Targeting

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Text
Lower
Primary

Photocopiable
units based on
English text types

Narrative, Poetry, Description, Response

Introduction
Learning the features and purposes of different text types is a crucial skill for all students. Students must learn to
recognise different text types by their unique features and then incorporate this knowledge into their own writing.
This can be an exciting progression for students, as their ability in reading, comprehension and writing improves
and they learn that communication can take many forms.
The Targeting Text series develops students’ comprehension and writing skills using real texts as models, studying
their particular features and scaffolding students’ own writing with structured teaching units. Each text type is
given comprehensive coverage with a clear descriptive overview followed by well-structured lessons that really
motivate your students. All units are linked to outcomes-based assessment pages that help you plan the next step.
The four text types covered in this book for Lower Primary students are:
Narrative Poetry Description Response
Each text type includes:
Overviewincluding structure, purpose, audience and language features.
Background lessonsincluding scaffolds and skills checklists.
Complete unitsincluding real texts followed by a range of blackline masters.
Teaching noteshow to teach each lesson.
Assessmentincluding an outcomes checklist.

Students think Students are Students talk and

about what they supersleuths, listen to others
have read researchers or
puzzle solvers

Students draw, Students do their Students make

paint or create own writing plays, role-play or
debate

© 1999 Blake Education

Reprinted 2003, 2007

ISBN-13: 978 186509 155 6

ISBN-10: 186509 155 3
Targeting Text: Narrative, Poetry, Description, Response Lower Primary

Blake Education
Locked Bag 2022
Glebe NSW 2037

Publisher: Sharon Dalgleish

Cartoon illustrations by Fisheye Design
Cover art by Cliff Watt
Designed and typeset by Fisheye Design
Edited by Ronél Redman
Printed in Singapore by Green Giant Press

The material in this book can be reproduced by the original purchaser for use with their class(es) only.
Contents
Narrative Texts
Structure and features of narrative texts 4
Sample annotated text 6
Outcomes checklists 7
Background lessons 10
Narrative units:
The Lonely Spider 15
The Silly Wizard 22
The Three Little Pigs 29
Moving House 36

Poetry Texts
Structure and features of poetry texts 43
Sample annotated text 45
Outcomes checklists 46
Background lessons 49
Poetry units:
Nursery Rhymes 52
Simple Structures 59
My Puppy 66
Rain 73

Description Texts
Structure and features of description texts 80
Sample annotated text 81
Outcomes checklists 82
Background lessons 85
Description units:
My Lunch Box 91
My Bedroom 98
Gordon the Garden Gnome 105

Response Texts
Structure and features of response texts 112
Sample annotated text 113
Outcomes checklists 114
Background lessons 116
Response units:
My Book is ‘Who Sank the Boat?’ 123
I Read ‘Willy the Wimp’ 130

3

Narrative Texts
Structure and features of
narrative texts
Purpose
A narrative aims to show a place where anything can happen
to a character, usually unexpected, through the use of imagined
or real-life experiences. Narratives both inform and entertain
the reader by explaining ways of resolving issues that are
meaningful to their particular culture. They encourage the
listener/reader to respond to the text and to extend their own
imagination and creativity.
Types of Narratives
Narratives exist in a variety of forms. They can be presented as
both spoken or written texts and are usually based on
imagination, however, some narratives are factual. Narratives
can usually be divided into two categories:
Traditional narratives: fairy tales and folk tales, myths and
legends, parables, fables and moral tales
Modern narratives: science fiction, choose-your-own
adventures, mysteries, hero and villains, cartoons, horror stories
and realistic fiction
Usually a narrative is told, or partly told, by a narrator who can
either be outside the story, or one of the characters taking part
in the story. Many narratives do contain dialogue which often
involves the main character.
Structure of narrative texts
For younger students there are typically three stages to a
narrative (with the fourth step being optional):
 Orientation
 Complication
 Resolution; and
 Re-orientation/Coda
As the reader’s skills develop, the texts will become more
complex with multiple complications and resolutions. However,
at an early stage—Kinder and Year One—one complication
and one resolution is sufficient for students to grasp the
concepts, structures and features of the text type.
4
Orientation
The orientation is the first step in the development of a
narrative text. This is where the writer sets the scene for the
story, informing the reader of the time, place and main
characters of the story. Often the reader is given an idea of
what action is to follow.
The orientation can vary greatly in length. Typically for younger
readers, this may involve one or two sentences, or extend up
to a paragraph. For older readers, the orientation may extend
to several pages. The types of information chosen to be
included in the orientation are those which offer the reader
a background from which the problem or complication
will follow.
Complication
The complication is the second stage in a narrative, where the
story is disrupted in some way. This usually involves the main
character and one or more of the minor characters. This is the
part of the text which makes the story interesting, as the
complicating event is unexpected. In the case of a more
complex narrative involving multiple complications, these will
need to be resolved one at a time. Many of the complications
illustrate problematic issues that people face and they aim to
show that they can be resolved.
Resolution
The resolution is the third basic step in a narrative. As the term
suggests, it is where the problem or the complication is
resolved. The events and the characters return to normal in a
satisfying way. Not all resolutions are for the better; there can
be an unhappy ending. However, most tales for younger
readers result in a satisfying resolution.
Re-orientation/Coda
This fourth stage is optional in narrative texts for younger
readers/writers. The reader is made aware of how the
characters have changed and what they have learned from
dealing with the complication and its resolution. It may be
written in the form of a moral to the story, such as in a fable.
Language features of
narrative texts
 The use of simple past tense, eg ‘A long time ago ...’
 Specific characters which may be human or animal, realistic
or imaginary. Generally, animal characters portray
some human traits and characteristics and they
tend to have defined identities within the story.
 There is a sequence of events which is portrayed through
the use of conjunctions which build up the relationships
of time and cause. They are sometimes called
‘joining words’, for example, ‘because’, ‘and’, ‘so’.

 Narratives can be written in first person (I, we) or in third

person (he, she, they). Some may use the passive voice,
for example, ‘The clue was discovered by one of the
children.’

 In choose-your-own-adventure stories, the reader is usually

included as part of the story and is addressed in the role of
a character as ‘you’.

 Descriptive language (adjectives) is used to enhance the

visual imagery in the reader’s mind relating to the nouns
and noun groups within the story, eg ‘It was a warm and
inviting summers’ day ...’, ‘the man’s bright red overcoat ...’

 Narratives make use of adverbs and adverbial phrases to

help the reader locate events within the text.

 A variety of verbs (thinking, feeling, doing) are used to refer

to the characters’ actions and thoughts.

 When dialogue is included in a narrative, it involves a

change in tense, eg: When he got home, he walked in at the
front door and went through to the kitchen. “Trish, what are
you doing here?” he said.

 Narratives are not just a bare sequence of events. They are

enhanced at every stage by suggestions of what the
characters are thinking, feeling and saying.

5
BLM 13

The Silly Wizard

Once upon a time, deep in the forest, there lived a wizard named Elmo. Elmo had
wanted to be a wizard ever since he was a little boy. He had practised and
practised every day after school, doing card tricks and making a rabbit appear out
of his hat. He always wore his pointy purple hat, even when he went to bed!
Now one day, Elmo decided to try his most daring trick, to turn his sister into a slimy
green frog! This spell took a lot of preparation to get all the right ingredients. When
he thought he was ready and the cauldron was boiling, Elmo called his sister,
“Serena, Serena. I need your help.”
“What is it now, Elmo? I’m busy feeding the animals.” Serena called back from the shed.
“How am I going to be a great wizard when you won’t help me?” Elmo said.
“Oh, all right.” Serena agreed and came out to see what Elmo wanted.
Elmo began to wave his wand over his head as he said:
“Toenail of an elephant,
Hair of a dog,
Bark of a tree,
Make Serena a frog!”
POOF! As the smoke disappeared, Serena was gone, and
in her place was the ugliest, slimiest frog Elmo had ever
seen. Yuck!
“Hooray!” shouted Elmo, “I’m the greatest wizard ever. Now all
I have to do is turn her back again.” But try as he might, Elmo
could not reverse the spell. He tried this magic book and he tried that magic book,
but nothing was working. What was he going to do?
Just then Elmo had an idea. “What if I say the spell backwards? It might work.” It
was a guess, but Elmo had to try something. He took a deep breath and said:
“Bark of a tree,
Hair of a dog,
Toenail of an elephant,
Serena is NOT a frog!”
POOF! Again there was a puff of smoke and Serena was standing where the slimy
green frog had been.
“Well, what did you want me for Elmo? I can’t stand here forever.”
“Oh, nothing,” said Elmo, smiling.
“I wonder what I can turn my little brother into?” he thought to himself.

22 Blake Education Targeting Text Lower Primary This page may be photocopied for non-commercial classroom use.
Teaching notes for
The Silly Wizard
Text form: Fantasy
Medium: Written
Field: A wizard turns his sister into
a frog
Tenor: Storyteller to a young audience
Mode: Written to be read aloud
Other resources
A range of fantasy texts, for example Possum Magic by
Mem Fox, Omnibus Books.
Pictures of magic/magicians/witches and wizards to be
displayed in the classroom.
Procedures and recipes.
Introducing the unit
Read a variety of fantasy texts to students, discussing
aspects such as characters, setting and stages in the
text. Encourage a variety of responses and use a variety
of grouping strategies.
Before reading ‘The Silly Wizard’, brainstorm with
students who wizards are, what they do and what
they are like. Ask students to predict where the story
might take place and what the complication may be.
Record the responses so they can be revisited after
reading the text.
Wizard words
As a whole class, discuss descriptive words (adjectives)
and their purpose. Display ‘The Silly Wizard’ on an OHT
and highlight all the descriptive words. Ask students to
close their eyes for two minutes and think about Elmo,
what he looked like, what type of wizard he was. When
students are ready ask them to draw what they think
Elmo looked like and write words or phrases to
describe him, his actions and emotions, eg ‘silly’,
‘young’, ‘inexperienced’.
Making a spell
Discuss the spell Elmo used to turn Serena into a frog.
Discuss what other ingredients a wizard might use in a
magic spell. List responses to keep as a future
reference. Divide students into small groups. The groups
should devise a magic spell that a wizard might use.
Encourage students to experiment.
Story path
Discuss the main events in the text, in sequential order,
using the terms ‘orientation’, ‘complication’ and
‘resolution’. The teacher may decide to demonstrate the
first one or two steps in the story path. Encourage
students to show detail in their illustrations. More
capable students will be able to write a sentence about
each illustration.
Interview a friend
In pairs, students discuss their ideas for what Elmo
might do to his brother as a sequel to ‘The Silly
Wizard’. During this discussion students fill in an
interview sheet based on narrative content and
structure. The results from the class can be put onto a
matrix to be displayed in the room and used as ideas
for further individual and group writing.
Hocus pocus!
Have students work in pairs, with one taking the role
of the wizard and the other being the person who
receives the spell. Together they mime for the class the
making of a spell and the result. The audience then
have to retell what they saw happening. Students can
write down their ideas first to help them get started.
Follow up/extension
 Perform retellings and role-plays of other
magical narratives.
 Innovate ‘The Silly Wizard’ in small groups.
23
BLM 14 Name _______________________________ Date _______________

Wizard words
★ Read ‘The Silly Wizard’. Draw a picture of Elmo, putting in as much detail as
you can. Then write adjectives to describe him.

Elmo

NA 2.9 NSW 1.14 Writes brief imaginative and factual texts which include some related ideas about familiar topics.
NA 2.11 NSW 1.10 Uses some basic linguistic structures and features of written language so that writing can be readily interpreted by others.

24 Blake Education Targeting Text Lower Primary This page may be photocopied for non-commercial classroom use.
Name _______________________________ Date _______________ BLM 15

Making a spell
★ Work with a partner or in a group of three people.
Imagine you are a wizard like Elmo. Make up a magic spell using some
unusual ingredients. You might also like to include some rhyming words.

This spell is for

The ingredients are

To make the spell work, say these words:

NA 2.10 NSW 1.13 Recognises some of the purposes and advantages of writing.
NA 2.12a NSW 1.9 Uses talk to plan and review own writing.

Blake Education Targeting Text Lower Primary This page may be photocopied for non-commercial classroom use. 25
BLM 16 Name _______________________________ Date _______________

Story path
★ Every narrative has a special structure: an orientation (setting the scene), a
complication (the problem), and the resolution (how the problem is solved).
Along the path through Elmo’s forest, draw the main story parts from ‘The
Silly Wizard’. You could also write a short description of what happened at
each stage of the narrative.

NA 2.5 NSW 1.5, 1.6 Constructs and retells meanings from short written texts with familiar topics and vocabulary, predictable text structures and
frequent illustrations.
NA 2.7 NSW 1.8 Recognises and interprets basic linguistic structures and features of texts.

26 Blake Education Targeting Text Lower Primary This page may be photocopied for non-commercial classroom use.
Name _______________________________ Date _______________ BLM 17

Interview a friend
★ At the end of ‘The Silly Wizard’, Elmo begins to think about what magic spell
he might put on his little brother.
Talk with a partner about what you think will happen next. Write down
your ideas.

1. When do you think Elmo will try and put a spell on

his brother?

2. What do you think is the name of Elmo’s brother?

3. Will anyone help Elmo make this new spell? If so, who is it?

4. What ingredients will Elmo need for his new spell?

5. What might happen when Elmo tries this spell?

6. Will Elmo be able to reverse the spell put on his brother?

If so, how will he do it?

NA 2.1 NSW 1.1 Interacts in more confident and extended ways in structured and spontaneous school situations.
NA 2.10 NSW 1.13 Recognises some of the purposes and advantages of writing.
NA 2.12a NSW 1.9 Uses talk to plan and review own writing.

Blake Education Targeting Text Lower Primary This page may be photocopied for non-commercial classroom use. 27
BLM 18 Name _______________________________ Date _______________

HOCUS POCUS!
★ Work with a partner to mime casting a spell.
To help you organise your mime, write down your ideas first.
Make sure you practise your mime before you present it to the class!

1. Who will be the wizard?

2. Who will have the spell put on them?

3. How will you mix up the spell?

4. Will you use a magic wand, or something else?

5. What will you turn the person into?

6. Do you need to use any props? If so, what will they be?

7. Use another sheet to draw yourself miming your spell.

NA 2.1 NSW 1.1 Interacts in more confident and extended ways in structured and spontaneous school situations.
NA 2.10 NSW 1.13 Recognises some of the purposes and advantages of writing.
NA 2.12a NSW 1.9 Uses talk to plan and review own writing.

28 Blake Education Targeting Text Lower Primary This page may be photocopied for non-commercial classroom use.
Targeting The Targeting Text series contains
structured teaching units for the

Text nine most commonly studied text

types. Each unit is complete in
itself and can easily become part of
Lower your existing programme. Once you
Primary have chosen a unit, everything you
need is here—including text models,
Narrative, text type scaffolds, practical
Poetry, worksheets and assessment pages.
Description,
Response
Conta
photo ins 100
cop
page iable
s
Features of the Targeting Text series:
Overview • Audience, purpose, structure and
language features of each text type
• Sample annotated texts
Teaching notes • Supplementary ideas support all BLMs
• Easy to use
Complete units • Models of each text type
• Skills and strategies for Reading,
Writing, Talking and Listening
• Open-ended activities allow for
different abilities
Assessment • All BLM activities linked to outcomes
• Variety of assessment BLMs

Titles in this series

Targeting Text Lower Primary
Book 1: Narrative, Poetry, Description,
Response
Book 2: Recount, Procedure, Exposition
Book 3: Information Report, Explanation,
Discussion
Targeting Text Middle Primary
Book 1, Book 2, Book 3
Targeting Text Upper Level
Book 1, Book 2, Book 3

ISBN 978-1-86509-155-6

9 781865 091556