Year 3 Unit 5 Dialogue and Plays - Schools
Year 3 Unit 5 Dialogue and Plays | |
|Teaching sequences |
|Teaching Sequence |
|Phase 1: Reading, responding and exploring; familiarisation with the text-type |
| |
|Suggested timing - Seven days |
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|Resources |
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|A suitable fiction text for shared reading, with strong characterisation and several examples of dialogue written within the text as direct speech. |
|Text used in the examples: The Battle of Bubble and Squeak by Philippa Pearce (Puffin) |
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|A selection of similar narrative fiction texts (stories or short novels) appropriate for guided and independent reading. |
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|A suitable playscript for use as a shared text. |
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|A selection of playscripts for two or more voices, appropriate for guided and independent reading. |
| |
|Teaching content |
|Begin reading a shared text that provides examples of strong characterisation and use of dialogue as direct speech. Plan sessions so that children |
|reach the penultimate scene, episode or chapter during the last session of Phase 2 and complete their reading of the text during shared reading in |
|Phase 3, after they have completed their own writing. |
| |
|Choose a suitable extract from the beginning of the text for shared reading, to focus on the introduction of main characters. Draw children’s |
|attention to the strategies an author uses to develop character and move a plot forward. Discuss vocabulary choice, length of sentences, style of |
|language and use, or absence of, verbs to convey how words were spoken (shouted, whispered, yelled). Mark the text or use a highlighting tool to |
|focus on the way that dialogue provides clues to character and motivation as well as contributing to the plot. |
| |
|For example: After reading Chapter 1 of The Battle of Bubble and Squeak, use an extract from pages 2-5 to focus on the dialogue. Ask children what |
|is revealed or implied about each of the main characters and how readers might gather this information. How do Sid, Bill and Alice Sparrow each |
|reveal their character in the things they say and the way they say them? What is the effect of the short sentences that Bill and Alice speak to one |
|another when they first hear strange noises downstairs? |
| |
|Read a little further with the class and use this second extract to explore the dialogue further in guided and independent, paired reading. Ask |
|children to find any more evidence about characters to add to the information they have already found. In a plenary, create a ‘role on the wall’ |
|hyperlink to drama page in Talk for Writing? for one character and add text-specific examples of the words spoken by that character that tell a |
|reader something about the kind of person they might be. |
| |
|For example: after reading Chapter 1, create a ‘role on the wall’ for Bill Sparrow. Note anything the text reveals about his character so far and |
|add words and phrases from the text as examples, including dialogue: Brave: ‘I’m going to find out about that row downstairs.’ Stays calm – doesn’t|
|seem to be in charge: Bill Sparrow mumbled again. Sense of humour: P4 ‘Like me.’ |
| |
|Continue reading through the class text at a suitable pace to promote enjoyment of the whole story, for example by alternating sessions of shared, |
|guided and independent reading with other opportunities to listen to the next part of the story being read aloud. |
| |
|Select an extract that has just been read, to use as a shared text and discriminate between narrative and direct speech. Use the text as a model to |
|revisit and consolidate children’s prior knowledge of speech marks, if necessary. Model by reading aloud to demonstrate their purpose in clarifying |
|meaning and their usefulness to readers. For example, model the way speech marks support the use of different voices for different characters and |
|help to clarify what is narrated and what is conversation. Read aloud using different voices if appropriate for the direct speech. |
| |
|For example: Model reading aloud from the first two pages of Chapter 2 in Bubble and Squeak (to “Bill went.”). Use two different voices for the |
|dialogue spoken by Bill and Alice to differentiate their spoken words from the rest of the narrative. |
| |
|In guided and independent reading, either individually or in pairs/small groups, children read other appropriate examples of narrative texts that |
|include direct speech, reading aloud to check that they understand how to use the punctuation of direct speech to support their reading for meaning.|
|Encourage them to make use of voices for characters and provide additional support for them if necessary, for example by using puppets. In a |
|plenary, discuss children’s developing preferences from among the range of texts read. Which authors do they think make the best use of dialogue to |
|develop character and plot? What kinds of strategies do skilled authors use to bring characters to life for a reader through the things they say? |
|Ask them to give examples from the texts. |
| |
|Continue reading the text as a class novel and use a third extract as a shared text to isolate the dialogue from the narrative. Read aloud as |
|dialogue only, missing out the narrative. Children apply the same technique to read aloud only the dialogue from other examples. |
| |
|For example: Use the last three pages of Chapter 3 as a shared text. (from ‘She dragged him into the living room... ‘ to ‘She would listen to no |
|more from any of them.’ Reading as Alice Sparrow yourself, ask children to take the roles of Peggy, Bill and Sid. Read aloud speaking only the |
|direct speech, to create the conversation that took place. |
| |
|Compare the reading aloud to reading a playscript and discuss the differences between reading a story, reading the dialogue aloud and watching a |
|play. Refer to plays the children have watched as a live audience or viewed on screen. Does the dialogue alone tell the story as well without the |
|additional narrative around it in the book? |
| |
|Find out what children already know and understand about the way a written playscript differs from a written narrative. Use collaborative reading to|
|read a playscript aloud as a class, ideally one based on a familiar story. Note the absence of narrative but the addition of stage directions. |
|Compare children’s responses to the narrative text and the play. Draw attention to the layout and organisational conventions of a playscript and |
|discuss why these particular features of the text-type might be helpful to actors or directors. If available, you could use a narrative version and |
|a playscript version of the same story for comparison. |
| |
|For example: Using the first scene of a shared text, ask children to collect information about the characters from the dialogue in Scene 1. Is |
|additional information about their characters and behaviour provided in any other ways, such as by their names or in the stage directions? (Children|
|should refer to the text only and not use the pictures.) How can you tell that this is a playscript and not a story? What’s missing and what is |
|added? (If the narrative book of the same story is available, you could use this for direct comparison.) |
| |
|Children complete their own reading of the same play during independent or guided reading, or they read alternative playscripts at more appropriate |
|levels for their independent reading. Support children in identifying and creating a checklist of the conventions used when writing a script. For |
|example, ask them to notice the way each speaker’s words are laid out on the page with their name to identify which character is speaking. Share |
|their findings during a plenary session and create a class checklist for the conventions of writing a script. Children will use this to support |
|their independent writing in Phase 3. |
| |
|Continue reading the class novel stopping just before the final chapter or scene. Choose a suitable extract as a shared text to focus on the |
|narrative that surrounds the dialogue. Investigate the additional information about character, plot and setting provided by the narrative. How could|
|this important information be added to a playscript of the same scene? Demonstrate how to write stage directions that could supplement the dialogue |
|in a script by drafting a playscript script of the same scene, using shared writing strategies. |
|Discuss with the children how to add stage directions that convey any additional action, background, setting or ‘soundtrack’ such as ambient noise. |
|Ask children to apply the same strategies and complete a draft of the same scene in their independent writing. |
| |
|For example, stop reading Bubble and Squeak at the end of Chapter 10: ‘I’d like my gerbils back again’. Use the earlier scene in the same chapter, |
|where the children take Bubble to the vet, as a starting point for teacher demonstration: from p72 ‘They were called into the surgery itself.’ to |
|p73 ‘I’m afraid his chances of survival are poor. Very poor.’ |
| |
|After creating the dialogue in the playscript from the direct speech in the text, model the way you draw on the narrative to create stage |
|directions, for example by adding the ‘setting’ at the beginning of the scene (The Vet’s surgery: DAY) and adding a stage direction for the vet: The|
|vet picks up the gerbil and turns it around. Draw attention to the grammatical differences, such as past tense narrative and present tense stage |
|directions. Move from modelled writing to collaborative writing. Encourage children to write with you and offer their suggestions. Stop at a |
|suitable point, when they understand how to use this strategy, and ask them to complete a draft of the scene during guided and independent writing. |
|Select one completed example and invite a group to dramatise this short scene as a plenary. Ask the ‘actors’ to tell the class how helpful they |
|found the stage directions. What does this information tell us about how to write stage directions in a playscript? |
| |
|Learning outcomes |
|Children can discuss the way that characters are introduced and developed in a narrative through dialogue, description and action. |
| |
|Children can read a play aloud with suitable expression and can discuss their responses to the characters involved. |
| |
|Children can draft the introduction to an original story using their own ideas for strong characterisation through dialogue. |
| |
| |
|Phase 2: From reading to writing; capturing ideas and applying strategies |
|Suggested timing - Five days |
| |
|Teaching content |
| |
|Remind the children about the last few words of the penultimate chapter and ask them how they think the story might end. If they were the author, |
|what would happen in the final scene? Children discuss in small groups their own version of the story’s ending. Ask them to consider the ways each |
|character is likely to behave. Will the main characters behave true to type or will someone act in a surprising way? As a class, use ‘forum theatre’|
|hyperlink to drama page in Talk for Writing? to improvise a possible final scene, beginning with the last words of the previous chapter. When the |
|class has settled on a version of the scene, discuss the ways that each character has developed or changed since the beginning of the story and the |
|way their dialogue in this final scene contributes to that. Tell the children they will now begin writing their own play and they should remember |
|that the characters they create through the dialogue should be just as interesting and detailed as any they might create by writing a story. |
| |
|For example, use the drama convention of ‘forum theatre’ to improvise a possible final scene for Bubble and Squeak, beginning with the words from |
|the end of Chapter 10: “Please, I’d like my gerbils back again.” Use the drama to rerun what each character says until the class decides on a final |
|version. Ask children to explain how and why Bill, Sid, Alice and Peggy have developed or changed since the beginning of the book. Are there any |
|clues in the words they use in this final scene? Tell the children they are going to write their own playscripts by developing and adding to the |
|ideas they have already drafted using ICT. They should remember how the characters in Bubble and Squeak were brought to life and made interesting |
|to the audience through what they said, when they said it and how they spoke the words, in both the narrative story and the scripts the children |
|read aloud or enacted. |
| |
|Use ICT to begin adapting the narrative to change the text type and create a playscript. Edit the narrative to playscript format by changing layout,|
|presenting direct speech as a script for named characters, adapting narrative to create stage directions and deleting any superfluous text. Read |
|aloud and reinforce the differences between a script and a narrative regarding the ways the action, setting and characterisation are conveyed. |
| |
|Children use word-processing to apply independently the same strategies for changing text type, with their own saved texts and original writing. |
|Provide support at the point of writing to help them make decisions about the correct layout for playscripts and to make authorial choices about |
|which words from their draft narrative should be retained and rewritten as stage directions, what can be removed and what needs to be added. |
|Encourage them to refer to the checklist created earlier on the conventions of playscripts. When they have completed the draft of their introductory|
|scene, children perform their first scenes in small groups by reading aloud. |
| |
|Use whole class discussion to reflect on children’s views and preferences so far. Which tells a story more effectively, a written narrative, a |
|playscript that is read or a play that is enacted ? Ask children to be specific in the reasons they give for preferences and to refer to examples |
|from the texts they have read, the scripts they have been writing and enacting or plays they have watched. If there are common areas of difficulty, |
|for example if children are finding it difficult to move from the familiar extended narrative of story-writing to the brevity of stage directions, |
|address these through guided writing or through modelled writing with the class if necessary. Children will need to apply these strategies |
|independently during Phase 3. |
| |
|Learning outcomes: |
|Children can use their knowledge of characterisation through dialogue and their understanding of plot structures to predict a possible ending for a |
|familiar story |
|Children can apply what they know about the conventions of playscripts to edit the narrative text for a short scene and adapt it to a script |
|Children can explain and justify their personal preferences by comparing and contrasting narrative stories and playscripts, referring to specific |
|examples to support their opinions. |
| |
|Phase 3: Writing; planning and presentation |
| |
|Suggested timing - Eight days |
| |
|Teaching content |
| |
|Use ‘boxing up’ to support planning for their own play, breaking the story into different scenes. Children could write the play directly linked to |
|the story of ‘The Battle of Bubble and Squeak’, or they could innovate, developing, extending and changing elements of the story and create amended |
|scenes, or they could invent their own story. |
| |
|Children individually write a playscript using their planned ideas. |
| |
| |
|At a suitable point during the writing process, at a stage where children are close to completing their first drafts, demonstrate how to edit to |
|improve the text. Think aloud as you make changes to explain why you are changing words, rewriting phrases, adding text or removing it. Emphasise |
|the way that the edited dialogue moves the story on in terms of action or provides better insight into character. Demonstrate how to delete |
|superfluous dialogue, for example by asking yourself aloud what it adds and whether it is needed at all. Use guided writing to model one or more of|
|the strategies you demonstrated in shared writing and support children in editing to improve the quality of their writing and its effectiveness for |
|purpose. |
| |
|Provide time for children to read their drafts aloud in pairs or groups to check not only accuracy but also how clearly they have conveyed character|
|through the dialogue. Use peer feedback to help children reflect critically on the writing of others and on their own drafts so far. What will make |
|this a successful playscript? You may wish to agree a short list of success criteria for children to use in their paired reflection and to provide a|
|tighter focus for self- assessment. Remind children of the purpose of their writing and any potential audience that you may have already arranged |
|for their plays when performed. |
| |
|Children complete the writing process. They amend, edit and improve their writing and then present it in its final format, editing layout where |
|necessary, though this may not be necessary if they have been using a playscript template that you have provided. They work with a writing partner |
|to check the layout and playscript conventions they have used and also the balance between dialogue and stage directions. |
| |
|In groups, children read aloud together the plays they have written. Together they select one play to enact and they prepare it for performance. |
|Arrange a time to film each group performing their play and save the digital files together as a collection of plays which demonstrate how to |
|develop characterisation using dialogue. Provide time for all children to view the recorded plays at suitable times and ask them to think |
|particularly about how each play ends. Is the last scene suitably exciting, surprising, rewarding and satisfying or does the story ‘fizzle out’? |
| |
|Complete the class text by reading the final chapter with the class. How does the story ending compare with the endings of the class plays they have|
|viewed, and how does it compare with the last scene the children improvised for themselves using drama? As they complete the unit, discuss |
|children’s wider reading preferences including not only narrative, plays and film adaptations of books but also poetry and any other texts they have|
|read recently at school or at home. |
| |
|For example, read Chapter 11 of Bubble and Squeak. How easy was it to predict what would happen at the end of the story? Make links between the |
|children’s predictions about plot and their expectations of the main characters. Ask them to be specific about the reasons for any clues they refer |
|to. For example, “What did Alice Sparrow do or say earlier in the book that made you think she might actually refuse to give the gerbils back in the|
|end?” |
|Compare and contrast the story ending with the endings of the plays children have written and viewed. What makes the last few pages of Bubble and |
|Squeak so good? Do writers of plays and writers of stories use any of the same strategies to create ‘good endings’ for their readers or viewers? |
|You could encourage children to refer to : surprise behaviour (character), a twist in the action (plot) a good character getting their revenge on a |
|villain or a happy ending using humour rather than a sad conclusion. For example, in the last two pages of Bubble and Squeak, Mrs Sparrow shows |
|that she has completely changed her views about gerbils from the story beginning (character development), the gerbils are safe and can stay with the|
|Sparrow family (a happy ending) and humour is used to lighten the whole mood (Amy’s misunderstanding of the phrase ‘bubble and squeak for tea’). |
| |
| |
|Learning outcomes |
|Children can use familiar planning techniques to create an outline of an original play that includes strong characterisation through dialogue, based|
|on a model they have read. |
|Children can manage the writing process independently from planning, through drafting of their playscript to its final presentation. |
|Children can apply what they know about the conventions of playscripts to orchestrate characterisation, setting and plot effectively with |
|appropriate support. |
|Assessment |
|These are suggested strategies for assessing learning in an additional text-based unit on dialogue and plays: ‘The Battle of Bubble and Squeak’. |
|This resource includes assessment focuses and examples of opportunities for assessment that link to the learning outcomes for this unit. |
|Evidence against a variety of assessment focuses will be collected at many points during the teaching sequences. It will be important to collect |
|evidence of achievement against the assessment focuses from occasions where children can demonstrate some independence and choice away from direct |
|teaching. This is particularly important when making a judgment against reading assessment focuses 2 and 3, and writing assessment focuses 1 and 2. |
|In this exemplified unit the 'main' assessment focuses for reading and writing are identified but you can interpret and adapt the teaching sequence |
|to meet the needs of your class. This may affect the types of evidence it is desirable and possible to gather. |
|Assessment Focuses |
|The teaching of this unit should particularly support the collection of evidence against: |
|Reading assessment focus 4 (Identify and comment on the structure and organisation of texts, including grammatical and presentational features at |
|text level) |
|Writing assessment focus 1 (Write imaginative, interesting and thoughtful texts) and Writing assessment focus 3 (Organise and present whole texts |
|effectively, sequencing and structuring information, ideas and events) |
| |
|Learning outcomes |
|The suggested outcomes for this unit are: |
|Phase 1 |
|Children can discuss the way that characters are introduced and developed in a narrative through dialogue, description and action. |
| |
|Children can read a play aloud with suitable expression and can discuss their responses to the characters involved. |
| |
|Children can draft the introduction to an original story using their own ideas for strong characterisation through dialogue. |
|Phase 2 |
|Children can use their knowledge of characterisation through dialogue and their understanding of plot structures to predict a possible ending for a |
|familiar story |
|Children can apply what they know about the conventions of playscripts to edit the narrative text for a short scene and adapt it to a script |
|Children can explain and justify their personal preferences by comparing and contrasting narrative stories and playscripts, referring to specific |
|examples to support their opinions. |
|Phase 3 |
|Children can use familiar planning techniques to create an outline of an original play that includes strong characterisation through dialogue, based|
|on a model they have read. |
|Children can manage the writing process independently from planning, through drafting of their playscript to its final presentation. |
|Children can apply what they know about the conventions of playscripts to orchestrate characterisation, setting and plot effectively with |
|appropriate support. |
| |
|Opportunities for assessment |
|The following are examples selected from the teaching sequence for this exemplified unit of work . These will support planning for effective |
|assessment as an integrated part of the teaching and learning process. |
|Learning outcomes |
|Example of teaching content and assessment opportunities |
|Evidence |
|Approach to assessment |
| |
|Children can discuss the way that characters are introduced and developed in a narrative through dialogue, description and action. |
| |
|After paired reading aloud from example texts that include dialogue, children discuss their preferences in a plenary. The teacher uses questioning |
|to support them in focusing on the way authors develop characterisation, for example through dialogue. |
|Contributions to discussion |
|Oral responses |
| |
|Teacher observation |
|Questioning |
| |
|Children can read a play aloud with suitable expression and can discuss their responses to the characters involved. |
| |
|In small groups, children finish reading a short play that was started during shared reading. They each read one part and read aloud, using |
|appropriate expression. |
|Children’s reading aloud |
|Observation of children’s reading accuracy, fluency and comprehension (as indicated by use of expression) |
| |
|Children can draft the introduction to an original story using their own ideas for strong characterisation through dialogue. |
| |
|After telling a writing partner their ideas for a story introduction, children independently draft an original story beginning. They apply the |
|modelled strategy of using dialogue for characterisation. The teacher supports them if necessary in managing consistency of punctuation and layout |
|of direct speech. |
|Children’s oral summary of their ideas during paired discussion |
| |
|Children’s writing |
|Teacher observation |
| |
| |
|Marking children’s writing |
| |
|Children can use their knowledge of characterisation through dialogue and their understanding of plot structures to predict a possible ending for a |
|familiar story |
| |
|After shared reading to the penultimate chapter of the text, children discuss in groups how they think the story will end. The teacher asks them to |
|explain their predictions, for example by discussing how a character is likely to behave and why, or by referring to textual clues in the dialogue. |
|Children’s individual oral contributions to group discussion |
|Teacher observation |
| |
|Focused, follow-on questioning to elicit children’s reasons for their comments |
| |
|Children can apply what they know about the conventions of playscripts to edit the narrative text for a short scene and adapt it to a script |
| |
|Children independently edit their word-processed story beginnings to change the text type to a playscript. They identify direct speech, change |
|layout, add character names and stage directions. The teacher reminds them to refer to the checklist of playscript conventions that was created |
|earlier. The teacher supports a guided writing group in the same activity, focusing on their identification of direct speech. |
| |
|Children’s writing |
|Questioning and discussion |
|Marking children’s writing |
| |
|Children can explain and justify their personal preferences by comparing and contrasting narrative stories and playscripts, referring to specific |
|examples to support their opinions. |
| |
|In a whole class discussion, children share and justify their preferences from the range of texts and text types read so far. The teacher uses open |
|questions and then focused questions to elicit children’s reasons for choices and to encourage them to refer specifically to texts, including the |
|narrative story, the playscripts they have read aloud from and plays they have enacted or watched as performances on stage or screen. |
|Children’s contributions to discussion, including the reasons and examples they give to justify their preferences |
|Oral responses to questions |
|Whole class discussion |
| |
| |
| |
|Teacher questioning |
| |
|Children can use familiar planning techniques to create an outline of an original play that includes strong characterisation through dialogue, based|
|on a model they have read. |
| |
|Children plan their own play, by creating a flow chart that allows them to show what will happen in each scene and the chronology of plot. They add |
|notes about characters beneath the flow chart, to help them create suitable dialogue for each character when they write the play. |
|Children’s writing. |
|Discussion with individual children during the writing process |
|Marking children’s writing |
| |
|Children can manage the writing process independently from planning, through drafting of their playscript to its final presentation. |
| |
|Children write their own play. They are given appropriate levels of independence to manage the complete writing process. The teacher provides |
|scaffolding for the extended writing to help individuals to orchestrate a range of different strategies for planning and drafting at the same time |
|as they manage composition and consistency in playscript conventions. Fore example, some children work with a writing partner to create their |
|planning. Some use a provided script template to word process the text. In guided writing, the teacher supports children who need guiding through a|
|particular stage or strategy, such as re-reading to identify errors for editing. |
|Children’s writing at each stage of the process |
|Individual contributions during paired or small group discussion |
|Oral responses to questions |
| |
| |
| |
|Teacher observation of children at the point of writing |
|Marking children’s writing |
|Discussion |
| |
|Questioning |
| |
|Children can apply what they know about the conventions of playscripts to orchestrate characterisation, setting and plot effectively with |
|appropriate support. |
|When their playscript drafts are complete, children work with a writing partner to read and discuss one another’s writing. They look for |
|inconsistencies in layout and presentation. The teacher asks them to discuss how effectively they have shown character through the dialogue, action |
|and stage directions. Pairs provide peer support for making final improvements to their text. |
|Children’s contributions as a writing partner including the suggestions they make for changes to their partner’s text and also their responses to |
|suggestions for improving their own text |
|Children’s writing, particularly the differences between this and the previous draft. |
| |
|Observation of children’s oral contributions during discussion with a writing partner |
|Observation of the writing strategies children apply during editing |
|Marking children’s writing |
| |
| |
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