Targeting Text: Narrative, Poetry, Description, Response Lower Primary .... Now one day, Elmo decided to try his most da
Targeting Text
Fully l inke to Eng d lish outcom es
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 about what they have read
Students are supersleuths, researchers or puzzle solvers
Students draw, paint or create
Students do their own writing
© 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.
Students talk and listen to others
Students make plays, role-play or debate
Contents Narrative Texts Structure and features of narrative texts Sample annotated text Outcomes checklists Background lessons Narrative units: The Lonely Spider The Silly Wizard The Three Little Pigs Moving House
4 6 7 10 15 22 29 36
Poetry Texts Structure and features of poetry texts Sample annotated text Outcomes checklists Background lessons Poetry units: Nursery Rhymes Simple Structures My Puppy Rain
43 45 46 49 52 59 66 73
Description Texts Structure and features of description texts Sample annotated text Outcomes checklists Background lessons Description units: My Lunch Box My Bedroom Gordon the Garden Gnome
80 81 82 85 91 98 105
Response Texts Structure and features of response texts Sample annotated text Outcomes checklists Background lessons Response units: My Book is ‘Who Sank the Boat?’ I Read ‘Willy the Wimp’
112 113 114 116 123 130
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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.
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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.
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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.
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Blake Education
Targeting Text Lower Primary
This page may be photocopied for non-commercial classroom use.
Teaching notes for The Silly Wizard
Making a spell
Text form: Fantasy
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.
Medium:
Written
Story path
Field:
A wizard turns his sister into a frog
Tenor:
Storyteller to a young audience
Mode:
Written to be read aloud
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.
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’.
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.
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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.
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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 NA 2.12a NSW 1.9
Recognises some of the purposes and advantages of writing. Uses talk to plan and review own writing.
Blake Education
Targeting Text Lower Primary
This page may be photocopied for non-commercial classroom use.
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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 NA 2.7 NSW 1.8
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Constructs and retells meanings from short written texts with familiar topics and vocabulary, predictable text structures and frequent illustrations. Recognises and interprets basic linguistic structures and features of texts.
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.
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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 Text Lower Primary Narrative, Poetry, Description, Response
The Targeting Text series contains structured teaching units for the nine most commonly studied text types. Each unit is complete in itself and can easily become part of your existing programme. Once you have chosen a unit, everything you need is here—including text models, text type scaffolds, practical worksheets and assessment pages.
Conta photo ins 100 cop page iable s
Features of the Targeting Text series: Overview
Teaching notes Complete units
Assessment
• Audience, purpose, structure and language features of each text type • Sample annotated texts • Supplementary ideas support all BLMs • Easy to use • Models of each text type • Skills and strategies for Reading, Writing, Talking and Listening • Open-ended activities allow for different abilities • 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
