CALLING A DEAD MAN - Tim Bowler
[pic]
RIVER BOY
Teachers’ Resources
Part 1
Contents
INTRODUCTION 1
Overview for Scheme of Work 3
Navigator 6
Lesson Plans 10
Pathways 34
Resources 35
Introduction
ENGLISH TEACHERS DON’T NEED TO BE TOLD THE ENORMOUS VALUE AND PLEASURE OF READING WHOLE TEXTS AS CLASS READERS. LITTLE COMPARES WITH THAT FEELING WHEN A CLASS ARE TRULY ENGAGED IN
THE READING OF A REALLY GOOD BOOK. THOSE MOMENTS STAY WITH YOU FOREVER – INDEED, THEY FUEL THE DESIRE TO FIND ANOTHER SUCH BOOK TO REPEAT THE EXPERIENCE, AGAIN AND AGAIN. FORTUNATELY, CONTEMPORARY WRITERS OF FICTION FOR YOUNG ADULTS CONTINUE TO OFFER US FRESH OPPORTUNITIES TO ENJOY LITERATURE WITH OUR STUDENTS.
Oxford Rollercoasters is a series that offers teachers the opportunity of studying first-class novels – recently written for teenagers – as whole-class readers with Year 7, 8 and 9 students. Each set of materials has been written with two possible year groups in mind, so that teachers can use the materials with some flexibility according to need and student progress.
Focus on assessment of reading
Oxford Rollercoasters includes titles with varied themes, challenging subject matter and engaging plots – for example, there’s the thriller style of Gillian Cross’s Calling a Dead Man, the exotic appeal of medieval China in Geraldine McCaughrean’s The Kite Rider and the gentle but powerful emotion of Tim Bowler’s Carnegie Medal-winning River Boy. Each novel is accompanied by innovative and engaging teaching materials, specifically designed to help students access the texts and to support learning as required by the National Curriculum.
Rollercoasters is firmly based on the reading objectives in the Framework, and draws on approaches to reading fiction recommended by the English strand of the Secondary National Strategy. The series is written by practising teachers and consultants, and, while concentrating on the explicit teaching of reading skills, also draws on approaches to literature through drama and media. Theories behind both assessment for learning and thinking skills are embedded in the materials.
Time-saving resources
For each Rollercoasters novel there is a set of Lesson Plans, specifying particular objectives, assessment focuses and learning outcomes. These are accompanied by a compact Overview (see page 3) which gives the teacher, at a glance, an idea of how the particular scheme works – identifying learning outcomes, lesson coverage, basic lesson content and necessary resources.
As well as the Overview, teachers are offered a Navigator (see page 6), which highlights key aspects in each chapter of the particular novel. There is a plot summary, key page references for characters and details of language techniques, and a section identifying the stages in the structure of the novel. The Navigator is designed to help teachers to adapt the pace and detail of work according to the needs of their class.
Unique components
In addition to its comprehensive Teaching Packs, Rollercoasters offers some unique components.
• Each of the novels has its own student Reading Guide, an A4 magazine-style publication with visual, textual and activity materials that help to engage students in their study of the novel.
• An accompanying CD not only contains additional resources such as video and audio clips and visual stimulus, but also includes varied and interesting resources contributed by the authors of the novels. Authors’ first drafts, research materials and correspondence about the novel, for example, provide invaluable background material to enhance and enrich students’ appreciation of the Writer’s Craft. This latter aspect is important for students developing skills in writing as well as reading.
• The CD resources also include interactive Whiteboard Activities, which are increasingly popular in the English classroom.
Support for lesson planning in the Teacher’s Pack
Every Lesson Plan follows the Strategy four-part structure with a range of appropriate homework tasks. Guideline timings are offered for each part, although teachers may want to tailor them to the needs of their own class. Within the Lesson Plans there is a wide range of teaching approaches and styles, and, in many cases, options within the lessons meet the needs of different ability groups.
• Lesson Plans are accompanied by full, varied and practical Worksheets and OHTs, and drama activities are common within the teaching schemes. The resources that appear in the free on-line teacher’s materials are shown by the web icon on the Lesson Plan pages.
• Although all lessons do have starter activities specifically related to the text in question, a bank of Generic Starters is also provided in the scheme to increase the choice. The coverage in these starters is also designed to tie in with the moving image Rollercoaster diagram on each CD.
• For every novel there are carefully planned guided reading sessions as well as the opportunity to develop further specific group teaching. Class, shared and independent reading are also fully supported in the Lesson Plans.
• Ideas for wider reading and for the extension of independent reading are also provided in the Pathways section (see page 34).
• The practice of keeping some form of Reading Journal during the study of the novel is encouraged in most schemes, and there are several attractive models for such record-keeping across the schemes.
• Every scheme ends with its own student Reading Assessment Progress sheet, which the teacher can use to identify areas for development for each student.
Website support
A dedicated website for Rollercoasters will provide access to the free on-line teacher’s resources and will allow students to find out the latest information about the series and the authors, read reviews and post their own reviews of novels.
Oxford Rollercoasters provides first-class teaching resources for first-class contemporary fiction. The series is designed to engage the widest possible range of students in reading for pleasure, and we feel confident that it will contribute to those memorable experiences of reading together in the secondary classroom.
Overview for Scheme of Work
|LESSON |Learning outcome |Reading AFs and |Framework |Activities/outcomes |Rollercoasters |
|(Book chapter) |Students will be able to: |strategies |objectives | |resources |
|1 Expectations, initial |Use the title, cover and blurb to |AF2: Locating evidence |Yr 8: R4 |Starter: Study of title and covers |OHT: 1a |
|character analysis |inform their reading of a text |AF3: Inference and |Yr 9: R13 |Introduction: Shared information retrieval and inference on |WS: 1b |
|(Chapter 1) |Identify how writers portray character|deduction | |character |RG: pp. 4–5 |
| |through both explicit and implicit |Predict, speculate | |Development: Group reading and character analysis: Grandpa, Mum and |CD: 1.1, 1.2 |
| |means | | |Dad |WB: 1.1, 1.2, 1.3 |
| | | | |Plenary: Feedback on characters |WC: 1.1, 1.2 |
| | | | |Homework: Jess’s character – inference and deduction | |
|2 Setting |Access setting in a narrative through |AF5: Use of language |Yr 8: R4 |Starter: Jess – role-on-the-wall |RG: pp. 6–7 |
|(Chapter 2) |visualizing and empathizing |AF6: Writer’s viewpoint|Yr 9: R13 |Introduction: Setting through guided tour of cottage and river |CD: 2.1 |
| | |See images, empathize |Yr 9: SpL12 |Development: Discussion on Jess; read Chapter 2 | |
| | | | |Plenary: Response to river | |
| | | | |Homework: Holidaymaker’s comments | |
|3 Imagery |Analyse a writer’s style through |AF5: Use of language |Yr 8: R5 |Starter: Holidaymaker’s comments; remembering the river; the senses |WS: 3a, 3b |
|(Chapter 3) |marking sensory appeal |See images |Yr 8: W11 |Introduction: Shared reading of Chapter 3 |CD: 3.1 |
| |Identify key images in a novel | |Yr 9: R12 |Development: Chapter 3 group focus on senses |WB: 3.1 |
| | | | |Plenary: Recap on senses |WC: 3.1, 3.2 |
| | | | |Homework: Three appealing details of the river | |
|4 Family relationships |Explore the presentation of the |AF3: Inference and |Yr 8: R5 |Starter: Recap Bowler’s style |WS: 4a |
|(Chapter 4–6) |relationships between characters in a |deduction |Yr 9: R18 |Introduction: Characters and relationships; shared reading of |RG: pp. 8–9 |
| |novel | |Yr 9: R5 |Chapter 4 |CD: 4.1 |
| | | |Yr 9: S4 |Development: Guided reading of Chapters 5 and 6 | |
| | | | |Plenary: OHT feedback | |
| | | | |Homework: Dialogue between Mum and Dad about Jess and Grandpa | |
|5 Language to create mood |Identify themes in a novel |AF5: Use of language |Yr 8: R5 |Starter: Themes mindmap |OHT: 5a |
|and atmosphere |Analyse how a writer’s use of language|Interpret patterns |Yr 8: S2 |Introduction: Language to create mood and atmosphere; shared reading|WS: 5b |
|(Chapters 7–9) |creates mood and atmosphere | |Yr 8: W11 |of Chapter 7 part 1 |CD: 5.1, 5.2 |
| | | |Yr 9: R12 |Development: Guided reading of Chapter 7 part 2 |WB: 5.1, 5.2 |
| | | | |Plenary: Feed back and relate mood to structure of Chapter 7 | |
| | | | |Homework: Read Chapters 8 and 9 and answer questions; write three | |
| | | | |questions for Jess | |
|6 Empathy and narrative |Explore an issue and develop empathy |AF3: Inference and |Yr 8: R10 |Starter: Chapter titles and ordering |WS: 6a |
|tension |with a character through framing, |deduction |Yr 8: SpL15 |Introduction: Recap homework, hot-seat Jess using questions |CD: 6.1 |
|(Chapter 10) |asking and answering questions |AF4: Text structure |Yr 9: R14 |Development: Chapter 10 with questions on tension | |
| |Identify how a writer uses a reader’s |Empathize |(in a novel) |Plenary: Tension reviewed; information on river boy | |
| |curiosity to provide narrative tension| |Yr 9: S4 |Homework: Tension graph | |
| | | |Yr 9: SpL12 | | |
|7 The river boy as |Identify how a writer structures a |AF3: Inference and |Yr 8: R5 |Starter: Feedback on tension graphs |WS: 7a, 7b, 7c, 7d |
|narrative tension |narrative to maintain a reader’s |deduction |Yr 8: R10 |Introduction: False tension of Chapter 10; Chapters 11–13 |CD: 7.1 |
|(Chapters 11–13) |interest |AF4: Text structure |Yr 8: SpL10 |Development: Discussion of river boy, including early draft of |WC: 7.1, 7.2 |
| |Explore a complex issue through talk |Hear a reading voice, |Yr 9: R12 |Chapter 13 | |
| | |ask questions |Yr 9: SpL10 |Plenary: Sharing views; chapter endings | |
| | | | |Homework: List of chapter titles and chapter endings; whole-text | |
| | | | |tension graph | |
|8 Language to create |Identify how a writer creates empathy |AF5: Use of language |Yr 8: R5 |Starter: Whole-text tension around Grandpa’s painting |WS: 8a |
|empathy |for characters through language |Empathize |Yr 8: SpL15 |Introduction: Dramatic reading of Chapter 14 – empathy |RG: pp. 10–11 |
|(Chapters 14 and 15) |choices | |Yr 9: R12 |Development: Forum theatre/sculpting – empathy |CD: 8.1 |
| | | |Yr 9: SpL12 |Plenary: Writer’s craft in redrafting |WC: 8.1, 8.2 |
| | | |Yr 9: Wr17 |Homework: Read Chapter 15; how author creates empathy through | |
| | | | |language | |
|9 Structural metaphor |Analyse a writer’s use of patterns of |AF4: Text structure |Yr 8: R5 |Starter: Language technique card sort |OHT: 9c |
|(Chapters 16 and 17) |language over a whole text, focusing |AF5: Use of language |Yr 8: W11 |Introduction: Reading the river as metaphor |WS: 9a, 9b |
| |on extended metaphor |Interpret patterns |Yr 9: R7 |Development: Shared reading of Chapters 16 and 17 |CD: 9.1, 9.2 |
| |Identify the crisis point in a novel | |Yr 9: R9 |Plenary: Story structure recapped |WB: 9.1, 9.2, 9.3 |
| |and how to see this in relation to | |Yr 9: R14 |Homework: Story structure diagram | |
| |preceding events | |(in a novel) | | |
|10 The climax |Identify how a writer creates, |AF4: Text structure |Yr 8: R10 |Starter: Long-distance swimming |WS: 10a |
|(Chapters 18 |maintains and releases narrative |AF6: Writer’s viewpoint|Yr 9: R12 |Introduction: Jess’s swim – Chapter 18 |RG: pp. 12–13 |
|and 19) |tension in the climactic sections of a|Interpret patterns, | |Development: Analysing Chapters 18 and 19 | |
| |narrative to engage a reader in a |rationalize what is | |Plenary: Website report writing model; symbolic significance of | |
| |character’s actions and achievements |happening | |Jess’s swim | |
| | | | |Homework: Reporting Jess’s swim for website | |
|11 The ending |Evaluate the writer’s craft, |AF4: Text structure |Yr 8: R10 |Starter: Endings – diamond ranking |WS: 11a |
|(Chapter 20) |especially in relation to the ending |AF6: Writer’s viewpoint|Yr 9: R14 |Introduction: Website review editing/comparing with narrative |RG: pp. 4–5, 8, |
| |of a novel |Pass judgements |(in a novel) |fiction |14–15 |
| |Explain the difference between | |Yr 9: R10 |Development: Shared reading of final chapter and response |WB: 11.1 |
| |narrative in a news report and a novel| | |Plenary: Begin review process |WC: 11.1, 11.2, |
| |Decide what they have achieved during | | |Homework: Consider similar books; complete website report |11.3, 11.4 |
| |the course of their study | | | | |
|12 Reviewing the whole |Improve their skills through writing a|AF5: Use of language |Yr 8: R13 |Starter: Share ideas on similar books |WS: 12a, 12b, 12c, |
|novel |review |AF6: Writer’s viewpoint|Yr 8: R16 |Introduction: Shared reading of review and move into shared writing |12d |
| |Decide what they have achieved during |Pass judgements, relate|Yr 8: W18 |(options) |RG: pp.14–16 |
| |the course of their study |to previous reading |Yr 9: R5 |Development: Guided writing |WC: 12 1 |
| | |experience |Yr 9: R16 |Plenary: Review writing so far | |
| | | |Yr 9: R18 |Homework: Complete reviews, reading journals and self-assessment | |
Navigator
|CHAPTER |PLOT OUTLINE |KEY CHARACTER REFERENCES |THEMES |LANGUAGE |STRUCTURE |
|1 |DURING THE SUMMER HOLIDAYS, 15-YEAR-OLD |INTRODUCTION TO THE MAIN |Love (specifically family love) |Third-person narrative from Jess’s |Introduction |
| |JESS, ONLY CHILD AND KEEN SWIMMER, DISCOVERS|CHARACTERS: MUM, DAD, GRANDPA |Facing challenges in life: for |viewpoint |Complication 1: Grandpa is |
| |THAT HER GRANDPA IS SERIOUSLY ILL. DESPITE |Key character traits established, |Jess, swimming, p. 2: ‘All she |Writer uses dialogue to establish |ill, Jess unable to accept |
| |HIS SERIOUS HEART CONDITION, GRANDPA |pp. 3–12 |needed now… was a big swimming |character |he |
| |STUBBORNLY INSISTS THAT THE FAMILY WILL GO | |challenge…’; for Grandpa, the | |will die |
| |ON HOLIDAY – THEY ARE BOOKED TO STAY IN A | |unfinished painting, p. 9: ‘There | |Complication 2: He has a |
| |REMOTE COTTAGE NEAR TO WHERE GRANDPA LIVED | |was a river, which dominated the | |painting (‘River Boy’) he |
| |AS A CHILD. GRANDPA, WHO IS A PAINTER, HAS A| |scene…’. | |is determined to finish |
| |PAINTING TO FINISH OF A RIVER SCENE, WHICH | |Subsequent fulfilment | |before he dies |
| |HE HAS NAMED ‘RIVER BOY’. | | | | |
|2 |Jess, her parents and Grandpa drive to the |Other characters mentioned, pp. 16 |Time and change, p. 21: ‘Everything|River described through figurative |Development: The setting |
| |holiday cottage, which is 40 miles by road |and 21: the Grays, who own the |changes… Nothing stays the same. |language, pp. 14–21: ‘It was as |changes from urban to |
| |from the nearest town, Braymouth. Despite |cottage, and Alfred – Grandpa’s |Nothing lasts forever.’ |though there was a spirit here, not|isolated setting in which a|
| |the fact that it is dark before they arrive,|childhood companion |Death |some ghoul or creeping shade, but a|river is the key and |
| |the sound of the running water tells them | | |spirit of the river, of the trees |enchanting feature |
| |that a river runs close to the cottage. Jess| | |and hills, a spirit running through| |
| |is delighted as it makes her think of | | |all this like a magic charm’, (p. | |
| |swimming. The family settle down for their | | |19) | |
| |first night in the holiday home. | | | | |
|3 |Jess wakes early and decides to test the |The river is presented as a |Challenge and time/change – bound |Further description of river using |Development: Jess senses an|
| |river. At first she is wary, knowing that |character: ‘this water was friendly|into the river image |figurative language |unseen presence near the |
| |river currents can be dangerous, but she |enough’, p. 25; ‘the current was | | |river |
| |measures the river’s strength and feels |not her master’, p. 25; ‘In the | | | |
| |confident that it is safe for her. Though |end, the river would win’, p. 26 | | | |
| |the cottage and river are very isolated, she| | | | |
| |has the strange feeling that she is being | | | | |
| |watched. | | | | |
|4 |While Jess’s parents go to visit the Grays, |Link between Grandpa and Jess: ‘in |Facing challenge |Key description of painting: ‘It |Development: Grandpa feels |
| |Jess helps Grandpa to set up his easel to |some way painting for him must be |Love |was still the river scene but he |he cannot complete the |
| |work on his painting of the river. At first,|like swimming was for her’, p. 28 | |had added so much more. The hints |painting |
| |he works well but then begins to despair, | | |of green that had suggested the | |
| |thinking that the painting is rubbish. Jess | | |river banks were darker’, p. 33 | |
| |likes the picture but cannot understand its | | | | |
| |title – she can see the river, but where is | | | | |
| |the boy? Suddenly, Grandpa suffers another | | | | |
| |attack. | | | | |
|5 |Jess gets Grandpa back into the cottage and | |Facing challenge |Relationships presented through |Continuation of painting |
| |to bed. He recovers a little and he makes | |Love |dialogue and action |problem |
| |her promise not to say anything to her | | | | |
| |parents. When her parents do return, they | | | | |
| |have a man with them. | | | | |
|Chapter |Plot outline |Key character references |Themes |Language |Structure |
|6 |The man turns out to be an old friend of |Alfred introduced: ‘... I have a |Time and change | |Development: Alfred |
| |Grandpa’s – Alfred. His memories of Grandpa |sort of tendency to talk a lot’, p.|Friendship | |introduced |
| |suggest that Grandpa has always been |42 | | | |
| |stubborn and strong-willed. Alfred talks and|Reinforcement of Grandpa’s | | | |
| |talks and talks. |character through Alfred’s memories| | | |
|7 |Jess goes on a walk to the source of the |River boy described: ‘as though he |Time and change: ‘She knew that |Intense and sensuous language. |Jess’s first sighting of |
| |river, where she finds a waterfall and a |were part of the stream itself’, p.|even these things around her would |Creation of mood of mystery and |the boy |
| |deep pool below. She sees the river boy |49 |pass away some day’, p. 45 |magic: ‘everything touched by the | |
| |properly for the first time as he stands at | | |river held an enchantment’, | |
| |the top of the waterfall. But he disappears | | |p. 48 | |
| |as if by magic. | | | | |
|8 |Jess says nothing about the boy when she |River boy doubted: ‘her belief in |Time and change | |Is the boy imaginary? |
| |returns home to find Alfred has been talking|the boy up at the fall had faded; | | |Alfred’s words suggest he |
| |non-stop to her parents. Before he leaves, |and only the mystery remained’, p. | | |must be |
| |however, she asks Alfred if there are other |56 | | | |
| |young people in the area. He says no, | | | | |
| |leaving her thinking she must have imagined | | | | |
| |the boy. | | | | |
|9 |But in the night she is woken by the sound |River boy seen again: ‘A figure was|Time and change |Atmosphere of mystery |Glimpse of boy who then |
| |of the river and catches a glimpse of the |moving in the stream’, p. 57 | |Metaphorical, sensuous detail, then|disappears |
| |boy again outside the cottage in the river. | | |sudden return to normality | |
| |When she goes out to find him, she runs into| | | | |
| |her Dad, who is also unable to sleep. | | | | |
|10 |Mum thinks Grandpa will have to go to |Boy seen in river linked in Jess’s |Time and change |Mixed styles as developments are |Continuation of painting |
| |hospital, but she and Jess know he wants to |mind with painting, |Facing challenge |juxtaposed |problem |
| |finish his painting. Jess helps him to set |p. 65 |Love |‘I can see the picture in my head. |Boy seen again |
| |up, and although he begins to grumble, he |‘Black, untidy hair, matching | |It’s so clear. But I… |False crisis: Grandpa |
| |starts to make progress. He tells Jess to go|equally black, untidy shorts’, p. | |I can’t…’ p. 65 |disappears |
| |away and not bother him, so she goes for a |68 | |‘A creature spawned by the river | |
| |swim, and yet again encounters the river |‘A creature spawned by the river | |itself’, p. 69 | |
| |boy. Suddenly, her attention has to switch |itself’, p. 69 | | | |
| |to Alfred, who is calling for help. Grandpa |Grandpa’s sense of humour, p. 74 | | | |
| |is nowhere to be seen. For a while, everyone| | | | |
| |is troubled, until Jess discovers that he is| | | | |
| |hiding in the ‘coffin’ car roof-box so that | | | | |
| |he does not have to talk to Alfred. Grandpa | | | | |
| |is put to bed with some soup, with the | | | | |
| |prospect of, in a few days, going to | | | | |
| |hospital. | | | | |
|11 |In the night, Jess looks for the river boy, |River boy described as ‘a natural |Time and change |Atmosphere of mystery |Clearer image of boy |
| |and again she sees him in the river, where |swimmer, a swimmer of such power | |Metaphorical, sensuous detail as | |
| |he swims with power and grace. |and grace, she could only stand and| |swimmer is described | |
| | |admire’, p. 80 | | | |
|Chapter |Plot outline |Key character references |Themes |Language |Structure |
|12 |A doctor calls to see Grandpa, and the |Of Grandpa’s unfinished painting: |Lack of achievement, fear of |Dialogue and action create empathy |Continuation of painting |
| |doctor wants him admitted to hospital. |‘now this unfulfilled part of his |failure |for Jess and Grandpa |problem – Grandpa very ill |
| |Grandpa despairs. He knows that he is too |soul would rot away inside him, | | |River boy speaks |
| |weak to finish his painting. Jess is so |colouring the last hours of his | | | |
| |distressed that she runs off to the river to|life’, pp. 85–86 | | | |
| |cry. There she meets the river boy, who asks| | | | |
| |her why she is crying. | | | | |
|13 |Jess tells the river boy why she is crying. |River boy says to Jess: ‘You finish|Facing challenge |Dialogue and action create empathy |River boy provides solution|
| |She tells him about the unfinished painting |the picture… You be his hands’, p. | |Sense of purpose builds as chapter |to painting problem |
| |and Grandpa’s weakness. The boy advises her |89 | |proceeds |New complication: Jess must|
| |that she must be Grandpa’s hands. In return |‘If your grandfather finishes his | | |do something for the river |
| |for his advice, Jess promises that she will |picture, will you help me then?’, | | |boy |
| |help him with something difficult that he |p. 90 | | | |
| |has to do. Jess goes back to the cottage and| | | | |
| |tells her Mum she wants one last try to help| | | | |
| |Grandpa finish his painting before he goes | | | | |
| |to hospital. | | | | |
|14 |Jess helps Grandpa to finish the painting – |Jess’s faith in Grandpa to finish |Facing challenge with courage |Pace and urgency |Mini-climax: Grandpa |
| |she still cannot see any river boy, just a |the painting: ‘Desperately she |Love |Dialogue and action create empathy |finishes his painting |
| |river scene, but Grandpa is pleased with the|clung to her faith in his will, his| | | |
| |results. |anger, his courage and, above all, | | | |
| | |his love for her’, pp. 94–95 | | | |
|15 |Grandpa is peaceful now the painting is |‘A sense of pride in his voice as |Fulfilment |Calm and rest after effort |Grandpa fulfilled |
| |completed to his satisfaction. Mum and Dad |he told Mum and Dad that he had |Love |Soporific effects | |
| |think it is poor, but more than ever it |finished his picture’, p.101 | | | |
| |makes Jess think about the river boy. |‘“I love you Grandpa”, and she knew| | | |
| | |that was enough’, p.105 | | | |
|16 |Jess climbs to the source of the river in |Jess and the river boy: ‘she |Facing challenge |Atmosphere of mystery |Jess’s challenge – to swim |
| |the darkness before dawn. She meets the |realized how much this strange boy | |Metaphorical, sensuous detail |with the boy or not? |
| |river boy and together they look out over |yearned for her to swim with him’, | |Key section on the metaphor of the | |
| |the river as it flows into the sea. The |p. 110 | |river, p. 109 | |
| |river boy tells Jess that he intends to swim| | | | |
| |the river to the sea and asks Jess to go | | | | |
| |with him. She declines, saying that she | | | | |
| |needs to be with Grandpa. She returns to the| | | | |
| |cottage feeling she has let the river boy | | | | |
| |down. Alfred is there to greet her. | | | | |
|Chapter |Plot outline |Key character references |Themes |Language |Structure |
|17 |Alfred gives her the news that Grandpa has |Alfred of Grandpa: ‘He used to go |Love |Tension halted by matter-of-fact |Link made between boy, |
| |been taken to hospital and that she cannot |on about how he was going to swim |Facing challenge with courage |detail |painting and Grandpa – |
| |follow him. Alfred then remarks on the |the length of the river one day, | |Sudden climactic moment at chapter |through Alfred |
| |self-portrait that Grandpa has painted and |all the way from source to sea’, p.| |end | |
| |Jess suddenly realises the link between boy,|117 | | | |
| |painting and Grandpa. She knows she must | | | | |
| |catch the river boy before he swims out to | | | | |
| |sea. She dives into the river, desperate to | | | | |
| |find him. | | | | |
|18 |Jess swims to Braymouth, determined to catch|Jess realizes: ‘The river boy was |Love |Detailed, fast-paced, tense |Climax: Swimming the river |
| |up with the river boy before he reaches the |not a curse but a benediction; a |Facing challenge with courage |description of Jess’s swim to reach| |
| |sea. She is successful and bids him |blessing in the history of |Fulfilment |the boy | |
| |farewell. |Grandpa’s life, and in her own | | | |
| | |small existence. And here she was, | | | |
| | |swimming after all, and with a | | | |
| | |challenge to match her greatest | | | |
| | |hopes’, p. 119 | | | |
|19 |Jess is found by the police, and reunited |Jess ‘wanted that grief; she knew |Love |Relaxation of tension |Resolution: Grandpa and |
| |with her concerned parents. Grandpa has died|it was natural and right, just as |Fulfilment |Muted dialogue and slow pace |Jess at peace |
| |peacefully. |the passing of this strange and |Acceptance of change | | |
| | |wonderful old man was natural and | | | |
| | |right, just as her own death would | | | |
| | |one day be natural and right. But | | | |
| | |there was much living to do first… | | | |
| | |much swimming. In the wake of the | | | |
| | |river boy’, | | | |
| | |p. 129 | | | |
|20 |Jess takes one last visit to the source of |Jess: ‘There was no need for pain, |Love |Return to metaphorical, sensuous |Resolution: Jess accepts |
| |the river, and there she scatters her |only a wholesome sorrow which |Fulfilment |language |time and change as natural |
| |Grandpa’s ashes in the waterfall before |would, in time, relent’ |Acceptance of change |Gentle valedictory tone | |
| |diving in after them. She knows Grandpa’s |‘But the spirit of the river boy | | | |
| |spirit will always be with her. |was in her alone’, p. 135 | | | |
LESSON 1
Lesson objectives Yr 8: R4 Yr 9: R13
AF2, AF3 AF2, AF3
Focus: Chapter 1 – expectations, initial character analysis
Learning outcomes
Students will be able to:
1 Use the title, cover and blurb to inform their reading of a text
2 Identify how writers portray character through both explicit and implicit means
Starter (15 minutes)
Distribute sheet CD1.1, which outlines ideas for keeping a reading journal. Give students 5 minutes to explore the suggestions, working with a partner. Explain that they will be keeping a record of their responses as they read, and will be referring to this sheet.
Written tasks can be drafted or completed in the journal. Worksheets can be stored there. To motivate students, you might also suggest an award for the best three journals.
Refer students to pages 4–5 of the Reading Guide. Begin discussion of the various covers and draw comparisons between them using the sections ‘Judging a book by its cover’ and ‘Try some other covers too!’ Emphasize the need to consider the words used – including the tag lines and the back cover blurb – and ask students to complete ‘Reading the blurb’.
The covers in Writer’s Craft 1.1 and 1.2 can be distributed to supplement these pages (or shown on screen). You may also wish to print these cover designs for a wall display. Students should work in pairs or fours to discuss and make a note of:
• one question about the novel
• one prediction about the novel’s content.
Select four or five students to write their questions and predictions on cards for the wall display and as the basis for feedback.
Introduction (15 minutes)
Before beginning to read, establish a routine for noticing and/or recording challenging or new vocabulary, such as a new vocabulary section on the display board, periodic dictionary checks, or a new word challenge game (with the class divided into teams, any member of the team can pick a word and challenge another team to give its correct meaning).
You may also want to introduce WB1.1, the River Boy Rollercoaster diagram – clicking on Chapter 1 and pulling up the Narrative Style box to highlight the aims of their reading.
Read the opening of the novel up to page 3, ‘crashed into the pool’. Ask the students to focus on these questions.
• Who are the main characters?
• What might be the main themes?
• How has the writer engaged the reader with this opening?
Consider the use of viewpoint; use of the past tense; Grandpa’s uncertain health; unexplained references to the river boy and hints of other significant events. Check whether students’ initial predictions have altered.
Briefly, model for students how to pick out detail about character and provide evidence and page references. Pick out what Jess feels about swimming (page 2). Show how Grandpa is described as ‘a stubborn, prickly old man’.
Next, model how to infer ideas, for example Jess’s impatience with other swimmers – they ‘made her want to shout with frustration’, page 1. Jess is single-minded, determined, likes to be in control. She cares about Grandpa – she keeps checking on him as she swims. Grandpa loves Jess and cares about her swimming, otherwise he wouldn’t be there.
Development (15 minutes)
Ask students to continue reading the first chapter – in pairs or small groups – with the task of identifying at least three things that can be learned about Grandpa, Dad and Mum, using sticky notes as they read. Allocate the different characters to different groups or pairs if necessary.
Remind students that they are:
• retrieving information, such as Grandpa was ‘such a stubborn character’ (page 5)
• inferring or deducing, such as the consultant is ‘exasperated’ by Grandpa’s behaviour (page 5) – indicating that Grandpa is very difficult.
Briefly model how to use the sticky notes to mark the place, identify the relevant quotation in the text or make an inference.
Plenary (10 minutes)
Use a copy of OHT 1a or WB1.2 and WB1.3 to take concise feedback from students on each of the three characters. For every point, ask whether they retrieved information or inferred or deduced it. You could support less able students by preparing points on the OHT. Ideas are suggested on CD1.2.
Homework (5 minutes)
Ask students to record three things they know about Jess, using Worksheet 1b. Ensure they distinguish between retrieving information and inferring or deducing it. For each point, they should provide evidence with a page reference.
Invite students to write ideas in their reading journal, draw characters or record new vocabulary to consolidate what they have learned so far.
LESSON 2
Lesson objectives Yr 8: R4 Yr 9: R13, SpL12
AF5, AF6 AF5, AF6
Focus: Chapter 2 – setting
Learning outcome
Students will be able to:
1 Access setting in a narrative through visualizing and empathizing
Starter (10 minutes)
Tell the students that after checking the work set on Jess, this lesson will focus on the setting for the story. Ask: What do we know about Jess from reading Chapter 1?
Build a character profile (role-on-the-wall) of Jess. Students should write their comments (from Worksheet 1b) on cards and pin them up around a silhouette to represent Jess. They should say whether they have retrieved information or inferred and deduced it. For example, on page 4 we learn that she has a lot of swimming medals – we can deduce that she has had success as a swimmer as well as enjoyment from it. (CD1.2 contains further sample points.)
Discuss:
• what Jess has in common with Grandpa, such as being independent, single-minded and the same age as he was when he left his place of birth
• words that describe Jess’s family and their relationships, such as close-knit, sensitive, loving, tolerant, sharing, caring, supportive.
Introduction (20 minutes)
Draw students’ attention to how the story is being told – in the third person but through Jess’s thoughts and viewpoint (she is the focaliser – we see through her eyes). Check that this is understood. Invite comment on how the story would change if the reader shared Grandpa’s viewpoint. Ask why the writer has chosen Jess’s viewpoint; for example, seeking to appeal to a teenage audience by adopting a teenage viewpoint. Teenage readers learn through empathy with Jess’s experience in a way they would not with an adult viewpoint.
Refer students to pages 6–7 of the Reading Guide, ‘Holiday destination?’, and the activities outlined in those pages.
• Read the advertisement for the holiday home.
• Share ideas for words to describe the cottage.
• Complete the guided tour. You may wish to use music as a background for this, or sound effects for a river (you could use the audio clip CD2.1).
Tell the students their homework task will be to compose a comment about the place by a satisfied holidaymaker, and that you will return to this later.
Development (15 minutes)
Discuss what Jess would make of a place like this. What would she do there? Remember that Jess is a city girl – she’s used to traffic and noise. Read Chapter 2 with the class, focusing on:
1 Jess’s reaction to the place
2 the river.
What three things do they notice about the river? Direct students to mark references to the river with sticky notes as they read.
Plenary (10 minutes)
Ask students to share what they notice about the river and agree the key points. These should include Jess’s initial reactions to the setting and reasons why Grandpa might want to return to it. Points should include the following:
• the river runs very near to the cottage
• Jess hears its rushing waters before she sees it
• it flows out to the sea at Braymouth and is a good-sized river just below the cottage
• it keeps Jess awake, but she likes it – it makes her think of her Grandpa as a boy
• Jess likes the isolation and she likes the river – it makes her think of swimming
• Jess thinks Grandpa’s decision to come here is out of character: ‘he’d always scorned looking back, as though it were a weakness’, page 14
• Grandpa wants to return to his place of birth to die
• he wants to paint his birthplace – the river
• he needs to recover that part of himself he rejected when his own parents died in the fire – Jess is the only one who can ‘find’ that part.
Ask students if this river might represent something more. You could suggest a link between the rushing water of the river and Grandpa’s words ‘Everything changes, Jess …’ (page 21).
Invite students to say what titles they would give to Chapters 1 and 2 and to record ideas in their journals as appropriate.
Check to see whether students have adapted their ideas about the place by asking how they would change their holiday destination words as a result of reading Chapter 2.
Homework (5 minutes)
Ask students to write the satisfied holidaymaker’s comment in around 50–75 words. They should draw on the work they did in the guided tour and on what they have learned from reading Chapter 2.
Extension Task
More able or Year 9 students could be asked to write their own description for the holiday cottage advertisement, based on what they have learned in Chapter 2.
LESSON 3
Lesson objectives Yr 8: R5, W11 Yr 9: R12
AF5 AF5
Focus: Chapter 3 – imagery
Learning outcomes
Students will be able to:
1 Analyse a writer’s style through marking sensory appeal
2 Identify key images in a novel
Starter (10 minutes)
Ask each student to write the satisfied holidaymaker’s comments on a card and add it to the wall display. Select well-chosen phrases to comment upon, and recall the effect of the description of the river in Chapter 2.
Tell students that in his acceptance speech for the Carnegie Medal for River Boy, Tim Bowler referred to the ‘magic caskets of words’ that writers have. This lesson focuses on how he uses language to appeal to the reader’s senses, to create the spirit of the river – the central metaphor of River Boy.
Ask students what they most vividly remember about the river as described in Chapter 2 without checking the text.
Distribute Worksheet 3a, which carries a short extract from pages 19–20 of River Boy. You may like to show students the opening of the video interview with Tim Bowler (Writer’s Craft 3.1) where he talks about the river.
Students should then circle words that bring sounds to mind, and underline any words that suggest touch or sight. Allow them two minutes to do this.
Display an OHT version of Worksheet 3a or WB3.1 and use it to record the feedback from the class and explore key grammatical and figurative techniques used by the writer to suggest the river – focusing on the dominance of sound effects in this extract (onomatopoeia, simile, alliteration, sentence length and structure). Point out that Jess asks the river what it is saying, as if it had a voice – ask students to name this technique (personification). Make clear that personification is when a writer refers to an inanimate object as having human qualities.
As an alternative, use Generic Starter 7 on narrative style, on page 41 of this pack, with an extract of your choice.
Introduction (20 minutes)
Explain that the lesson will now go on to develop ideas about the way a writer appeals to the senses of a reader.
Ask students to close their eyes as they listen to the opening of Chapter 3, up to ‘… whole river as it raced past her legs’ (page 23). You may like to introduce Tim Bowler’s own reading of this passage in the video Writer’s Craft 3.2.
Encourage students to share what they remember most vividly with a partner. Discuss these details with the whole class, re-reading the passage with students looking at the text to check which senses Bowler is using, drawing out the way the writer’s choice of language creates strong sensory impressions: combining sound and vision, e.g. ‘tree-tops moving against a pale sky’, and ‘Dad’s steady breathing’; sound through onomatopoeia in ‘the ripple of the stream’; and sight through metaphor in ‘snaking river’.
Development (15 minutes)
Ask students to read the remaining four pages of Chapter 3, addressing the questions on Worksheet 3b. CD3.1 provides sample answers.
When they complete the reading, students work in pairs to fill in the grid.
You could choose to support a particular group of students with this work.
Plenary (10 minutes)
Take feedback on the questions on Worksheet 3b, moving rapidly to the final question. At this stage, some speculation is required, not detailed exploration.
Ask whether the students have questions they wish to ask about the river. If no one mentions this point, then remind students of it: ‘The feeling started to grow that she had not been – and was not – alone’ (page 26).
End by asking why it is important for a writer to exploit the reader’s senses, and what has been gained in the lesson from focusing on the senses when reading.
Invite students to suggest a title for Chapter 3, and to record it in their journals.
Homework (5 minutes)
Ask students to pick out three details from the description of the river that they find memorable. Using their chosen details, they should explain how the writer’s choice of language has made these details memorable. They should complete this work in their journals.
LESSON 4
Lesson objectives Yr 8: R5 Yr 9: R18, R5, S4
AF3 AF3
Focus: Chapters 4–6 – family relationships
Learning outcome
Students will be able to:
1 Explore the presentation of the relationships between characters in a novel
Starter (5 minutes)
Ask pairs of students to share ideas on what makes the river memorable. Briefly sum up an appreciation of Bowler’s style in appealing to the senses through powerful imagery (foregrounding the central metaphor of the river). Alternatively, use Generic Starter 4 on narrative voice, on page 38 of this pack.
Let students know that their journals will be taken in at the end of this lesson to sample written comments and assess progress. Explain that in today’s lesson they will be considering the characters and their relationships.
Introduction (20 minutes)
Refer students to pages 8–9 of the Reading Guide, and ask the class to recall what they already know about Grandpa’s relationships with other family members. Ask pairs to read the quotations and look at the central image to help them answer ‘What do we know so far?’ Then invite them to discuss the questions under ‘Hopes and fears’.
The discussion points under ‘Characters in the background’ and ‘Mystery hero’ should stimulate students’ ideas about who the central character is in the novel. Use ‘Linking Jess, Grandpa and the river’ to move on from Jess and Grandpa to look at the river boy and the river as characters in themselves.
Then read up to page 32 of Chapter 4 (‘Ten minutes later, he was at work’) with the class. Focus on the relationship between Grandpa and Jess, asking students to note evidence of how the writer presents this as a special relationship. Tell students they will be inferring and deducing from the writer’s language choices in the dialogue and action between Jess and Grandpa. For example, Jess’s words on page 29 show she anticipates his needs: ‘Could you –?’ ‘You know I will.’ This indicates that she often helps him with his painting.
Development (20 minutes)
Ask students to read on to page 44, the end of Chapter 6, in groups (or complete this for homework), focusing on the unfolding relationship between Grandpa and Jess in Chapters 4 and 5. Again, they should note points in the action and dialogue that show a mutual understanding.
Groups who work quickly should also decide why the character of Alfred is introduced in Chapter 6.
You may wish to use the plan below to work with a guided group, targeting skills in inference and deduction. A fuller version of this plan is provided as CD4.1.
Guided group reading plan
|Introduction to text: |Confirm students’ understanding of the task. Share the first page of reading and show |
| |students how to use sticky notes to mark evidence of Grandpa and Jess’s special |
| |relationship. |
| | |
|Independent reading and related task:|Ask students to look for at least three more good pieces of evidence (speech or |
| |actions) as they read Chapter 5. Individuals can be supported as they work. |
| | |
|Return to text: |Ask each group member to share their points with a partner, before sharing one point |
| |from each student. Check the text for each point. Clarify any misunderstandings and |
| |develop ideas. |
| | |
|Review: |Draw out key learning, checking students’ understanding of the reading skills of |
| |inference and deduction. Is it dialogue or action that tells them most about the |
| |relationship? |
| | |
| |If there is time, ask students to read Chapter 6 and consider why the writer introduces|
| |the character of Alfred. |
|Evaluation: |(complete following the session) |
Fifteen minutes before the lesson ends, check group progress. Provide each group with a blank OHT to record three pieces of evidence.
Plenary (10 minutes)
Invite each group to present their main points using their OHTs. Summarize the main points made by all groups, then ask students whether dialogue or action is the most powerful means of communicating the relationship, and draw out the importance of the relationship to the novel’s theme of family love.
Very briefly, touch on the mystery of Grandpa’s painting as represented on page 33: ‘It was still the river scene but he had added…’ Ask students to identify the effect of having a mystery to solve (it’s a strong narrative hook).
Homework (5 minutes)
Explain the homework (to be completed for Lesson 7), using Worksheet 4a. Students will write some dialogue and action between Mum and Dad as they walk to visit the Grays in Chapter 4. Models of speech punctuation are provided.
Students can also finish reading Chapter 6 for the next lesson, if necessary.
Take in reading journals to sample progress and to select appropriate students for the guided work on language in the next lesson.
LESSON 5
Lesson objectives Yr 8: R5, S2, W11 Yr 9: R12
AF5 AF5
Focus: Chapters 7–9 – language to create mood and atmosphere
Learning outcomes
Students will be able to:
1 Identify themes in a novel
2 Analyse how a writer’s use of language creates mood and atmosphere
Starter (10 minutes)
Return students’ reading journals, commending their successes.
Reinforce any points arising from reading up to page 44 – the character and function of Alfred, for example. Suggest that Alfred tells us things about the past and is a reliable source of information. Perhaps show students Tim Bowler’s views on Alfred from the video interview – Writer’s Craft 3.1.
Alternatively, use Generic Starter 1 on reading strategies, on page 35 of this pack. Ahead of the lesson, prepare sets of the cards and put them into the ‘Reading strategy’ and ‘Definition’ piles. Then ask groups to match the right definition to each reading strategy and consolidate understanding through class feedback.
If you prefer, use the noughts and crosses game on WB5.1 to review students’ understanding of the reading strategies used so far.
Ask students to consider what themes they feel are evident in the story. Suggest they look for pairs of opposites, e.g. youth and age. Use OHT 5A or WB5.2 to illustrate this, showing how themes relate to character and events. Take feedback on other emerging themes after a brief paired discussion. Students might suggest success/failure, past/present, strength/weakness, life/death, change/sameness. Tell students to keep adding to their diagrams as they read on.
Introduction (20 minutes)
Explain that the lesson will focus on how a writer creates mood and atmosphere. Begin a shared, close read of Chapter 7, asking the class to highlight words, phrases, patterns and grammatical features that create mood and atmosphere. Point out that a film maker would need to decide on the music to accompany this scene; thinking this through should help students to analyse mood and atmosphere.
Share the reading to the end of the first paragraph on page 47, ‘her doubts would recede’. A sample of annotations for the opening passage is given on CD5.1.
Development (20 minutes)
Ask students to read to the end of the chapter silently, focusing on the chapter’s shape – noticing how it ends and looking back to its beginning. Ask them: If this chapter was mapped on a tension graph, what would it look like?
Ask the students, working in small groups, to select a 15–20 line section from Chapter 7 to annotate closely. Consider, for example, one or more of the following: use of verbs, adverbs, noun phrases, patterning of language, figures of speech. Give two or three groups OHTs of their lines, so they can present their annotations to the whole class in the plenary.
You may wish to use the plan below to work with a guided group of five or six students. A fuller version of this plan is provided as CD5.2.
Guided group reading plan
|Teaching objective(s): |To explain a writer’s language choices |
|Text |Chapter 7 (selected passage of 15–20 lines) |
|Introduction to text: |Distribute the selected passage and read together. |
| |Model the chosen activity for students (e.g. cloze exercise where verbs have been |
| |blanked out, then compare with original; highlight verb/adverb choices/noun phrases and|
| |decide the effects of those choices; mark sentences in different colours – what this |
| |shows about sentence lengths). |
| | |
| |Set students to work in pairs on their task, and support them as they work. |
|Independent reading and related task:| |
| |Ask each pair to share their text marking results with the group. Clarify any |
|Return to text: |misunderstandings and develop ideas. Draw out key learning. |
| | |
| |If there is time, students could prepare OHT versions of their selected text marking to|
| |show others in the plenary. |
|Review: | |
|Evaluation: |(complete following the session) |
Ask groups to decide on two questions to ask Jess about her current feelings.
Plenary (5 minutes)
Select feedback appropriate to the class’s needs. Display all annotated text. Ask what mood and atmosphere is created in Chapter 7, and what this tells us about the river boy. How is this mood shaped by the chapter structure? Again, we have a mystery. What effect does this have upon the reader?
Homework (5 minutes)
Ask students to read Chapters 8 and 9, focusing on the questions on Worksheet 5b. Advise students to read the questions before they begin reading and that if they get stuck, they should move on to the next question. As a follow-on, they should note down three questions to ask Jess about her current feelings and experiences, for a hot-seating exercise in the next lesson.
LESSON 6
Lesson objectives Yr 8: R10, SpL15 Yr 9: R14 (in a novel), S4, SpL12
AF3, AF4 AF3, AF4
Focus: Chapter 10 – empathy and narrative tension
Learning outcomes
Students will be able to:
1 Explore an issue and develop empathy with a character through framing, asking and answering questions
2 Identify how a writer uses a reader’s curiosity to provide narrative tension
Starter (10 minutes)
Explain to the students that this lesson will study a number of ways in which a writer keeps readers’ interest and engagement. Divide the class into nine groups (three or four students each). Give each group a chapter to which they must agree a title that would indicate its place in the plot structure so far from Chapters 1 to 9, e.g. ‘Testing the River’, or ‘Old Friends’. Students have one minute to decide on their title and record it on a large card. Ask volunteers to put the cards in the correct order as a way of recapping the plot structure. The cards can then be placed on the display board.
Alternatively, use Generic Starter 6 on atmosphere and settings (see page 40). You could use this to examine the tension in Chapter 9, or an extract of your choice.
As a link to the hot-seating of Jess, draw attention to the fourth paragraph on page 50 (Chapter 8): ‘She said nothing about the river boy...’
Introduction (15 minutes)
Briefly, recap on the question prompts for the reading homework. Ask groups of four to compare the questions they prepared for Jess. Each group should select their best question. Suggest, where necessary, how groups can select and adapt their questions. Write these onto card to add to the display board after the lesson.
Choose one student to play the role of Jess and then ask groups to hot-seat Jess. Where her answers relate to information in the text, these should be checked. Prompt supplementary questions and answers, if necessary. The purpose is to recap what Jess is experiencing and to speculate on the nature of the river boy.
Development (25 minutes)
Read up to page 67 of Chapter 10 with the class: ‘… straightened her swimsuit, and ran away’. Then ask them to predict what will happen next.
• Will Jess find the river boy?
• Will he speak to her?
• Will Grandpa manage without her?
Ask students to read to the end of Chapter 10, either individually or in groups. They should focus on the following and use Worksheet 6a to record key points.
1 New information about the river boy – selecting some short key quotations
2 How far the chapter follows the course they expected
3 The narrative hooks in this chapter – what creates the narrative tension?
Select a small group of students for guided work who would profit from further support in selecting quotations, or identifying points of high tension. A fuller version of this plan is provided as CD6.1.
Guided group reading plan
|Teaching objective(s): |To develop skills in identifying key quotations and moments of high tension in a |
| |narrative |
|Text |Chapter 10 pages 67–77 |
|Introduction to text: |Confirm the focus on a) information about the river boy, b) identifying tension. Recap |
| |by repeating the questions that prompted predictions. |
| | |
| |Remind students of Worksheet 6a, which they will use to record what Jess discovers |
|Independent reading and related task:|(three key quotations) and how far events meet their expectations. |
| | |
| |Encourage students to read alone, but individuals can be supported as they work. An |
|Return to text: |individual could be asked to read aloud briefly, and respond to questioning. |
| | |
| |Ask each group member to share his or her points with a partner, before sharing one |
| |point from each student. Check the text for each point. Clarify any misunderstandings |
|Review: |and develop ideas. |
| | |
| |Draw out key learning, checking students’ appreciation of key quotations and points of |
| |tension. If there is time, ask students to consider why Tim Bowler introduces the comic|
| |episode in Chapter 10. |
|Evaluation: |(complete following the session) |
Plenary (5 minutes)
Conduct a feedback session to gather new information about the river boy (pages 68–69). If some students have not finished the reading, set questions 2 and 3 above as an additional task for homework.
Homework (5 minutes)
Briefly introduce the purpose of a tension graph for plotting the highs and lows of a narrative. Then ask students to use Worksheet 7a to mark the points of high tension (the narrative hooks) in Chapter 10, ahead of the next lesson.
LESSON 7
Lesson objectives Yr 8: R5, R10, SpL10 Yr 9: R12, SpL10
AF3, AF4 AF3, AF4
Focus: Chapters 11–13 – the river boy as narrative tension
Learning outcomes
Students will be able to:
1 Identify how a writer structures a narrative to maintain a reader’s interest
2 Explore a complex issue through talk
Starter (10 minutes)
Collect the written assignment from the Lesson 4 homework. When these are marked, selected examples can be displayed.
Recap the idea of composing a graph to show tension in a story. Take feedback on the homework task – plotting the narrative tension in Chapter 10. If necessary, explain narrative tension again using the analogy of the tense music used in a film, which makes you think something is about to happen and therefore ‘hooks’ the viewer.
Pairs should compare graphs with another pair, before sharing and recording ideas as a whole class using Worksheet 7a. This will enable you to monitor their understanding of the tension graph. Explain that they will use this technique again with another part of the text at a later stage. Reinforce the importance of narrative tension in engaging the reader.
Introduction (20 minutes)
Invite pairs to discuss quickly why they think Tim Bowler turns the crisis in Chapter 10 (Grandpa hiding in the ‘coffin’) into a joke. Elicit from pairs how:
• this false crisis injects necessary humour into a story that could have been solidly sombre
• it draws the reader into the character of Grandpa and defies reader expectations – making for a better story
• it enables the reader to cope with the more serious chapters that follow.
Read Chapters 11–13 either with the whole class or in groups. As they read, direct students to think through explanations for the appearance of the river boy. These are short chapters but raise important questions.
Development (15 minutes)
When the reading is complete, ask groups to use Worksheets 7b and 7c to continue speculation about and discussion of the river boy. Emphasize that it is not so important whether their ideas are ‘right’ or ‘wrong’ – the discussion, listening and negotiating meaning are more important at this stage.
Work with groups that will need focusing, but do not guide them too closely – prompt and question where necessary only. Inform groups they will be asked to say something about a key point in their discussion during the plenary – some groups may need guidance on what to select.
Extension Task
A few minutes before discussion time ends, distribute Writer’s Craft 7.1, which is an extract from the first draft of Chapter 13. (Writer’s Craft 7.2 is the original handwritten draft from the author’s notebook. Both can be found in the WC section of the CD.) Ask students to decide whether this extract alters their views in any way as they finalize their points for feeding back to the whole class. The draft is much more explicit in the presentation of the boy. Ask students to consider why Tim Bowler chose to reduce the amount of information he gives about the river boy in the final version.
Plenary (10 minutes)
Take some feedback, bearing in mind that the value of the discussion is not in its conclusions, but in its process.
Draw attention to the final words in Chapter 13: ‘I want to be his hands’. What do students think will happen in the next chapter?
Stress the importance of the mystery of the river boy in driving the narrative on. Ask students to look at chapter endings – how many times does Bowler use a ‘cliffhanger’ about the river boy to end a chapter? What other topics form cliffhangers?
Select three good readers in the class who will read ‘parts’ in the next lesson. Ask them to prepare a reading of Chapter 14: one will play Grandpa, one Jess and the other the narrator.
Homework (5 minutes)
Ask students to complete Worksheet 7d for homework, which asks for chapter titles, chapter endings and topics. (A sample completed sheet can be found on CD7.1.) Students should complete the chart up to Chapter 13 now.
Students can also be invited to draft a tension graph in their journals to represent the ups and downs in the novel up to the end of Chapter 13, attaching their chapter headings to the rises and falls as appropriate.
This activity is designed to promote reflection, not perfection at this stage – it will feed into later activities. Student can refer back to their completed version of Worksheet 7a.
Remind students of the awards for the best-kept journals. Suggest they add further notes/images/thoughts.
LESSON 8
Lesson objectives Yr 8: R5, SpL15 Yr 9: R12, SpL12, Wr17
AF5 AF5
Focus: Chapters 14 and 15 – language to create empathy
Learning outcome
Students will be able to:
1 Identify how a writer creates empathy for characters through language choices
Starter (15 minutes)
Invite two or three students to share their work on the tension graphs, spotting common patterns and explaining that you will return to these later. Take in Worksheet 7d to mark (CD7.1 offers sample answers).
Explain that the focus of this lesson is the completion of Grandpa’s painting, and how Bowler uses techniques to create empathy.
Refer students to pages 10–11 of the Reading Guide, which consider Grandpa’s painting by drawing together what has already been said about it, and stimulate students’ curiosity to develop their sense of its importance.
Ask students what they thought the painting looked like. Does the image in the Reading Guide match their imagined painting?
Introduction (10 minutes)
Read Chapter 14 as a drama script with three students reading the roles of Jess, Grandpa and the narrator – as briefed in the previous lesson. As they listen, ask students to focus on how this episode makes them feel. What is the author’s aim?
Development (15 minutes)
Ask for a volunteer to be sculpted as Grandpa and another to sculpt him at the beginning of the chapter where Jess says: ‘You’re painting today. So you’d better get some breakfast inside you’. The class can advise on or adjust his position.
Ask another student to sculpt Grandpa as he or she sees him at that moment. Again, the rest of the class can advise.
Ask for another volunteer to be sculpted as Jess. Go through the same procedure as with Grandpa. Ask the two students to ‘freeze’ in this position.
Invite students to suggest what Grandpa is thinking, by standing beside him and speaking his thoughts. Other students may wish to suggest different ideas. Repeat the process with Jess.
Encourage other students to re-sculpt the characters for the moment Jess starts to help Grandpa paint on page 99. Again, students ‘freeze’ in their sculpted positions. Ask the class where they would place Tim Bowler in relation to these two characters at this point. Where do his sympathies lie?
Finally, discuss where the reader’s sympathies lie. Use responses to teach the concept of empathy (students should suggest they ‘become’ Jess or Grandpa as they read).
Invite students to pick out words used in Chapter 14 (focusing on page 99) that make them feel empathy. For example, verbs show us how difficult the task is: ‘the brush was slipping from his grasp’, ‘her arms were aching’; adverbs show her tenderness: ‘she… gently raised the arm’, and adjectives show his desperation: ‘the desperate intent of a drowning man’; nouns and noun phrases suggest resolve: ‘intent’, ‘hope of rescue’, ‘trickle of energy’; dialogue is minimal – suggesting concentration. Short sentences suggest movement; longer sentences describe feelings.
Finally, sculpt the two characters at the end of Chapter 14. What is each thinking when Grandpa says, ‘It’s finished’?
Plenary (15 minutes)
Writer’s Craft 8.1 is an extract from the first draft of Chapter 14. (Writer’s Craft 8.2 is the original handwritten draft from the author’s notebook. It matches pages 97–98 from ‘She sat next to him on the put-up chair…’ to ‘He caught her eye and nodded towards the picture’.
Read the draft with the students. Then ask pairs to compare it with the final version. Students should decide:
• one change made by the writer that strengthens the reader’s empathy with either of the characters
• what this teaches them about the writer’s craft in redrafting – what has been gained? Draw students’ attention to the developed section at the end of the chapter.
Return to pages 10–11 of the Reading Guide and ask the class which quotation from Chapter 14 they might select as an additional ‘picture’ in the gallery.
If time allows, sample Tim Bowler’s response to a question about Grandpa’s painting in his video interview (Writer’s Craft 3.1).
Homework (5 minutes)
Encourage students to reflect on how Bowler encourages readers to empathize with both Jess and Grandpa on pages 97–100. Worksheet 8a supports this task (the sheet is available for differentiation on CD8.1). Ask students to complete this work for Lesson 10.
Also ask students to read Chapter 15 before the next lesson – focusing on how the end of this chapter makes them feel. How would they draw a tension graph for Chapters 14 and 15?
LESSON 9
Lesson objectives Yr 8: R5, W11 Yr 9: R7, R9, R14 (in a novel)
AF4, AF5 AF4, AF5
Focus: Chapters 16 and 17 – structural metaphor
Learning outcomes
Students will be able to:
1 Analyse a writer’s use of patterns of language over a whole text, focusing on extended metaphor
2 Identify the crisis point in a novel and how to see this in relation to preceding events
Starter (10 minutes)
Tell students that in this lesson they will be thinking about Tim Bowler’s use of the river in his narrative, and doing some work on story structure.
Refresh students’ memory of Chapter 14 and 15. Encourage them to assess how Jess and Grandpa are each feeling at this point. Then choose one of these tasks:
1 Secure language analysis
Using examples of features discussed in previous lessons, ask students to do the card sort activity on Worksheet 9a or the drag and drop in WB9.1, based on Chapter 15 pages 104–105. By matching the examples with named language features, they will secure the skills in language analysis practised in the homework task. Abler students can be asked to provide two more examples of the writer’s use of language for effect in Chapter 15.
2 Introduce ideas about narrative structure
Use Generic Starter 8 on narrative structure and sequencing, on page 42 of this pack. Ahead of the lesson, prepare sets of the cards and then ask pairs to choose a selection that apply to an agreed familiar story. Students can then be asked to repeat the activity with the more complex events of the novel so far.
Introduction (15 minutes)
Distribute Worksheet 9b, which focuses on the river as metaphor. Allow students sufficient time to consider how rivers are used metaphorically in everyday speech. Then encourage them to consider how the river is used in River Boy. Students may mention religious or spiritual ideas that can be explored, e.g. a journey from a source to a natural end, linked to the journey from birth to death.
You may like to show students Tim Bowler’s response about the nature of the river from the video interview (Writer’s Craft 3.1).
Extension Task
With Year 9 or more able students, you may wish to pause and introduce the ways other writers use rivers as images – for example, Joseph Conrad in Heart of Darkness, Charles Dickens in Our Mutual Friend, Sharon Creech in Ruby Holler, ‘River Swimming’ by Owen Sheers, ‘Surgeon’ by Jane Draycott. Extracts from these can be found as part of CD9.1, along with sample annotations to support the comparative analysis.
Development (20 minutes)
Share the reading of Chapter 16, pausing to draw out student responses to language, focusing on the metaphor of the river (especially on pages 108–109) and how the writer uses language to create tension.
Based on students’ responses to the reading, use the different levels of questions suggested on CD9.2 to extend students’ skills in using the different reading strategies.
After reading Chapter 16, choose one student to play the role of Jess. Divide the class into two. One half must give Jess reasons why she should go with the river boy; the other half give reasons why she should not. This needs to be brief but will feed into students’ sense of structure.
Ask the student playing Jess to say what her decision would be based on the reasons she has been given. Then read Chapter 17 with the class. Ask what students now understand about Grandpa’s picture and the river boy. How do they think Jess will feel now?
Students should now grasp why Alfred is an important character. Ask them what his function is in the novel (to make explicit the link between Grandpa and the river boy).
Plenary (10 minutes)
Remind students of the classic structure of a narrative by displaying OHT9c, which students can copy into journals. Alternatively, work through WB9.2 and WB9.3, which test students’ understanding of stages in narrative structure. Ask them where they would place the moment they have just read in Chapter 17 within this structure, and what stage is still to follow. Model for students how to use the structure diagram to mark in details of plot, quotations and their own chapter titles and endings.
Homework (5 minutes)
Students should complete the structure diagram, filling in chapter headings (their own choices) and page references for key moments. Distribute A4 paper for neat copies of their structure plans and explain that these diagrams will be displayed when complete.
For more able or Year 9 students, you may also wish to set a written comparative task as outlined in CD9.1.
LESSON 10
Lesson objectives Yr 8: R10 Yr 9: R12
AF4, AF6 AF4, AF6
Focus: Chapters 18 and 19 – the climax
Learning outcome
Students will be able to:
1 Identify how a writer creates, maintains and releases narrative tension in the climactic sections of a narrative to engage a reader in a character’s actions and achievements
Starter (10 minutes)
Take in the written task from the homework for Lesson 8.
Distribute the Reading Guide and refer students to pages 12–13. Read with the whole class the initial information about long-distance swimming (to the end of ‘Jess’s big challenge’) before tackling the emotional climax of the novel. Let this information sink in so that students realize the difficulty of the task Jess is undertaking.
Ask students to identify their own feelings about undertaking such a challenge. Recap the way Tim Bowler creates empathy for his central character (remind students of their work on this in Lesson 8). But also pose the questions: Why is Jess undertaking this swim? Is it a world record she is after? How does her swim differ from those presented in the Reading Guide?
Students may mention that the swim is as important symbolically as it is in reality – she doesn’t want to let the river boy down as much as she wants to reach Braymouth to see Grandpa in hospital. You may wish to prompt this thought before reading Chapter 18, if it is not raised by the class.
Introduction (10–15 minutes)
Start by asking students what they think is going to happen in Chapter 18. Prior to the reading, distribute Worksheet 10a (an A4 landscape page, ending with the estuary on which they will chart Jess’s progress as a timeline). Do not prompt them to record any particular points – they can record times or draw features on their ‘maps’. Tell them they will have time to check this over afterwards but they should record what they can as you read, even putting in bends where called for. Read Chapter 18 with the class.
When the reading is complete, ask students to compare their river timeline with a partner’s. Neatness does not matter as this is a focusing exercise.
Development (15–20 minutes)
Spend five minutes exploring the detail of Chapter 18 briefly through this question: How does Tim Bowler keep the reader engaged in Jess’s challenge?
The river timelines should have shown students how Tim Bowler keeps the reader focused through the sense of pace over distance and time – giving time checks and offering details about the changing landscape.
Then read Chapter 19, asking students what they notice about the use of tension across these two chapters. Focus them on the slackening of pace. What effect does this have on the reader? Allow 5–10 minutes for this discussion.
Return to the Reading Guide, reading through the ‘Job at the BBC?’ activity on page 13. Pairs should then begin this activity, which involves writing a 250-word website article on Jess’s swim to Braymouth.
Plenary (10–15 minutes)
Ask students to continue the paired writing task, forewarning them that this will be completed for homework.
Finally, take a few minutes to prompt students to consider the symbolic significance of Jess’s swim – the challenge for Jess is really to accept her Grandpa will die. Her mammoth swim is her way of achieving this very difficult adjustment.
You may like to show students Tim Bowler’s response on the topic of loss and bereavement (Writer’s Craft 3.1) or read them the section from his letter on page 3 of the Reading Guide.
Homework (5 minutes)
Ask students to complete their 250-word ‘Job at the BBC’ articles individually for the next lesson, and finish filling in chapter headings/endings on their copies of Worksheet 7d.
Print off reviews of River Boy from several sources for the display board, in anticipation of Lessons 11 and 12, which reflect on the whole novel.
LESSON 11
Lesson objectives Yr 8: R10 Yr 9: R14 (in a novel), R10
AF4, AF6 AF4, AF6
Focus: Chapter 20 – the ending
Learning outcomes
Students will be able to:
1 Evaluate the writer’s craft, especially in relation to the ending of a novel
2 Explain the difference between narrative in a news report and a novel
3 Decide what they have achieved during the course of their study
Starter (10 minutes)
Briefly, reconsider students’ structure diagrams of the novel. Point out that this lesson tackles story endings. Ask students what they expect of an ending to a novel – take some brief comments.
Distribute cards from Worksheet 11a or use WB11.1 for the ‘Diamond nine’ activity on story endings. Ask students to rank the possible features of endings suggested, placing their most preferred story ending features at the top of the diamond. If they wish they can identify another type of ending, write the words on a blank card and reject one of the nine options given.
Then encourage students to decide which features they expect to find in the final chapter of River Boy, and why.
Introduction (15 minutes)
Explain to students that before they can read on, the BBC website editor wants their finished report on Jess’s swim. Then tell them that the editor is now insisting on a lower word limit of 150 words.
Tell students that they must cut down their article to 150 words, making careful decisions as to what must be kept.
Ask students to identify one distinct difference between their edited article and Bowler’s treatment of the same topic. Ensure you elicit the following responses in the feedback session: the difference in narrative viewpoint and Bowler’s depiction of personal crisis; the tension; the sense of time and effort.
Briefly, look back at the questions on page 8 of the Reading Guide:
• What most worries each of the characters at the beginning of the novel?
• What does each most want or need to achieve at this point in his or her life?
Ask students to suggest who has achieved the most. Who do they now feel is the central character?
Development (20 minutes)
Share the reading of the final chapter. Ask students to use sticky notes to mark particular points they notice as you read. Do not interrupt the flow of the reading but suggest that students focus on:
• which features of story endings Tim Bowler employs
• the effect on the reader of Tim Bowler’s use of language and the resulting tone in these last pages. Students should by now be alert to the way the language appeals to the senses, how the metaphor of the river is working, how pace and rhythm contribute to mood and atmosphere, how the writer stimulates empathy for Jess.
Ask pairs to share their best points before inviting students to comment on the ending.
As a class, look back at the opening words of the novel. How well does this opening prepare the reader for the novel?
Revisit the covers on pages 4–5 of the Reading Guide or on the wall display. Which cover do students now think is the most appropriate, and why?
Plenary (10 minutes)
Ask students to work in groups of four or five, using the review extracts on pages 14–15 of the Reading Guide and items from Writer’s Craft 11.1, 11.2 and 11.3 to begin to consider a range of views on River Boy and to complete some initial evaluative thinking.
You may wish to use the magazine article on Tim Bowler in Writer’s Craft 11.4 to extent students’ reviewing skills and their wider reading (see also Pathways, page 34). You could also suggest that they access Tom Bowler’s website (timbowler.co.uk), where there are a number of additional resources to support evaluation of River Boy.
Homework (5 minutes)
Before the next lesson, ask students to consider other novels and stories they have read that have similar or comparable themes (prompt students to identify some possible themes such as old age, close relationships with grandparents, death of a member of the family, a difficult challenge achieved, accepting time and change, growing up). Ask them to bring titles/ideas to the next lesson.
Ask students to complete their 150-word ‘Job at the BBC’ article for the BBC website, adding their best idea for a picture to accompany the article.
Remind students of the impending award for the three best reading journals.
LESSON 12
Lesson objectives Yr 8: R13, R16, W18 Yr 9: R5, R16, R18
AF5, AF6 AF5, AF6
Focus: Reviewing the whole novel
Learning outcomes
Students will be able to:
1 Improve their skills through writing a review
2 Decide what they have achieved during the course of their study
Starter (15 minutes)
You may wish to have access to the Internet for this lesson, to support students’ reviewing. Explain to students that this is their final lesson on River Boy but that they have some writing tasks to complete during the following week:
• a review of the novel
• completion of their reading journal
• a self-evaluation sheet.
Collect students’ ideas on similar books. Look at ‘Pathways… to Another Good Read’ on page 16 of the Reading Guide. With Year 9 or more able students you may wish to refer to the texts on CD9.1 or to the resources listed in the Pathways section of this pack on page 34, which suggest ways of extending class and independent reading that builds on students’ reading of River Boy.
Ask students to consider different ways of interpreting River Boy, using the views expressed on Worksheet 12a to stimulate thinking, and Tim Bowler’s comments in his acceptance speech for the Carnegie Medal – Writer’s Craft 12.1. Students may comment on the fact that the text does not always reflect contemporary culture – this is not a dysfunctional family, religious beliefs are implicit, etc. This would also be a good opportunity to view the video interview with Tim Bowler (Writer’s Craft 3.1) in its entirety.
Introduction (10 minutes)
This session presents writing activity choices to suit different needs/abilities, depending on how familiar students are with writing reviews.
A quick option
Display Worksheet 12b, a review of Goodnight Mr Tom from the website readingmatters.co.uk. Share the reading of this review and then use the writing frame on Worksheet 12c to guide students in writing their own review of River Boy.
A more thorough option
Analyse the features of the Goodnight Mr Tom review on Worksheet 12b and model how to begin to write a similarly detailed review of River Boy.
For the practised reviewer
Ask students to write a review of River Boy for their journals and/or for the wall display, recommending the novel to other students. The word limit is 250 words. Model a possible opening for a River Boy review on an OHT version of Worksheet 12c, highlighting the techniques you are using from the four panels on the sheet.
Development (20 minutes)
Ask students begin their first draft of a review. In addition to using Worksheet 12c to guide the style and content of their review, they can refer to pages 14–15 of the Reading Guide. Any students who need specific additional help with writing a review could be selected for guided writing.
You may decide to select a group certain to have excellent ideas that could be developed through close discussion. For example, the most able group could be asked to consider the cultural context of River Boy. Or you may wish to sample individual reading journals in preparation for assessments over the whole unit.
Plenary (10 minutes)
Read out some of the best parts of the draft reviews, or share evaluative comments, or reading journal successes. Let students know that their finished reviews will be placed on the River Boy display board.
Conclude the work on River Boy by distributing Worksheet 12d and explaining the self-evaluation activity. You may wish to make some summary comments on student achievement over the whole unit. Individual summary assessments will later be completed on each student’s self-evaluation sheet.
Give students a deadline for compiling complete reading journals (they will need some of their display items to include in the finished product). Remind them of the award for the three best journals.
Homework (5 minutes)
Ask students to complete the reviews – to be handed in the following week. Ask them also to complete Worksheet 12d, which should be stored in journals.
Students will have completed the following reading assessment tasks during the study of River Boy:
1 Character analysis of Jess (AF2 and AF3)
2 Dialogue between Mum and Dad (AF3)
3 Language analysis of two passages/option of comparative analysis (AF5)
4 Comprehension task (AF2 and AF3)
5 Theme mindmaps (AF3 and AF6)
6 Structural diagram and chapter headings/endings (AF4)
7 Website report (AF6)
8 Review (AF6)
9 Reading journal (AF6)
10 Self-evaluation.
PATHWAYS
BOOKS TO COMPARE WITH RIVER BOY
First, you will want to recommend other novels by Tim Bowler. Show students what is revealed on Tim Bowler’s website, timbowler.co.uk/books.html about his writing, and other titles. There are full explanatory notes on each title. Here is the first entry on Starseeker:
‘Good hands, Luke. Special hands. Strong and sensitive. You can do anything you want with hands like these. So don’t ever put them to bad use.’
Dad was right. Luke does have good hands. Good for playing the piano, like Dad himself used to do, and good for climbing trees – to find some peace and get away from all the troubles at home. Now Skin and the gang want him to do some climbing, too. They want him to break into Mrs Little’s house and steal the jewellery box. They want him to prove that he’s got what it takes – that he’s part of the gang. But Luke is seeking more than just a jewellery box. He’s seeking answers to a mystery that has been growing deeper and more disturbing by the day, a mystery that is threatening to overwhelm him.
What he finds is something so unexpected it will change his life forever.
Many of Tim Bowler’s novels explore how young people cope with challenges and even disasters. Higher Ground, tells stories of the courage and hope of children who survived the December 2004 tsunami.
A series of ghost stories set in Bowler’s home town, Totnes in Devon, offer protagonists different types of challenges. For example, in Tales from the Dark Side: Blood on Snow, 14-year-old Will terrifyingly experiences a voice from the past when visiting the remains of Totnes Castle.
Contemporary texts
You may wish to offer students other contemporary titles that tackle similar themes, such as the relationship between a child or teenager and a much older adult. See the Reading Guide for descriptions.
Ruby Holler by Sharon Creech (Published by Bloomsbury, ISBN 0-7475-6029-3)
Ruby Holler has the advantage of also being partly set on a river, but the river poses very different challenges for the characters.
The Edge by Alan Gibbons (Published by Orion, ISBN 0-7528-6140-9)
The family in this novel are initially dysfunctional in comparison to Jess’s in River Boy. But in The Edge grandparents play a key role in enabling the central character to cope with a crisis.
Memory by Margaret Mahy (Published by Collins Flamingo, ISBN 0-0071-2337-X)
Jonny in Memory and Jess in River Boy would make an interesting comparison – they both learn to value an older person whose memories play an important role.
Carnegie judges
As an alternative or in addition to the written review process for River Boy, you might like to use Writer’s Craft 11.4 as a springboard for a mock panel meeting for the Carnegie shortlist. Students could be asked to read two or more of the alternative titles shortlisted alongside River Boy for the Carnegie Medal. They could then discuss the texts, with their well-argued views forming the basis of a decision.
Pre-1914 texts
For some students you may wish to offer the challenge of exploring some classic texts that look at family relationships or relationships between young and old.
Our Mutual Friend by Charles Dickens (Published by OUP, ISBN 0-1928-3523-8)
The river is a villain in Our Mutual Friend. It swallows up stories as easily as it swallows up the bodies of the drowned.
Silas Marner by George Eliot (Published by OUP, ISBN 0-1928-3458-4)
Silas the weaver is reduced to a solitary existence. His only pleasure is in hoarding gold. While the village celebrates Christmas and New Year, Silas’s hoards of gold are stolen and are miraculously replaced by a small child with golden curls.
-----------------------
Acknowledgements
We are grateful for permission to include the following copyright material in this Pack:
Tim Bowler: reading from River Boy, interview, extracts from his notebooks, and from his Carnegie Award acceptance speech used by permission of the author.
Sharon Creech: extract from Ruby Holler (Bloomsbury, 2003), reprinted by permission of the author and the publisher.
Jane Draycott: 'Sturgeon' from Tideway (Two Rivers Press, 2002), copyright © Jane Draycott 2002, reprinted by permission of the publisher.
Deborah Ellis: extract from The Heaven Shop (OUP, 2004), reprinted by permission of Oxford University Press.
Julie Hearn: extract from The Merrybegot (OUP, 200?), reprinted by permission of Oxford University Press.
Caroline Horn: 'Those Demanding Teenagers', The Bookseller, 17.7.98, and 'Carnegie Medal Shortlist' table, reprinted by permission of the author and of The Bookseller.
Junior Education review of River Boy, from Junior Education, October 1998, reprinted by permission of the publishers, Scholastic Ltd.
David & Jill Marshall: Review of Goodnight Mr. Tom from readingmatters.co.uk, reprinted by permission of the authors.
E J Moeran: audio extract from ‘Lonely Waters’ from The Banks of Green Willow, music performed by Jeffrey Tate and the English Chamber Orchestra (EMI Records Ltd, 1987), copyright © 1935 Novello & Company Ltd, used by permission of EMI Ltd and of Novello & Co Ltd, The Music Sales Group. International copyright secured. All rights reserved.
Vicki Nevin: Review of River Boy in Books for Keeps, November 2005, reprinted by permission of Books for Keeps.
Rodman Philbrick: extract from Lobster Boy (Usborne, 2005), copyright © Rodman Philbrick 2004, reprinted by permission of Usborne Publishing Ltd, 83-85 Saffron Hill, London EC1N 8RT, .
Sally Prue: extract from Goldkeeper (OUP, 2004), reprinted by permission of Oxford University Press
Celia Rees: extract from Witch Child (Bloomsbury, 2001), reprinted by permission of the
publisher.
Owen Sheers: 'River Swimming' from The Blue Book (Seren, 2000), copyright © Owen
Sheers 2000, reprinted by permission of the author c/o Rogers, Coleridge & White Ltd, 20 Powis Mews, London W11 1JNB.
We have tried to trace and contact all copyright holders before publication. If notified the publishers will be pleased to rectify any errors or omissions at the earliest opportunity.
Worksheet 10a: Q2A
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