ENGL1A Professional Task

Monica Sharpe- 18795006

Rationale

The lesson sequence that follows aims to develop Stage 5 students ability to craft

engaging narrative voice in their own creative writing. By the end of this lesson

sequence students should have gained an understanding of a variety of different textual

strategies that can be employed to craft narrative voice through studying a range of

different short texts. They should also be able to demonstrate evidence of using a

number of these strategies in their own extended piece of imaginative writing. This

lesson sequence aims for a writing-rich classroom in which students feel supported and

empowered to develop their creative writing skills, increase their understanding of

writing as a process and foster the ability to be self-reflective about their own writing.

This lesson sequence was constructed in response to Suzanne Gannons (2010)

argument in her Creative Writing chapter in Charged with Meaning. Gannon argues

that there is a deficit of sustained creative writing practice within contemporary

secondary English classrooms. Teachers and students alike are less confident with

creative writing in contrast to forms of analytic writing and there is a lack of

appreciation of creative writing as a craft (Gannon, 2010). This lesson sequence aims to

address those concerns by prioritizing close work with language focusing upon its

aesthetic crafting as well as approaching creative writing as a process that involves

experimentation, collaboration, sustained effort and then refinement. I have chosen to

focus upon creating engaging narrative voice as an aspect of creative writing within

these lessons. This element of creative writing has been chosen because it is one of the
primary aesthetic aspects of imaginative texts that students must learn to sustain. From

my experience, it is also one of the more challenging aspects for students to craft

effectively, possibly because it is more conceptual than some other aspects, for example

descriptive imagery, which is more easily identifiable within writing. As this lesson

sequence is aimed at Stage 5, tackling this more challenging aspect of creative writing is

appropriate. The activities within these lessons have also been designed to directly

address a number of Outcome and Content points in the Stage 5 syllabus (BOSTES,

2012).

The teaching and learning activities within Lesson 1 of this sequence are based upon the

idea of using model texts to teach creative writing. Gannon (2010) argues that students

creative writing practice is improved when they spend time engaged in close analysis of

the language of texts, and how that language has been crafted to position readers. This

first lesson is dedicated to this process, with the teacher first modeling how to conduct

this kind of close analysis, and then students engaging in this analysis in groups. The

choice to begin with teacher modeling, and then having students work collaboratively is

based upon the gradual release of responsibility teaching model which has been

demonstrated to be extremely effective in teaching writing (Griffin, 2010). The texts

that have been chosen as model texts are diverse and offer students a range of textual

strategies to imitate and experiment with in their own writing. These activities directly

address content from Outcome 1 of the Syllabus that requires students to appreciate,

explain and respond to the aesthetic qualities and the power of language in an

increasingly sophisticated range of texts (BOSTES, 2012, p. 52).

The idea of a pre-writing phase, as well as the gradual release of responsibility model,
has been used to structure Lesson 2. Gannon (2010) suggests that to move students

past the paralysis of the blank page (p. 228) a non-confrontational pre-writing phase is

important. For this reason, a group task in which students respond to a character

stimulus in the form of a photograph, begins this lesson. Gannon also advocates the

importance of teacher modeling of the creative writing process. Within this lesson the

teacher models how to construct a lune, and then turn it into prose, and is encouraged

to think-aloud to students to demonstrate the writing process. The next activities in

the lesson follow the gradual release of responsibility model as the class jointly

constructs a paragraph of creative writing, before moving on to individual writing

practice. The gradual release of responsibility model has been chosen as a structure for

this lesson because it has been demonstrated to improve student confidence in creative

writing and also function as an effective differentiation technique (Griffin, 2010). During

this lesson the teacher will consistently draw attention to textual strategies that were

used in the model texts from Lesson 1, and how she is employing them in her own

creative writing for the purpose of creating an engaging narrative voice. The activities in

this lesson therefore address content from Outcome 3 that requires students to create

literary texts with a sustained voice, selecting and adapting appropriate text

structures, literary devices, languagefor a specific purpose (BOSTES, 2012, p.57).

The final lesson in this sequence is structured around a mini-lesson and teacher

conferencing. Nancie Atwell (1987) suggests that the mini-lesson is an effective way to

teacher a writing skill or craft aspect of writing with which the class has been

struggling. She emphasises that to be effective they should be brief and teacher-

centered, guidelines that have been replicated in this mini-lesson on dialogue. The mini-

lesson is followed by an extended period of time where students work independently on

their creative writing as well as conferencing with the teacher (Atwell, 1987). Within

this time the lesson plan emphasises that teachers should avoid marking student work,

but rather they should be asking questions and offering verbal suggestions for student

writing. Gannon (2010) also argues that students need to be given extended periods of

time to write within class and that not all writing should be assessable. This influenced

the choice to dedicate such a large portion of the last lesson to independent writing, and

also not to have the writing collected at the end of the lesson.

This lesson sequence also requires students to jointly construct a set of success criteria

for an engaging narrative voice, and then in the final lesson use this criteria in order to

self and peer assess their own, and others creative writing. This activity was included

to give students ownership over their own writing, and a specific focus for their writing.

These criteria also draw attention to the aesthetic quality of writing, , as well as giving

students access to the metalanguage required to reflect on their own writing. This is a

requirement of content in Outcome 9 that requires students to understand and apply

appropriate metalanguage (BOSTES, 2012, p.98). Engaging in self and peer assessment

also emphasises the process approach to creative writing, suggesting that writing can

be improved and advanced past the stage of the first draft. Finishing the lesson

sequence with a reflective activity also assisting in drawing students attention to the

process of creative writing, and will hopefully allow them to transfer the skills gained in

this lesson sequence to other creative writing experiences. The self and peer editing

section of this lesson also addresses content from Outcome 2, specifically content that

requires students to review, edit and refine students own and others texts for control

of content, organisation, sentence structure, vocabulary, and/or visual features of

achieve particular purposes and effects (BOSTES, 2012, p. 54).

References

Atwell, N. (1987) In the middle: writing, reading and learning with adolescents. New

Hampshire: Boynton/Cook

Board of Studies NSW (2012) English Years 7-10. English K-10 Syllabus Vol. 2. Sydney:

Board of Studies NSW

Gannon, S. (2010) Creative Writing. In. S. Gannon, M. Howie and W. Sawyer (Eds)

Charged with Meaning: Re-Viewing English: Third Edition (p. 223-230) Sydney:

Phoenix Education

Griffith, R. (2010) Students Learn to Read Like Writers: A Framework for Teachers of

Writing. Reading Horizons 50(1), 49-66. Retrieved from

http://web.a.ebscohost.com.ezproxy.uws.edu.au
 Lesson One: Creating engaging narrative voices

Class Year 10 mixed ability, co-ed class

Lesson Focus This lesson introduces students to the idea of engaging narrative
voices through the analysis of a range of texts.
By the end of the lesson students will have developed a success
criteria for the elements of an engaging narrative voice.
Teacher Objectives Effectively model close textual analysis
Manage different forms of group work successfully
Outcomes and Content Outcome 1: responds to and composes increasingly sophisticated
and sustained texts for understanding, interpretation, critical
analysis, imaginative expression and pleasure
Content: Appreciate, explain and respond to aesthetic
qualities and the power of language in an increasingly
sophisticated range of texts
Outcome 9: purposefully reflects on, assesses and adapts their
individual and collaborative skills with increasing independence and
effectiveness.
Content: understand and apply appropriate metalanguage to
reflect on their learning experiences
Resources SmartBoard, Youtube clips, PowerPoint slides, copies of text extracts
for expert group task, copies of success criteria template for all
students

Time Class Organisation Learning and Teaching Activities

10 Whole class Teacher plays YouTube videos of three recognisable people

minutes from popular culture on the SmartBoard.

Fat Amy in Pitch Perfect

https://www.youtube.com/watch?v=48HqBv5Ropo

The Kardashian sisters (play from 3:00-5:00)

https://www.youtube.com/watch?v=LCzqiUnXijc

Chandler in Friends (play first 2 minutes)

https://www.youtube.com/watch?v=1Wn9YiQEMtI

The teacher has previously prepared the classroom so that

the names of the characters/celebrities are stuck on large
paper on three different walls of the classroom.
 On the Whiteboard the teacher writes; What makes each
voice recognizable or distinct?

Students are each given three post its notes, and instructed
to write down the distinctive qualities of the voices and
then stick them around that persons name on the wall.
Teacher briefly introduces students to the idea that
distinctive voices exist not only in spoken texts but also in
written texts, where they are known as narrative voice. In
this creative writing unit we will be developing our ability
as writers to create unique and engaging narrative voices.

10 Whole class Explicit teaching- model analysis of narrative voice

minutes
Teacher models how to analyse narrative voice, and identify
the elements that make up a powerful and engaging
narrative voice by working through the PowerPoint slides
(Appendix A). Teacher focuses on the effect of Lanagans
textual strategies and how they are used to construct the
narrative voice. The model text is a section of Singing my
Sister Down by Margo Lanagan. Hand out copies of the
extract that students can annotate while the teacher is given
the presentation.

This provides a scaffold for the students own analysis in the

next activity.

20 Group work Expert Group Task

minutes
Break students into groups of 4. In these groups give each
student a number from 1-4. Now have all the 1s from each
group form a new group, all the 2s and so on. These are
expert groups.

Give each expert group a short extract from a text.

(Appendix B)

Instruct each group to describe and analyse the narrative

voice in their text, and the particular language devices and
choices the composer has made to create this narrative
voice. Students should take notes in their workbooks and
the teacher should circulate around the room offering
assistance and guidance where required.

Students now return to their original groups and share their

extract and analysis with the rest of their group.
20 Teacher informs students that they will now be jointly
minutes constructing a set of success criteria that breaks down the
elements of an engaging narrative voice. This will be used to
assess students own creative writing in future lessons.
Students should use the analysis from the previous question
as a basis for their criteria.

Teacher gives students the first criteria as an example:

An engaging narrative voice should use language that is age-

appropriate for the character.

Think-Pair-Share

Students now engage in a think-pair-share to come up with

criteria. During the share phase the teacher should write
the suggested criteria up on the whiteboard. Through a
process of negotiation and discussion the class will finally
decide upon 5 success criteria. For next lesson teacher
should have this criteria printed out for each student.

Evaluation/Extension

The teaching and learning activities address the content points around which this
lesson has been designed. The analysis activity, both the teacher-modeled analysis and
group task, advance students towards being able to explain and respond to the aesthetic
qualities of a wide range of texts. The decision to include several sophisticated texts was
also important in fulfilling the requirements of this content point. The success criteria
activity requires students to use the appropriate metalanguage to reflect on what they
have learnt during their analysis of the texts.

Teacher can informally assess students learning through observation and targeted
questioning in the expert group task and in the whole class discussion surrounding the
criteria. These informal forms of assessment should be used to assess students ability
to meet both content points the lesson addresses.

Both the expert group task, and the think-pair-share at the conclusion of the lesson, act
as differentiation techniques that allow all students to contribute at their own level of
ability and understanding.

In retrospect

Following this lesson, I would reflect on whether the students were able to not only
identify the language devices that created the narrative voice within the texts, but also
the effect of these devices. Although this is modeled in the teacher example, if the
students were not engaging in this level of analysis during the expert group task, it may
need to be taught more explicitly.

RESOURCES FOR LESSON 1

APPENDIX A (PowerPoint slides)

APPENDIX B

Narrative Voice Extracts for EXPERT GROUP Task

Extract from Jasper Jones by Craig Silvey

Jasper Jones has come to my window.
I dont know why, but he has. Maybe hes in trouble. Maybe he doesnt have anywhere
else to go.
Either way, hes just frightened the living shit out of me.
This is the hottest summer I can remember, and the think head seems to seep in and
keep in my sleepout. Its like the earths core in here. The only relief comes from the
cooler air that creeps in between slim slats of my single window. Its near impossible to
sleep, so Ive spend must of my nights reading by the light of my kerosene lamp.
Tonight was no different. And when Jasper Jones rapped my louvres abruptly with his
knuckle and hissed my name, I leapt from my bed, spilling my copy of Puddnhead
Wilson.

Extract from The Messenger by Markus Zusak

I live in a shack that I rent cheaply. Not long after moving in, I found out from the real
estate agent that my boss is the owner. My boss is the proud founder and director of the
cab company I drive for: VACANT TAXIS. Its a dubious company, to say the least.
Audrey and I had no trouble convincing them that we were old enough and licensed
enough to drive for them. Mix a few numbers up on your birth certificate, show up with
what appears to be the appropriate license and youre set. We were driving within a
week because they were short-staffed. No reference checks. No fuss. Its surprising what
you can achieve with trickery and deceit. As Raskolnikov once said: When reason fails,
the devil helps! If nothing else, I can lay claim to the title of Youngest Cab Driver in
these parts- a taxi driving prodigy. Thats the kind of anti-achievement that gives my life
structure.

Extract from The Rosie Project by Graeme Simsion

I may have found a solution to the Wife Problem. As with so many scientific
breakthroughs, the answer was obvious in retrospect. But had it not been for a series of
unscheduled events, it is unlikely I would have discovered it.
The sequence was initated by Gene insisting I give a lecture on Aspergers syndrome
that he had previously agreed to deliver himself. The timing was extremely annoying.
The preparation could be time-shared with lunch consumption, but on the designated
evening I had scheduled ninety-four minutes to clean my bathroom. I was faced with a
choice of three options, none of them satisfactory.

Extract from Junk by Melvin Burgess

For the occasion I dressed in my GLUE YOU T-shirt and a pair of green Doc Martens
with daises painted on the toes. I got Tar to do the daises for me after I saw his
dandelions. Hes brilliant. They looked great. I have such enormous feet. Oh, and my
tight, calf-length leggings. I had to wear a parka over the T-shirt though. It was a bit of a
giveaway, really- GLUE YOU all over your chest and twenty tubes of Locktite in yer
handbag.
Vonny dressed up as well in a sort of yellow and black tripey leotard and woolly tights
that made her look rather like an enormous wasp, only of course far more attractive/ I
couldnt get Jerry to dress up at all, although he wore the blackest clothes he could find.
But he always wears black. He dyes his hair which is a start.

Appendix C (success criteria table)

Elements of an Engaging Narrative Voice

Highly Developing Not there

Developed yet

An engaging narrative voice uses

language that is specifically age-
appropriate for the character.
References

Board of Studies NSW (2012) English Years 7-10. English K-10 Syllabus Vol. 2. Sydney:

Board of Studies NSW

Burgess, M. (1996) Junk. London: Penguin Books.

Kardashian and Jenner sisters argue who has the best app interview [Video file]

Retrieved 5 August 2017. https://www.youtube.com/watch?v=LCzqiUnXijc

Lanagan, M. (2017) Singing my sister down. In. Singing my sister down & other stories.

Crows Nest: Allen&Unwin.

Pitch Perfect: Fat Amy Quotes and Best Bits. [Video file] Retrieved 5 August 2017.

https://www.youtube.com/watch?v=48HqBv5Ropo

Silvey, C. (2009) Jasper Jones. Crows Nest: Allen&Unwin.

Simsion, G. (2013) The Rosie Project. Melbourne: The Text Publishing Company.

The best of Chandler Bing. [Video file] Retrieved 5 August 2017.

https://www.youtube.com/watch?v=1Wn9YiQEMtI

Zusak, M. (2002) The Messenger. Sydney: Pan Macmillan Australia.

 Lesson Two: Creating engaging narrative voice

Class Year 10 mixed ability, co-ed class

Lesson Focus In this lesson students use of variety of methods to begin

experimenting with creating their own narrative voices.
Teacher Objectives Model creative writing process
Work on think alouds
Outcomes and Content Outcome 3: selects and uses language forms, features and structures
of texts appropriate to a range of purposes, audiences and contexts,
describing and explaining their effects on meaning
Content: create literary texts with a sustained voice,
selecting and adapting appropriate text structures, literary
devices, language, auditory and visual structures and features
for a specific purpose and intended audience.

Resources SmartBoard, Success criteria from last lesson, Black and white
photographs,
A3 paper, Lune worksheet, Example lune, whiteboard

Time Class Organisation Learning and Teaching Activities

5 minutes Whole class Briefly revise with students the elements of an engaging
narrative voice that were put into the success criteria
worksheet from previous lesson.

Inform class that today we will begin experimenting with

constructing our own engaging narrative voices. We will
start with creating distinctive characters.

15 Group work Break students into groups of 4-5. Each group is given an A3
minutes piece of paper with a different black and white photograph
in the middle. (Appendix A). Around the picture students
brainstorm together different features of what the character
might be like. Some things students could brainstorm
include;
Who the character is?
What the character might do?
How they would talk?
Where are they from?
Who is a character they might interact with?

15 Whole class Lune

minutes
 Teacher introduces the idea of a lune. A lune is a 3-line
poem with 5 words on the first line, 3 words on the second
line, and 5 words on the last line. Give out the lune
worksheet (Appendix B), and explain that our lunes will be
based on the characters you discussed in the previous
group task. Our lunes will have the following structure:

Line 1: 5 words, the characters feelings

Line 2: 3 words, the characters senses
Line 3: 5 words, the characters desires.

Teacher models on the board an example of this kind of

lune using the young girl black and white photograph as
inspiration. (Appendix C)

Individual Students now write their own lunes based of the characters
they created during the group work activity.

25 Lune to Prose
minutes Whole class
Students now use their lunes as the basis for the beginning
of a piece of prose, with a focus on engaging narrative voice.

Teacher begins by modeling how they would use the words

in their own lune to inspire them to write prose,
remembering what we have previously discussed as being
important for an engaging narrative voice. Teacher should
draw explicit links between her own writing choices, and
specific examples from the texts that were analysed in the
previous lesson.

As the teacher is writing on the board, they should think-

aloud to the class to model the writing process. The teacher
should start by writing the first paragraph. The whole class,
in a process of joint construction, will write the next
paragraph.

Individual/Pair Students now have a choice; they can either work by

themselves if they are confident in their writing, or in pairs
in a process of joint construction, to turn their lunes into
prose, with a focus on creating a narrative voice that is true
to the character their group creating in the brainstorm.
Teacher should circulate offering guidance and support and
reminding students of the elements of narrative voice that
have been discussed in the previous lesson. Teacher can
display the class success criteria on the SmartBoard as a
reminder.
 If the students would like they may continue their prose in
their own time.

Evaluation/Extension

During this lesson the teacher should assess students understanding using targeted
questioning and careful observation during both the group tasks and whole class
activities. To ensure the students are meeting the learning outcome of the lesson, the
teacher should confirm that students are able to make links between the text analysis
they completed in the previous lesson and the imaginative writing they are attempting
in this lesson. The teacher asking explicit questions around this during the process of
joint construction could especially achieve this. As the students begin their individual or
pair work, it would be important for the teacher to walk around and observe every
students work to ensure their understanding.

In retrospect
Following this lesson, I would reflect on whether the students found the lune to prose
activity helpful in getting their writing started. If this activity did not work for this class,
another pre-writing activity should be attempted.
Resources for Lesson 2

Appendix A (photographs)

(Retrieved from
https://au.pinterest.com/quietthunder8/get-a-load-of-that-face/?lp=true)

(Retrieved from
https://au.pinterest.com/quietthunder8/get-a-load-of-that-face/?lp=true)
 (Retrieved from
http://c1.peakpx.com/wallpaper/319/24/949/black-and-white-photography-face-
wallpaper.jpg)

(Retrieved from https://s-media-cache-

ak0.pinimg.com/736x/ed/cd/89/edcd8976082ba1ea15d22daedc4d5e0f--emotional-
photography-photography-portraits.jpg)

(Retrieved from https://s-media-cache-

ak0.pinimg.com/736x/07/af/11/07af11dba6f62b284d85e55128a80122--digital-
photography-photography-portraits.jpg)
 Appendix B (Lune worksheet)

LUNE

What does your character

feel?

What does your character

sense?

What does your character

want or desire?

Appendix C (Example Lune)

LUNE

What does your character JOY EXCITEMENT LOVE

feel?

What does your character

sense? WARMTH SUNSHINE FLOWERS SWEETNESS GRASS

What does your character JOY FOREVER MORE FRIENDS A THRILLING

want or desire? FUTURE
 References

Black, And, White. [Image] Retrieved 5th August 2017.

http://c1.peakpx.com/wallpaper/319/24/949/black-and-white-photography-face-

wallpaper.jpg

Black and white portraits of homeless people. [Image] Retrieved 5th August 2017. https://s-

media-cache-ak0.pinimg.com/736x/07/af/11/07af11dba6f62b284d85e55128a80122-

-digital-photography-photography-portraits.jpg

Board of Studies NSW (2012) English Years 7-10. English K-10 Syllabus Vol. 2. Sydney: Board of

Studies NSW

Smiling girl. [Image] Retrieved 5th August 2017. https://au.pinterest.com/quietthunder8/get-

a-load-of-that-face/?lp=true

Wink. [Image]Retrieved 5th August 2017. https://au.pinterest.com/quietthunder8/get-a-load-

of-that-face/?lp=true

Moody teenage girl. [Image]Retrieved 5th August 2017.

https://au.pinterest.com/quietthunder8/get-a-load-of-that-face/?lp=true
 Lesson 3: Creating an engaging narrative voice

Class Year 10 mixed ability, co-ed class

Lesson Focus This lesson is primarily focused upon giving students enough writing
time to develop their creative writing in a teacher-supported
environment. The final part of the lesson is spent in structured self
and peer editing and reflection
Teacher Objectives Perform Atwells, conferencing approach effectively
Run a mini-lesson effectively
Outcomes and Content Outcome 3: selects and uses language forms, features and structures
of texts appropriate to a range of purposes, audiences and contexts,
describing and explaining their effects on meaning
create literary texts with a sustained voice, selecting and
adapting appropriate text structures, literary devices,
language, auditory and visual structures and features for a
specific purpose and intended audience.
Outcome 2: effectively uses and critically assesses a wide range of
processes, skills, strategies and knowledge for responding to and
composing a wide range of texts in different media and technologies
review, edit and refine students' own and others' texts for
control of content, organisation, sentence structure,
vocabulary, and/or visual features to achieve particular
purposes and effects

Resources SmartBoard, Mini-lesson PowerPoint slides, success criteria

worksheets from Lesson 1

Time Class Organisation Learning and Teaching Activities

10 Whole class Mini-Lesson: Dialogue

minutes
This mini-lesson was included after observing student
writing in the previous lesson, and realising students
needed help with formatting dialogue correctly, and also
using interesting attribution words, rather than just said.
Teacher goes through the Dialogue PowerPoint (Appendix
A). Teacher also gives out the attribution word wall.
(Appendix B)

25 Individual Inform students that they will now spend time working
minutes individually on the prose pieces they started in the previous
lesson. The teacher should remind students to look at the
engaging narrative voice criteria that the class had
constructed in the previous lessons.
 During this time, the teacher circulates and offers assistance
to students, but she should avoid marking student word.
Instead she should engage students in discussion about
their work and ask deliberate questions to help students
develop their ideas. Students can call on the teacher at any
time during this period, and the teacher should attempt to
only spend a couple of minutes with each student. As the
teacher conferences with students, she should record
informal notes about students individual progress.

If students are struggling, they may speak quietly to the

person next to them, however this should primarily be
silent writing time.

20 Self and peer editing

minutes
Individual Inform students that they will now be self-editing their
work using the criteria the class has made for the elements
of an engaging narrative voice. Emphasise to students that it
doesnt matter if their piece is not yet complete. Hand out
copies of the Success Criteria for an Engaging Narrative
Voice worksheet from Lesson 1.

Pairs Once students have self-edited, they will now be peer

editing. Students are grouped in pairs and go through two
peer-editing routines.
1. Praise-Question-Polish
Students read each others work and comment on
three things. They first offer a point of praise, then
raise a question about the work, and then identify
something from the work that needs to be polished.

2. Criteria for an Engaging Narrative Voice

Students now fill out an Engaging Narrative Voice
criteria worksheet, from Lesson 1, for their pair.

5 minutes Individual Reflection

Instruct students that they will now be writing a 300-500

word reflection discussing what they have learnt in this
three-lesson sequence about the following;
The process of creative writing
Engaging narrative voices
Themselves as writers
The importance of self and peer editing
 Students must finish this reflection for homework, and
upload it to the online classroom.

Evaluation/Extension

The teacher can assess students understanding during this lesson during the sustained,
silent writing time. In this time, the teacher will have small conferences with students,
and should take their own informal notes during this time, about individual students
progress, especially in regards to the content point of Outcome 3. During the self and
peer editing activity the teacher can informally assess students understanding through
observation and questioning.

The final reflection is the only piece formally collected by the teacher during this three-
lesson sequence. This is deliberate as the lesson sequence aims to have students take
personal ownership and pleasure in their creative writing. The final reflection can be
used by the teacher as an informal, summative piece of assessment to assess students
conceptual learning over the entire lesson sequence.

In retrospect

After teaching this lesson, I would reflect on the amount of time that was given for
sustained, silent writing. Depending on the class they may need more or less time.
Resources for Lesson 3

Appendix A (PowerPoint slides)

Appendix B (Attribution Word Wall)

ATTRIBUTION WORD WALL!

Snapped Shouted Asserted Sighed Whispered Stuttered Insisted

Cried Mumbled Countered Returned Rebuked Hissed Scolded

Agreed Reassured Teased Joked Sniggered Roared Gushed

Laughed Wondered Reflected Mused Replied Demanded Cautioned

Soothed Reassured Blurted Murmured Commanded Lamented Stammered

References

Board of Studies NSW (2012) English Years 7-10. English K-10 Syllabus Vol. 2. Sydney: Board

of Studies NSW