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nz
for PDFs of all the texts in this issue of the School Journal as
well as teacher support material (TSM) for the following:

TSM

Fallen Leaves
The World Will End, Said the Cat 

SCHOOL JOURNAL
NOVEMBER 2016
School Journal
Fallen Leaves 
The Great Ordinary: The Photographs of
Edith Amituanai 

Level 4, November 2016

by Paul Mason Year 8
Ssid
chooe thle thick
ement seemed
troubled, in Jo urnal
If the tiny settl du str y an pe 2016e.
NOVEMBER ac
d
iet in
tery, all was qu
Overview walls of th e pr in
ol, the rich sm
ell of ink, pape
r, d leather
an
o men workin
g
The air was co d to th e tw
ly co mf or tin g. Haora wave er th e tin y
instant hed ov
This historical fiction, set in 1845, is told from the point of view of a young This story: e Emery hunc

es
e named Frèr

Fallen Leav
quietly: the on lled ink
Māori protaganist. Haora works in the printery at Kororāreka at the time s; th e ot he r, Frère Luc, ro
■■ includes direct and indirect references s to
in th eir fra me
but rried
ca
when war was building between Ngāpuhi chief Hone Heke (Hone Wiremu metal letter ked up to smile
actual people, places, and events ss a fin ish ed plate. They loo
Heke Pōkai) and the British troops. The writing evokes a sense of foreboding acro
tasks. a wondered
■■ uses rich descriptive language on with their a battle,” Haor
and
by Paanticipation,
ul M as on contrasting with the quiet but urgent work of the brothers. kn ow there would be
id th ey ming?”
The language is “of its time” and may seem unfamiliar to many students, ■■ provides an excellent model for“D writing historical
kai and his wa
rriors were co
fiction
“that Heke Pō k on the
but it’s a good challenge at the same time. aw ar e of th e troubled loo
■■ uses illustrations to help conveyFrthe story.
n se em ed un and
ère Jea ross the room
apprentice ac
y’s fac e. He led his young ne ed th eir co vers
bo
A PDF of the text is available at www.schooljournal.tki.org.nz “These books
binding table.
sat him at the you last we ek ?”
how I showed
You remember
Texts related by theme  “Ngā Pakanga o Aotearoa/The New Zealand Wars” SJ L4 Nov 2014 | “Kauri Island” SJ L4“HNov 2014 d |
th e lea th er? Āe.”
ow to ad
er.”
“Ngā Tātarakihi o Parihaka” SJ L4 May 2016 ll work togeth
“Good. We wi

Text characteristics from the year 8 reading standard

rch 1845
Kororāreka, Ma

g into the
his toes diggin
alo ng the shore, not
Haora hu rri ed he could. The tal letters will
as quickly as added. “Our me
ng Kororāreka ers’ rk,” Frère Jean – held
soft sand, passi ckade, a clu tch of se ttl an tim e, we wo
ed books fro m th e cla mp
more than a sto rk “And in the me d some finish
town was little between daelf lls.” He release
wh ite ch ur ch – all caught n to los e hi ms be tak en for musket ba ed th em to the boy.
houses, and do a small rry. Slostwlofy th he begaepest was a pole shape – and ha
nd gold that
s wo e ste th eir the writing in
or a fo wn hi
ught r side. On the cre in g th e glu e, in pla ce to ke ep
br ow n calfs , over
kin
For the mome
nt , Ha
hills on eithe e soft hide , sp re
p and lifeless,
ad framed by
fingers over th
e so ft t in his hand.
– trimm ing thhu Haora ran his s, their weigh
yth m of the work Br iti sh fla g. It ng lim om en s. th e fee l of these book hers gave
in the quiet rh with th e
them doy. wn. air was heavy wi th spine. He lov ed read. The brot
ntly pu shing ub The ran down the for others to
in g ov er th e edges,age clo ud y an d tro led sk e Jea n aft er a time. it. to pu t wo rd s onto paper s. Ca re fu lly , Haora
turn d Frèr Haora could sense it was e page
mo th er an d fathe r?” aske
ka wo uld fal l. mb ed What a thing fo r th e ide as written on th pa per
“And your Kororāre on, cli ved th e
lls of the missi per r these scripts, . The smell sa
sa id Haora.He reached the stuccoed wa e wo oden sc rew as pa
lou dly everything fo mi dd le of each book
“Kei te pa i,” ak of th oc ke d f in th e
room ca me the cre e printery, and kn g as if placed a dried
bay lea
r sideth of the irc
e sta ase ge that led to thleaf … the words appearin
From the othe , leaf after sh oe s se cts . tching.
to ink. Pa ge aft er pa
door. rked, thèr
rn
eir wo n, opening -o ut fro m in Jean asked, wa d what all the
was pressed on on the heavyed a word as they wo sa id Fr e Jea e e wo nd er fu l, yes?” Frère n’t understan
rely shgla ar Haor a,” g. Notus like th “They ar ther did
gic . Th e two men ba“I am d to see you,ren’t ones for talkinrk fo r to do.” ed Ha or a, alt hough his mo
by ma rs we ere is plenty of wo . throug h re
ards. Thwi e brotheom
. “C e, th wo rse. Ha beor a es
sid ran “Waiwaiā,” ag
the floorbo an rdda wn ve. He knew
scuffing over elements the dothator de require interpretation, stch such as complexJeplots, complex layers of meaning, and/or information that
up toislea irrelevant
anla tor,o ju
k te mu afte
to o mu ch ana dwedrek
Ha or a ère an and
Fr ss wa s about. en Haora got
th e to wn wh ga bb led
o k of muskets
sophisticated ca
themes, m e
and abstract
s we re dr ift
uninst
ideas in
g eady., an d
W ou ld fu
to the identified purpose
th e su n for
be ga n to set, th(that
reading is, competing r tab le was as
gs e
men in Tuld he crac
fall ,in these figsq inez
htue g?in Da rk cloud his le
g his chest,
h the battle
from behind
som
They worked
until
any offerinto g on the brothe
rs’ dinne
How many wo bu sh un ea wn to wa tc ar th e information), requiring
to sta y, bu tstudents infer meanings mo utorh. make
the crouched do uld he he was welco
me another
k of it. spared? He t him. He co couldn’t feed
needed to spea the others be rs too,” he sa ddenly. gh to protec as judgments clothing. They
– ot he ik y fo
id
lia ge were enou
su
wa tc he d with dread th re ad bare as their id.
“Heke is co ming if the sp
be fightinib g?le” cries. He
ère Jean,” Haor
a sa s will not
harakeke, as“You know thwn erebe wilollw, the terr u edshouanld d motionles
s.
“Goodbye, Fr haur
d. “O
dey’s . tal letter
ndme
d up . on in the to ce , bu tumyopl Fr èr e Jea
in g nthad
e bo ld
n loo
Frère Jea thud of cann
ke
n’t hurt eir bo th is pla di es cr lled e,”e, id th
sawe woe rk
ma ,” n, tak the clamp – he
. I he ard they wo e ground, th nd like a fe “And in“G thoeinme peanactim ed books from
or a no dd ed . “Yes . Soth
bo
onsid es fell to th gp ol e la y on the grou , .” He re lea se d some finish 43
Ha m fla mbl ed sket balls
men fro all day. The hide The earth ru
ms. elf be taken for mu em to the boy.
k Kororāreka . Slo he be t ga
toenth
woto los
erry
st .”eka
oc and handed th ng in gold that
still go.” Gunfire shoo hi
ea wokn
sdy rry ow wl
. eYofro
ym
u’r e inno sid bl ed towards ep their shape – over the writi
or abo ug Buht tdowe
foy. ternoon, a wnalr bl as t ca m
in e glu
th e British
g Th e, sc ra m in pla ce to ke
br ow calfskin,
n
For the“T moha me
nk nt
yo , Ha
u, my af
tree. That rk – trimming thok e esobuft rs de , sp
hit into the skre ad y. arted fingers ov er th e so ft t in his hand.
e big guns st Haora ran his oks, their weigh
qu iet rh yth m of theclwo ou d of fu rious sm
wn . wa rs hi p in the bay. Th
ip . lov ed th e feel of these bo . Th e brothers ga
ve
the and a ematdo r n sh spine. He read
ge s, ge ntly pudshro ing th
we d bo s out to thei e. e of th e ugly brow ran down the to pa pe r for others to or a
e ed a tim e sid word s on Carefully , Ha
urning over th the beach an e Jean after g from th
r?” asked Frèrother, roarin the battle wa
s it was to put on the pages.
ther and fathe e after the y fire. Then What a thing e ideas written
“And your mo soon after; on un de r, wo rse than an pe r g fo r th es e scripts, for th Th e sm ell sa ved the paper
y th pa in book .
id Haora. uder than ancreak of the wo oden screw as everyth middle of each
“Kei te pai,” sa They were loom e
came th t into the ni gh t. ba y lea f in th e
r side of the ro rāreka burn leaf … the words appear
ing as if placed a dried
From the othe over, and Koro ge, leaf after s e sting of smoke
er pa -o ut sh oe
. Th m in sects. d, watching.
to ink. Pa ge aft
rkhed , th eir
in the morni
wo rn ng lig ht fro Frère Jean aske what all the
was pressed on wo rd asgth ey bewoac
fa r end of the wo nderful, yes?” t understand
tw o me n ba sh ar ed
rely e his way alon a th e
fo r tal kin g. in No ru t lik
in s,e th
but e at th e “T he y ar e
ho ug h hi s mo er didn’
th
n’t ones lement la y alt
by magic. The Hboaoarradsm. Thad
e brothersos were
t of the sett besid esd. strong. The do
or
“Waiwaiā,” ag
reed Haora,
the floor in the air. M d drank too muthch and worse lls stoo . He knew
scuffing over still hung to an Its ick white wa he rs es caped? t. got up to leave
mu ch
bbled inotery was untouc he d.
, an Haor d th
èrde Jean an
a e ot fuss wa s ab ou t, then Haora
n in th e to wn whobaga y, th e pr clo ud s we re dr
sid
ifte.inHag in
d Fr un d th e un til th e su n began to se din ne r tab le was as
me Dark m in y ro They worked rs’
uld fal l in the fig hting?
. No so und came fro en ch ec ke d the tanner t an y of fer in g on the brothe
wo ed
How many was lock ens and orch
ard, th
n of the brot
hers. me to stay, bu d another mo
uth.
k of it. ora searched the gardddenly. e was no sig he was welco ey couldn’t fee
needed to spea eir clothing. Th
ian-Slane

Ha o,” he sa id su to the deep pits. Ther ar re d re m ai ns.

ad ba re as th
ng – othe rs to en peered in ’s ch thre
“Heke is comi back. He ev hting?” ugh the town y burnt. ère Jean,” Haor
a said.
knowanth ere will be fig g back thro oulfldburied and badl “Goodbye, Fr y’s hand.
Jea n loo ke d up. “You tu rn ed d left, startinhurt this placewa , bus at yo
bo uoksh, ha ch ed e ma n, taking the bo
Frèr e He th ey wo n’t e him stop. It at th e sc or pe ac e,” sa id th
ar
I he vary d mad ok ed o in
. “Yes. Soeton
sentences .that
on the pain thlength, including long,it complexup and lo “G
adverbial clauses or connectives that require students to make 43
Haora nodded Som hing ora picked af in the m
iddle
to make? Ha .”though the dried le
Christ

sentences that
e he contain
ha d helped a lot of information
no t to wo rry
, al links across the whole text
still go.” Was it on u’r e tter nfire .”
eady know. Yofared no be ght. “Not gu
boy. But we alr the book had Haora thou
“Thank you, my cover. Inside, t in se ct s,” lk ed ba ck
otects agains g the book
tight, wa
. “It only pr and holdin
ns by Henry

had survived as be st he could, d no w it had be

gun.
f th e di rt om en s. An
He wiped of rig ht . Th ere had been
en
. He had be
to his village
Reading standard: by the end of year 8
illustratio

The above pages: TEACHER SUPPORT MATERIAL FOR “FALLEN LEAVES”, SCHOOL JOURNAL, LEVEL 4, NOVEMBER 2016 1
Text and images copyright © Crown ACCESSED FROM WWW.SCHOOLJOURNAL.TKI.ORG.NZ
Cover image (top right) copyright © Edith Amituanai COPYRIGHT © CROWN 2016
Possible curriculum contexts
ENGLISH (Reading)
Level 4 – Purposes and audiences: Show an increasing understanding of
how texts are shaped for different purposes and audiences.
ENGLISH (Writing)
Level 4 – Purposes and audiences: Show an increasing understanding of
how to shape texts for different purposes and audiences.
SOCIAL SCIENCES
Level 4 – Understand that events have causes and effects.
Text and language challenges (Some of the suggestions for possible supporting strategies may be more useful before reading,
but they can be used at any time in response to students’ needs.)
VOCABULARY
■■ Possibly unfamiliar words and phrases, including
“stockade”, “clutch”, “crest”, “omens”, “stuccoed”,
“mission”, “printery”, “apprentice”, “weren’t ones for
talking”, “musket balls”, “threadbare”, “tannery”,
“charred”, “fared no better”
■■ Specialised vocabulary associated with printing books:
“printery”, “plate”, “binding table”, “hide”, “leaf”, “clamp”,
“calfskin”, “spine”, “scripts”
■■ The double meaning of “leaf” and “leaves”.
SPECIFIC KNOWLEDGE REQUIRED
■■ Familiarity with aspects of the history of Aotearoa New
Zealand, including British occupation
■■ Some knowledge of Hōne Heke Pōkai and the flagpole
incidents in Kororāreka (Russell)
■■ Some knowledge that early missionary work included the
printing of books
■■ Some understanding of the processes and materials
involved in hand-printing and bookbinding
■■ Knowledge that a tannery processes animal skins, which
can be used to make book covers.
TEXT FEATURES AND STRUCTURE
■■ Historical fiction, set in Kororāreka in 1845
■■ Third-person narrative, told through the eyes and thoughts of
a young Māori boy
■■ Includes illustrations that provide visual context for the story
■■ Straightforward chronology
■■ Literary structures that add authenticity to the setting in time
and place.
Possible first reading purpose
■■ To find out about an important event in New Zealand history.
Possible subsequent reading purposes
■■ To find out how the author sets the scene and implies a sense
of foreboding
■■ To identify how the author creates a fictional story around a
factual historical event
■■ To establish fact from fiction.
Possible writing purposes
■■ To write a fictional account of a real historical event
■■ To write the story from another point of view, for example, from
that of the brothers.
The New Zealand Curriculum
Possible supporting strategies
■■ Identify any unfamiliar words and preteach them. If students are able to work
words out from the context, encourage them to do so.
■■ After one or more readings, discuss the title and the double meaning of “leaves”.
Why has the author called the story “Fallen Leaves”? What does this refer to?
■■ If necessary, support students to understand expressions from an older time,
such as “weren’t ones for talking”, “What a thing it was ...”, “gave everything”,
“feed another mouth”, “Go in peace”, “fared no better”. Invite them to share other
“old” expressions they may have encountered either in their own lives or through
other stories, such as fairy tales or myths and legends.
■■ The English Language Learning Progressions: Introduction, pages 39–46, has
useful information about learning vocabulary.
■■ See also ESOL Online, Vocabulary, for examples of other strategies to support
students with vocabulary.
Possible supporting strategies
■■ Review what students already know about key events in the settlement of New
Zealand. You could use the article on the New Zealand Wars in School Journal,
Level 4, November 2014 to strengthen background knowledge.
■■ Provide information about the events at Kororāreka in 1845, for example,
http://www.nzhistory.net.nz/ has information relevant to this story: Hōne
Heke and the flagpole, the sacking of the town in March 1845, and the printery
established by French Catholic missionaries.
■■ If possible, bring an old leather-bound book to show and discuss the traditional
bookbinding process.
■■ Invite the students to share previous experiences of making their own books.
Possible supporting strategies
■■ Remind students of the features of historical fiction, for example, the use of
archaic or more formal language and the factual basis of the stories.
■■ Review the illustrations before reading to help students understand the
characters and the setting in time and place.
Sounds and Words
TEACHER SUPPORT MATERIAL FOR “FALLEN LEAVES”, SCHOOL JOURNAL, LEVEL 4, NOVEMBER 2016 2
ACCESSED FROM WWW.SCHOOLJOURNAL.TKI.ORG.NZ
COPYRIGHT © CROWN 2016
Instructional focus – Reading
English Level 4 – Purposes and audiences: Show an increasing understanding of how texts are shaped for different purposes and audiences.
Social Sciences Level 4 – Understand that events have causes and effects.
First reading
■■ Set the purpose for the first reading, which can be simply to find out
about an important historical event from a young boy’s perspective.
■■ Read the title and date aloud, then flick through the illustrations.
What do you learn from these images? Who are the main characters?
What are they doing?
■■ You may need to provide a short introduction that includes
background knowledge about the historical setting.
■■ Direct the students to read the story through, keeping in mind
the setting. As you read, think about the events that we are not told
about. When you’ve finished reading, what questions do you have
about this time and place?
Subsequent readings How you approach subsequent readings will depend on your reading purpose.
The teacher
Ask the students to share their first impressions of the story.
■■ Retell the story briefly to a partner. What are the main events? Who
are the main characters?
■■ Who are the brothers? What are they doing? Are they part of the
factual story or completely fictional? How do we know?
You could have students complete a grid like the one below. You can
change the headings to suit your reading purpose. Once completed, the
students then retell the story using all the information in their completed
grid. This could be particularly helpful for English language learners.
3 specialised 3 main events 3 historical 3 questions
words facts I have
The teacher
Direct the students to work in pairs to identify fact and fiction in the
story and to think critically about the writer’s purpose.
■■ What do you know about the events behind this story?
■■ How can you work out fact from fiction?
■■ Does the story make you want to know more about the real events?
How can you find out more?
■■ Why do you think the writer has based his fictional story on actual
events? What was his purpose?
■■ How might the story have been different had it been told from the
viewpoint of another character, for example, Frère Jean?
TEACHER SUPPORT MATERIAL FOR “FALLEN LEAVES”, SCHOOL JOURNAL, LEVEL 4, NOVEMBER 2016
If the students struggle with this text
■■ Point out the place and date under the title and prompt the
students to think about where and when the story is set.
■■ Spend a few minutes looking more closely at the illustrations,
prompting the students to make connections that help them
identify the place and characters.
■■ Read the first page together, then direct the students to share what
they have learnt so far with a partner. Check to make sure they are
on the right track, then leave the students to continue reading.
■■ Check in as they read to make sure they are not stuck and are
getting the gist of the story.
■■ Ask students to share places where they lost meaning, and together,
discuss ways that they can work out the meaning.
The students:
■■ include the main events and characters in their retelling of the story
■■ identify the main characters as Haora and the brothers
■■ use their prior knowledge of religious men, the reference to “Frère
Jean”, and the illustrations to infer that the brothers are Catholic
priests
■■ make connections between what they have learnt about the history
of the time and the details in the story to infer that the writer has
based the brothers and the printery on the real Catholic mission
that printed religious books in Kororāreka.
The students:
■■ draw on their prior knowledge and, if necessary, carry out further
research to recall and/or identify the actual events of March 1845
■■ make connections between what they know of the events in
Kororāreka in 1845 and the events in the story to identify examples
of people, places, and events that are based on facts (This could
also be done as a three-level thinking guide.)
■■ evaluate the writer’s purpose in basing the story on factual events
and infer that he wanted to put a human face on historical facts
■■ based on their own response to the story, infer that the writer
wanted young people today to understand more about these
historical events
■■ share their opinions of the story and whether or not the writer has
achieved his purpose, giving evidence to support their opinions.
3
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Instructional focus – Reading CONTINUED
Subsequent readings
The teacher
Lead a discussion about the overall feeling or atmosphere of the story.
■■ We know what happened at that time and place, and Haora sensed
“omens”. How does the writer convey this sense of foreboding?
■■ What was the effect on you of this growing sense of foreboding?
 GIVE FEEDBACK  “omen”, and then finding the ten words that most closely link
■■ You told us about the links you have to Ngāpuhi and how the stories
you’ve grown up with helped you to identify with the boy in the story.
Those powerful connections helped you understand the story.
METACOGNITION
■■ How did you go about finding facts to compare with the people,
places, and events in the story? How did the facts help you
understand the story?
TEACHER SUPPORT MATERIAL FOR “FALLEN LEAVES”, SCHOOL JOURNAL, LEVEL 4, NOVEMBER 2016
The students:
■■ identify words and phrases that help build the sense of
foreboding, such as Haora’s wondering if the brothers knew
that Heke Pōkai and his warriors were coming, his need to
speak of the “dark clouds”, his reminder to Frère Jean of
the boat, and his concerns for the brothers (Students could
construct a lexical chain by choosing a key word, for example,
to it. They then compare their list with a partner’s list.)
■■ identify that the last three sentences confirm Haora’s sense of
foreboding and extend it beyond that last line.
Reading standard: by the end of year 8
The Literacy Learning Progressions
Assessment Resource Banks
4
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COPYRIGHT © CROWN 2016
Instructional focus – Writing
English Level 4 – Purposes and audiences: Show an increasing understanding of how to shape texts for different purposes and audiences.
Social Sciences Level 4 – Understand that events have causes and effects.
Text excerpts from
“Fallen Leaves”
Page 40
Kororāreka, March, 1845
Haora hurried along the shore,
his toes digging into the soft
sand, passing Kororāreka
as quickly as he could. The
town was little more than a
stockade, a clutch of settlers’
houses, and a small white
church – all caught between
dark hills on either side. On the
crest of the steepest was a pole
with the British flag.
Page 45
The earth rumbled, and a cloud
of furious smoke burst into
the sky. The British scrambled
towards the beach and rowed
boats out to their warship in
the bay. The big guns started
soon after; one after the other,
roaring from the side of the
ugly brown ship. They were
louder than any thunder, worse
than any fire.
Examples of text characteristics
 PURPOSE AND AUDIENCE  Ask questions to support students as they make decisions about their
The writer’s purpose helps him or
her decide what to write and how
to write. The choice of audience
also influences these decisions.
Which comes first?
SETTING THE SCENE  on the events? Can you use a real or invented character who can “tell”
Writers help their readers to
visualise a setting or a feeling
by providing descriptions and
by giving details readers may be
familiar with, for example, by using
specific place or character names.
 DESCRIPTIVE LANGUAGE 
Writers choose specific words and
phrases (including metaphors and
similes) to convey images and to
describe scenes and events vividly.
TEACHER SUPPORT MATERIAL FOR “FALLEN LEAVES”, SCHOOL JOURNAL, LEVEL 4, NOVEMBER 2016
Teacher
(possible deliberate acts of teaching)
writing.
■■ You’ve chosen an important event in history. What do you want your
readers to understand about the event?
■■ What’s an effective way for you to communicate this to your readers?
For example, will you write a factual report, a poem, or a story based
the story?
■■ Who are you writing for? What do you expect your audience to know
already?
■■ How can you help them make connections to things they already know
or have experienced?
Prompt students to consider the way they set the scene for their audience.
■■ How will you help your readers understand what you’re writing about,
right from the start?
■■ Do your opening or “scene-setting” sentences have the impact you
were hoping for? Do they say what you mean clearly and concisely?
■■ If not, try some revisions and test them out. Expect your writing partner
to give you helpful, specific feedback that will help you fine-tune your
work. Do the same for your partner: peer reviewing is a very important
strategy for ALL writers and one that is used by most authors.
You could provide a writing review checklist that includes writing
techniques and features that the students may like to use. This will help
guide discussion, feedback, and reflection.
Explain how writers choose language carefully to create an image for the
reader. It’s the careful selection of a few precise and powerful words that
convey the image so clearly. Prompt the students to identify descriptive
language in the story and ask them to write their own passages using the
examples as a model.
■■ Find sentences in the story that are descriptive. What words has the
author chosen? Why are they effective?
■■ Note that it isn’t just descriptive verbs and adjectives the author has
used but also figurative language, for example, “louder than any
thunder”, “worse than any fire”.
■■ Review your writing, looking for places where you can use words in
these ways. Can you:
– choose words with connotations that help carry the meaning?
– imply meaning?
– help readers to make connections?
■■ Ask a partner to read a few sentences of your writing aloud. Listen
carefully. Do your words have the impact you want them to have?
What changes would give them more impact?
Assist English language learners to build up noun groups in their writing
so that they can develop more detailed description. For ideas see
Supporting English Language Learning in Primary Schools: A guide for
teachers of years 7 and 8, Book 4, pages 11–19.
Writing standard: by the end of year 8
The Literacy Learning Progressions
5
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Instructional focus – Writing CONTINUED
Text excerpts from Examples of text characteristics Teacher
“Fallen Leaves” (possible deliberate acts of teaching)

Ask questions to support the use of implication.

Page 43
What a thing it was to put
words onto paper for others
to read. The brothers gave
everything for these scripts, for
the ideas written on the pages.
 IMPLICATION 
Writers don’t need to spell
everything out for their readers.
Often they only use a hint or
a comment.
■■ In this extract, what does the author assume his readers will know
about New Zealand history and the work of the early missionaries?
■■ What is he implying about the brothers and their purpose?
■■ In your writing, think about what you expect your readers to know.
■■ Are there places where you can give a hint or a comment without
saying exactly what you (or a character) think(s)?

 GIVE FEEDBACK 
■■ The details you used in the introduction helped me to make
connections with what I already knew. I identified easily with this time
and place.
METACOGNITION
■■ What were you thinking about as you decided on your
purpose and audience? How well do you know the
audience and what they will bring to your text?
Writing standard: by the end of year 8
The Literacy Learning Progressions

ISBN 978-0-478-16845-7 (online)

TEACHER SUPPORT MATERIAL FOR “FALLEN LEAVES”, SCHOOL JOURNAL, LEVEL 4, NOVEMBER 2016 6
ACCESSED FROM WWW.SCHOOLJOURNAL.TKI.ORG.NZ
COPYRIGHT © CROWN 2016