, falls under the
umbrella theory of differentiation, which compels teachers to provide all students with what they need before,
during, or after learning so every student has the opportunities to excel and succeed in education (Brighton, 2005;
Gregory & Chapman, 2012; Jarvis, 2017a; Tomlinson & Jarvis, 2009; Wormeli, 2006). The concept of differentiation
can be explored through three main domains of content, process and product in terms of student readiness, interest
and learning profile which are explored below (Tomlinson, 2014).

DIFFERENTIATION OF CONTENT: PREASSESSMENT

When content is differentiated, all students are able to learn the same content, with adjustments to meet the
varying levels of student ability and readiness (Tomlinson, 2014). Content is tailored; not changed, reduced, or
additional (Bowgren & Sever, 2010). The exit card teaching strategy (AITSL, 2014, Domain 3.3) in lesson one acts as
an informal pre-assessment which allows students to express prior knowledge of the subject and provides me with a
breakdown of creative writing elements that may need to be addressed throughout the lessons (Brighton, 2005;
Jarvis, 2017b; Moon, 2005; Tomlinson & Moon, 2013). Jarvis (2017b) suggests understanding students prior
knowledge allows the teacher to present new information at an appropriate level for the students. While this unit
runs similar to a workshop, rather than a series of concept based instructional lessons, if there are elements of
literacy or text production students have expressed a lack of understanding of, I have the option to scale back the
in-class RAFT activity and include literacy and literature activities to cover this content if necessary.

DIFFERENTIATION OF PROCESS: FLEXIBLE GROUPING

The exit card also acts as the means by which students are paired for the peer feedback activities conducted in
lessons 7-10. Students who initially expressed a high level of knowledge or confidence for creative writing will be
grouped with students who conveyed lower levels (Tomlinson, 2014). This would be beneficial, particularly for the
higher-tiered student, as they have the opportunity to help their fellow peers and with feedback from an alternative
source (other than the teacher) which might appeal to that learner profile (Crouch& Mazur, 2001; Tomlinson, 2014).
These groupings are flexible in nature which means students may be asked to move between groups as the teacher
formatively assesses student learning throughout the unit. An example might see two students from similar levels of
readiness matched together for a peer feedback activity. This pairing would be useful in the classroom to avoid
higher achieving students feeling as though they are constantly helping lower achieving students succeed (Neihart,
2007). Additionally, it is expected students of similar readiness and ability would write texts using similar linguistic
conventions. The mixed ability pairings may not always work if lower tiered students are unable to comprehend the
texts from higher tiers. Differentiation instruction through flexible grouping is considered an effective model as it
incorporates both heterogeneous and homogeneous pairings that assists teachers to engage students through
acceptance of student diversity. (Adams-Byers, Whitsell, & Moon, 2004; Kapusnick & Hauslein, 2001). Constant
teacher observation is essential to ensure this activity is equally beneficial to all students. (Gregory & Chapman,

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 Lyndal Riley EDUC4720 6th April 2017
ID#: 2121870 A2 Jillian Huntley

2012; Kulik & Kulik, 1982; Tomlinson, 2014).

DIFFERENTIATION OF PROCESS: RAFT - Readiness & Interest

Tomlinson (2014) discusses differentiation of process as the modification of activities or assignments intended for
students to best access and learn new information. Based on Gardners Multiple Intelligences Theory (1999)
teachers can also differentiate process with consideration of students abilities, learning profile or interests and it is
designed to enhance and enable learning for all students. In creating a summative task to explore creative writing
and the literary elements involved, I differentiated process by providing a variety of modified and alternative
assignments based on student ability and interest in the format of a RAFT. RAFT is a common writing strategy, which
can be applied in all subject areas to encourage students to compose text from different perspectives (Santa, 1988).
According to Santa (1988) the purpose of a RAFT approach is to make sure students understand their role as writer,
their audience, the format of their work, and the expected content. The RAFT format is an effective differentiation
teaching strategy (AITSL, 2014, Domain 3.3) as it allows students to choose the assessment task that appeals to
them. In the RAFT for this unit, students are to choose from a list of pre-existing assessment tasks, or negotiate an
alternative task, to produce a creative writing text.
The RAFT addresses student readiness through the differing levels of formats available. For example, a student may
not be confident with technology; therefore they would not choose the Digital Storytelling task. Instead, they may
have high English literacy skills, and as such prefer to create a script for a screenwriter. In addition to readiness, the
RAFT also caters to a range of student interests, through the avenues of Role and Topic. It is expected students will
choose a Topic that appeals to them, and through this freedom of choice, motivation levels to succeed in the task
are expected to be higher (Jarvis, 2017c; Maslow, Frager & Cox, 1970; Tomlinson, 2014). By differentiating the task
to cater for interests, students may have a higher level of knowledge to bring to the task and, or an opportunity to
participate in higher order thinking (Anderson, Krathwohl & Bloom, 2001).

DIFFERENTIATION OF PROCESS: EXPLICIT TEACHING

Once students have selected the RAFT they wish to complete, they are instructed to collect a Task Card to explain
the assignment in depth, with the inclusion of the performance standards to which it will be assessed against.
Students are able to refer back to the task card at any stage in the unit without the teacher needing to explain the
breakdown of each possible RAFT to the class as a whole. Not only does this allow for more in lesson RAFT time, but
also provides students with an element of self-governance and autonomy (Brimijoin, 2005). Those students who
understand the task at hand are able to proceed, while the teacher moves around the room to assist strugglers.
Tomlinson (2014) believes a crucial element of effective teaching, in combination with differentiation, is the need
for explicit teaching. Drawing attention to the performance standards in each lesson ensures students are explicitly
made aware of what is expected of them in order to achieve. Being a SACE Stage 1 subject, the language used in the
state mandated rubric may be difficult for some students in the class to make sense of, and as such a whole class
breakdown of this will give students a fair level of access to the curriculum (Tomlinson, 2014; Wormeli, 2006).

DIFFERENTIATION OF PRODUCT: PRESENTATION - Learner Profile

Tomlinson (2014) suggests differentiation of product involves the modification or adjustment of the means, based
on readiness, learning style or interest, in which students are able to express and apply what they have learned.
With differentiation of product, students can use a variety of methods to demonstrate and apply their complete
understanding in ways that also address their ability level, learning style and interests. Lewis and Batts (2005)
describe the differentiation of product as the adjustments or variations of an end product that displays students
mastery of content. I have addressed this domain of differentiation through the student choice of summative task
presentation. Students are asked to express how they would like to present their final creative text to their peers in
the form of an exit card collected by the teacher. Based on the feedback from this, the teacher can then implement
a presentation schedule to cater to all students. This style of teaching links into differentiation by targeting the

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 Lyndal Riley EDUC4720 6th April 2017
ID#: 2121870 A2 Jillian Huntley

student learner-profile (Jarvis, 2017d; Tomlinson, 2014). As students are given choice in this area, it allows them
to best demonstrate their understanding and mastery of the same content in differing ways.

CONCLUSION
With a wide range of diverse learners in all classrooms today, differentiation enables teachers, like myself, to
provide learning opportunities for students of varying abilities, learning profiles and interests. Differentiation is
pertinent in instructing all students in the best ways possible to ensure effective teaching and successful learning. In
this unit of work I have strived to integrate differentiation of content, process and product based on readiness,
learner profile and interest (Tomlinson, 2014). As a teacher, I hope to differentiate in the best ways possible in any
teaching experience and opportunity, to allow learning for all.

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 Lyndal Riley EDUC4720 6th April 2017
ID#: 2121870 A2 Jillian Huntley

REFERENCES

Adams-Byers, J., Whitsell, S. S., & Moon, S. M. (2004). Gifted students perceptions of the academic and
social/emotional effects of homogeneous and heterogeneous grouping. Gifted Child Quarterly, 48(1), 7-20.
Anderson, L. W., Krathwohl, D. R., & Bloom, B. S. (2001). A taxonomy for learning, teaching, and assessing: A
revision of Bloom's taxonomy of educational objectives. Allyn & Bacon.
Australian Curriculum and Assessment Reporting Authority. (n.d.) Student Diversity Advice: Introduction Retrieved
from http://www.australiancurriculum.edu.au/studentdiversity/student-diversity-advice
Australian Institute for Teaching and School Leadership (2014). Retrieved from http://www.aitsl.edu.au/australian-
professional-standards-for-teachers/standards/list
Bowgren, L., & Sever, K. (2010). Three Steps Lead to Differentiation. Journal of Staff Development, 31(2), 44-47.
Brighton, C. M. (2005). Preassessment: A Differentiation Power Tool. Teaching for High Potential, 1(1), 2-5.
Brimijoin, K. (2005). Differentiation and high-stakes testing: An oxymoron?. Theory Into Practice, 44(3), 254-261.
Crouch, C. H., & Mazur, E. (2001). Peer instruction: Ten years of experience and results. American journal of
physics, 69(9), 970-977.
Gregory, G. H., & Chapman, C. (2012). Differentiated instructional strategies: One size doesn't fit all. Corwin press.
Jarvis. J. (2017a). Differentiation for Diverse Learners Lecture 1. Lecture slides distributed in the topic EDUC 4720
Differentiation for Diverse Learners, Flinders University. Bedford Park.
Jarvis. J. (2017b). Module 3: Ongoing assessment to inform differentiation. Lecture slides distributed in the topic
EDUC 4720 Differentiation for Diverse Learners, Flinders University. Bedford Park.
Jarvis. J. (2017c). Module 4: Addressing differences in student readiness. Lecture slides distributed in the topic EDUC
4720 Differentiation for Diverse Learners, Flinders University. Bedford Park.
Jarvis. J. (2017d). Module 5: Differentiating in response to different interests and learning profile preferences.
Lecture slides distributed in the topic EDUC 4720 Differentiation for Diverse Learners, Flinders University.
Bedford Park
Kapusnick, R. A., & Hauslein, C. M. (2001). The silver cupof differentiated instruction. Kappa Delta Pi Record, 37(4),
156-159.
Kulik, C. L. C., & Kulik, J. A. (1982). Effects of ability grouping on secondary school students: A meta-analysis of
evaluation findings. American educational research journal, 19(3), 415-428.
Lewis, S. G., & Batts, K. (2005). How to Implement Differentiated Instruction? Adjust, Adjust, Adjust: North Carolina
Project Begins with Encouragement from Administrators. Journal of Staff Development, 26(4), 26-31.
Maslow, A. H., Frager, R., & Cox, R. (1970). Motivation and personality (Vol. 2, pp. 1887-1904). J. Fadiman, & C.
McReynolds (Eds.). New York: Harper & Row.
Moon, T. R. (2005). The role of assessment in differentiation. Theory into Practice, 44(3), 226-233.
Neihart, M. (2007). The socioaffective impact of acceleration and ability grouping: Recommendations for best
practice. Gifted Child Quarterly, 51(4), 330-341.
Santa, C. M. (1988). Content Reading Including Study Systems: Reading, Writing and Studying across the Curriculum.
Kendall/Hunt Publishing Company, 4050 Westmark Drive, Dubuque, IA 52002.
Tomlinson, C. A., & Moon, T. R. (2013). Assessment and student success in a differentiated classroom. ASCD.
Tomlinson, C., & Jarvis, J. (2009). Differentiation: Making curriculum work for all students through responsive
planning and instruction. Systems and models for developing programs for the gifted and talented, 599-628.
Wormeli, R. (2006). Fair isn't always equal: Assessing & grading in the differentiated classroom. Stenhouse
Publishers.

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 Appendix A
Activity Cards

1. Create a story board

ROLE AUDIENCE FORMAT TOPIC

Disney Animator Disney Producer (for a Story Board: Must People seem to be
new film) include captions and obsessed with weird
annotations. things

TASK:

As a Disney animator, create a short story using a pre-existing fictional character as the protagonist. Your
topic is:
People seem to be obsessed with weird things
o Your story board can be created either by hand or using ICT (photographs, online images or an
online storyboard website).
o The story should demonstrate the standard structure of a short creative story with a beginning,
climax and resolution. Watch this quick video to revise the key elements of creative stories.
(https://www.youtube.com/watch?v=no4fT-sdqNI)
o You need to include 20+ slides accompanied by 300+ words of annotations which explain the
story events.
o Please include drafts to show your progress.

EXAMPLE:
I have used http://generator.acmi.net.au/storyboard/interactive to put together this storyboard example
using their pre-existing template. Other useful storyboard ICT include:
o Web: http://www.storyboardthat.com/
o Web: https://www.pixton.com/
o iPad App: Storyboards 3D
o iPad App: Animations Desk Lite
o iPad App: SketchBook Express
o iPad App: Paper
o Program: PowerPoint/Word using images or memes
o Hand drawn on a poster with annotations/captions

9
 Appendix A

2. Create a Twitter Profile

ROLE AUDIENCE FORMAT TOPIC

Donald Trump Twitter followers Twitter Profile using Sunday is now called
fake posts to tell a story Trumpday

TASK:

You must become one with President Donald Trump to create a short story using a fake Twitter (or other
social media) platform. Your topic is:
Sunday is now called Trumpday
o Your Twitter story may be a collection of Tweets posted by Donald Trump with replies or a Direct
Message exchange between Donald Trump and other Twitter users.
o Make sure you present these Tweets in chronological order
o The story should demonstrate the standard structure of a short creative story with a beginning,
climax and resolution. Watch this quick video to revise the key elements of creative stories.
(https://www.youtube.com/watch?v=no4fT-sdqNI)
o Make sure you give Donald Trump an accurate profile with his personal information ect.
o Please include drafts to show your progress.

EXAMPLE:
I have used https://www.classtools.net/FB/home-page to put together this Fakebook profile for Katniss
Everdeen of the Hunger Games. Follow the prompts on http://simitator.com/generator/twitter to create a
similar structure for your Twitter exchange as Donald Trump.
Alternatively you might like to create a social media based story using a different platform or template, as
long as it addresses the task requirements.
I have attached an additional example of a Twitter
profile on the next page which might be helpful if
you create your story using Word or PowerPoint
programs.

10
 Appendix A

This is an example of a fake profile for William Shakespeare.

To download this template visit the resources page for our class on DayMap. *

* Template sourced from: https://ichooseawesome.wordpress.com/2013/04/17/choose-a-

fake-twitter-template/

11
 Appendix A

3. Create a script

ROLE AUDIENCE FORMAT TOPIC

Screenwriter Producer Script for 1 or 2 The character/s are up

characters and coming professional
athletes with a team
selection tomorrow
TASK:

As a screenwriter, create a short story through the format of a script between characters. Imagine this
script will be shown to a potential producer of a play/T.V show or film. Your topic is:
Rookie athletes awaiting the national level team selection tomorrow
o Your script needs to be around 800 words in length
o The script should follow the standard structure of a script. If you need a memory jog please visit
https://www.writersstore.com/how-to-write-a-screenplay-a-guide-to-scriptwriting/
o The story should demonstrate the standard structure of a short creative story with a beginning,
climax and resolution. Watch this quick video to revise the key elements of creative stories.
(https://www.youtube.com/watch?v=no4fT-sdqNI)
o In addition to your characters dialogue, try to include setting and action descriptions
o Please include drafts to show your progress.

EXAMPLE:
Screenplay writing can be tricky because
most of the information is gained from the
speech of your characters. Try to imagine the
characters as if they were in a movie or
talking on the phone, what important things
does the reader need to know for it to make
sense.
Research some examples online if you need
extra assistance.

I have attached an excerpt of dialogue

exchange between Robin and Batman as they
discuss Lois Lane.

12
 Appendix A

4. Create your own digital story

ROLE AUDIENCE FORMAT TOPIC

You Classmates Digital storytelling: Your dog and you have

using iMovie to include switched bodies!
narration, sound effects
and or images.
TASK:

Acting as yourself, create a short story using the format of a digital story. Your topic is:
Your dog and you have switched bodies
o Your
o The story should demonstrate the standard structure of a short creative story with a beginning,
climax and resolution. Watch this quick video to revise the key elements of creative stories.
(https://www.youtube.com/watch?v=no4fT-sdqNI)
o You might like to accompany the story with sound effects, record yourself narrating the text or
film elements to add effect.
o Please include drafts to show your progress.

EXAMPLE:
I have used http://generator.acmi.net.au/storyboard/interactive to put together this storyboard example
using their pre-existing template. Other useful storyboard ICT include:
o Web: http://www.storyboardthat.com/
o App: PowerPoint
o App: iMovie
o App: Windows Movie Maker

Here are some more examples of Digital Stories:

o https://www.storycenter.org/stories/
o http://digitalstorytellers.com.au/portfolio1/
o https://net.educause.edu/ir/library/pdf/ELI7021.pdf

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 Appendix A

5. Create an epistolary

ROLE AUDIENCE FORMAT TOPIC

Soldier Public Epistolary: Tell the story Surviving a zombie

through blog posts attack

TASK:

You are to create a short story of the epistolary format using blog posts. Your topic is:
Surviving a zombie attack
o Write 4 or 5 blog entries using the site of your choice for a total of 800 words.
o Follow the appropriate structure of an epistolary. If you need a memory jog visit
https://literarydevices.net/epistolary/ to revise.
o Your story can be past, present or future, so remember to include information such as the date
and your characters name.
o The story should demonstrate the standard structure of a short creative story with a beginning,
climax and resolution. Watch this quick video to revise the key elements of creative stories.
(https://www.youtube.com/watch?v=no4fT-sdqNI)
o Please include drafts to show your progress.

EXAMPLE:
You might like to write as one soldier describing a zombie attack over a number of updates or a variety of
soldiers detailing the same attack.
I have included an excerpt from Whered You Go Bernadette by Maria Semple which shows a modern
version of epistolary writing using an email.
The Diary of Anne Franke is another example of this style if you need further reference.

14
Semple, M. (2012). Where'd You Go, Bernadette: A Novel. Little, Brown.
 Appendix A

6. Create your own!

ROLE AUDIENCE FORMAT TOPIC

Negotiable Negotiable Negotiable Negotiable

TASK:

If you are not drawn to any of the example RAFTs in this assignment you are able to create your own.
Alternatively might like to modify one of the existing RAFTs by changing the columns. If you wish to do this,
please negotiate with me quickly so as to give you enough time to create your effective story.

Your assignment must be either 800 words, written with a mixture of images or presented orally between
3-5 minutes.

15
 Appendix B
Performance Standards for Stage 1 Essential English
- Communication
A Consistently clear and coherent
writing and speaking, using an
appropriate vocabulary.
Thorough demonstration of
grammatical control.
B Mostly clear and coherent writing
and speaking, using a varied
vocabulary.
Effective and usually accurate
grammatical control.
C Generally clear writing and
speaking, using a mostly
appropriate vocabulary.
Appropriate grammatical control;
some errors, but these do not
impede meaning.
D Occasionally clear writing and
speaking, with a restricted
vocabulary.
Partial grammatical control; some
errors impede meaning.
E Limited clarity in writing and
speaking, with a limited
vocabulary.
Limited grammatical control;
errors impede meaning.
16
Comprehension
Detailed comprehension and
interpretation of complex
information, ideas, and
perspectives in a range of texts.
Thorough understanding of the
purpose, structure, and language
features in texts.
Detailed comprehension and
interpretation of some complex
information, ideas, and
perspectives in texts.
Appropriate understanding of the
purpose, structure, and language
features in texts.
Comprehension of some
information and ideas in texts.
Recognition and understanding of
the purpose, structure, and
language features in some texts.
Identification of information and
ideas in texts.
Some recognition and awareness
of the purpose, structure, and/or
language features in some texts.
Identification of some information
or ideas in a text.
Limited recognition and
awareness of the purpose,
structure, and language features
in a text.
Analysis Application
Thorough analysis of ways in Creation of complex texts for
which creators of a range of texts different purposes, using
convey information, ideas, and appropriate textual conventions.
perspectives.
Identification and clear analysis of
ways in which language features
are used to create meaning in a
range in texts.
Analysis of ways in which creators Creation of effective texts for
of a range of texts convey different purposes, using
information, ideas, and appropriate textual conventions.
perspectives.
Identification and analysis of ways
in which language features are
used to create meaning in a range
of texts.
Identification, with some basic Creation of texts for some
analysis, of ways in which creators purposes, using appropriate
of a narrow range of texts convey textual conventions.
simple information and ideas.
Identification, with some basic
analysis, of ways in which
language features are used to
create meaning in a narrow range
of texts.
Reference to one or more ways in Creation of texts for a narrow
which creators of a narrow range range of purposes, using some
of texts convey simple information textual conventions.
and ideas.
Reference to some ways in which
language features are used to
create meaning in a narrow range
of texts.
Recognition of the way in which a Creation of a partial text for a
creator of a text conveys a simple purpose, attempting to use
piece of information or idea. appropriate textual conventions.
Reference to a way in which
language features are used to
create meaning in a simple text.
Appendix C
Examples of RAFTS

Role: Dog Audience: Novel Readers Format: First Person Prose Topic: Reincarnation

17
Stein, G., & Welch, C. E. (2008). The art of racing in the rain. HarperCollins.
Appendix C
Role: Ant Audience: Children Format: Third Person Childrens Boot Topic: Sugar

18
Van Allsburg, C. (1988). Two bad ants. Boston: Houghton Mifflin.
Appendix D
Lesson 1 Exit Card

List and explain 3 things you know about creative writing

1.

2.

3.

Provide 2 ways you might use creative writing/short stories into practice in the real world:

1.

2.

How do you feel about writing short stories, particularly in formats other than prose?

19
 Appendix E
Creative Short Story Writing Peer Feedback

Directions: Make comments directly on a copy of the authors story as they read it to you. Be sure to
provide comments for each category. Write as many comments as you can.

Praise: What do you like? What has worked well? Give some specific examples of these things. Is the piece
formatted and presented in the appropriate way, as specified in the RAFT Task?

Question: Are there elements in my story that are confusing?

Advice: Where do you think some improvements can be made to enhance the story? Does my presentation
need more work?

20
 Appendix E
Peer Feedback Task Card

These are some examples of useful feedback comments when analysing a creative short story. You might like
to refer to or include some of the examples of feedback advice listed below.

21
Appendix F
Pre- Presentation Exit Card

If given the choice, how would you like to present your RAFT creative text to your peers:

Live presentation of the text to the class

Pre-recorded presentation of the text to the class
Provide copies of your text to all peers with a presentation of idea developments
A station set up; where peers move around the room to present the text to smaller groups
Other (Please provide your response below)
_______________________________________________________________________________
_______________________________________________________________________________

Provide two words/sentences to describe how you are feeling about presenting your creative story
(and why).

1.
2.

Ask me 1 question you might still have about creative writing or short stories

1.

22
Appendix G
Post Unit Exit Card

List and explain 3 things you have learnt during this unit and RAFT assessment

4.

5.

6.

Provide 2 ways you might put what you have learnt about creative writing and short stories into
practice in the real world:

3.

4.

How do you feel about writing short stories, particularly in formats other than prose?

23