CALLING A DEAD MAN
NOUGHTS AND CROSSES
Teacher’s Pack
By
Frances Gregory
CONTENTS
Introduction 3
Overview for Scheme of Work 4
Navigator 5–6
Lesson Plans, WS 7–45
Assessment 46
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.
Focus on assessment of reading
Oxford Rollercoasters includes titles with varied themes, challenging subject matter and engaging plots – for example, Noughts and Crosses takes a very contemporary slant on racism, Firestarter features a modern-day compulsive arsonist, while Fire, Bed and Bone is set during the Peasants’ Revolt. 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 also 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 4) which summarizes the scheme at a glance, including the necessary resources for each lesson.
The Navigator offers a clear plot summary, linked to relevant chapters, to help speedy location of particular parts of the novel.
Lesson Plans are accompanied by full, varied and practical Worksheets and OHTs, and drama activities are common within the teaching schemes. The worksheets and OHTs are customizable to meet the needs of a particular teacher and class.
For every novel there are suggested 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.
The practice of keeping some form of Reading Journal during the study of the novel is encouraged in many of the schemes, and there are several attractive models for such record-keeping across the teaching materials.
Every set of Lesson Plans ends with its own student Reading Assessment Progress Sheet, which the teacher can then use to identify areas for development for each student.
Reading Guide
Each of the novels has its own student Reading Guide, which contains a rich variety of material to help to engage students in their study of the novel. Each one features unique author’s craft material, giving students a great insight into the writing, editing and publishing process.
Ideas for wider reading and for the extension of independent reading are also provided in the Pathways section at the end of the Reading Guide.
Website support
The Rollercoasters website provides access to the free on-line teacher’s resources, sample chapters of the novels and further author information.
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.
Frances Gregory
Series editor
OVERVIEW FOR SCHEME OF WORK
|Lesson |Learning outcome |Reading AFs |Framework objectives|Rollercoasters |
|(Book chapter) |Students will be able to: | | |resources |
|1 Establishing contexts |Use contextual clues to anticipate the|AF3: Inference and |Y9: R6, R11 |WS: 1a, 1b |
|(Prologue) |content, theme and viewpoint of a |deduction | |RG: p. 4 |
| |novel |AF6: Writer’s purposes | | |
| |Use textual clues to infer character |AF7: Social and | | |
| |and relationships |historical context | | |
|2 Viewpoint |Identify and evaluate narrative |AF2: Locating evidence |Y9: R1, R6 |WS: 2a |
|Pages 19–59 |viewpoint |AF4: Structure | |RG: p. 5 |
|(1–6) |Determine the key points about social | | | |
| |relations in the world of this novel | | | |
|3 Language and theme |Identify discrimination implicit in |AF3: Inference and |Y9: R12, R16, SpL12 |WS: 3a, 3b |
|Pages 59–120 |language |deduction | |RG: pp. 6–8 |
|(7–25) |Identify some of the novel’s major |AF5: Use of language | | |
| |themes | | | |
|4 Theme and reader |Identify how far and in what ways a |AF2: Locating evidence |Y9: R1, R2, R6 |WS: 4a |
|response |writer draws on history to inform |AF6: Writer’s purposes | |RG: pp. 9, 11 |
|Pages 121–149 |fictional events |AF7: Social and | | |
|(26–31) |Begin to develop judgements on |historical context | | |
| |writers’ and readers’ sympathies | | | |
|5 Structure |Trace how a writer uses characters to |AF4: Structure |Y9: R12 |WS: 5a, 5b |
|Pages 149–182 |structure a plot |AF5: Use of language | | |
|(32–42) |Identify the turning points in the | | | |
| |developing plot and patterns in words | | | |
| |to link to the concept of tragedy | | | |
|6 Narrative tension |Identify how a writer builds narrative|AF4: Structure |Y9: R4, R12 |WS: 6a |
|Pages 185–233 |tension |AF6: Writer’s purposes | |RG: p. 10 |
|(43–57) |Evaluate how far a writer’s viewpoint | | | |
| |is evident in a fictional text | | | |
|7 Genre and plot |Identify how a writer manipulates |AF6: Writer’s purposes |Y9: R12 |WS: 7a |
|Pages 233–257 |genre and plot to maintain reader | | | |
|(58–64) |engagement | | | |
|8 Reader response |Identify the dramatic potential of a |AF5: Use of language |Y9: R9, R14, Wr11 |WS: 7a, 8a, 8b |
|Pages 261–286 |court scene in fiction |AF6: Writer’s purposes | | |
|(65–74) |Exploit dramatic potential of language| | | |
| |for media reporting | | | |
|9 Writer’s craft |Explore how a writer’s choices |AF6: Writer’s purposes |Y9: R12, SpL12 |WS: 9a, 9b |
|Pages 289–304 |(viewpoint, structure, language) | | | |
|(75–78) |affect a reader’s response | | | |
|10 Comparison |Recognize the nature of tragedy |AF4: Structure |Y9: R7, R12 |WS: 7a, 10a, 10b |
|Pages 305–331 | |AF5: Use of language | |RG: pp. 12–13 |
|(79–88) | |AF7: Social and | | |
| | |historical context | | |
|11 Writer’s craft |Select key character developments |AF2: Locating evidence |Y9: R12, Wr17 |WS: 10b, 11a, 11b |
|Pages 335–359 |Analyse how a writer’s use of |AF5: Use of language | | |
|(89–94) |language, structure and viewpoint |AF6: Writer’s purposes | | |
| |affect a reader’s response | | | |
|12 Reader response |Begin to recognize how a writer |AF4: Structure |Y9: R12 |WS: 12a |
|Pages 359–408 |prompts a reader to anticipate the |AF6: Writer’s purposes | | |
|(95–107) |ending of a novel | | | |
|13 Reader response |Confirm how a writer prepares a reader|AF4: Structure |Y9: R9, R18 |WS: 13a |
|Pages 409–432 |for a novel’s conclusion |AF6: Writer’s purposes | |RG: pp. 12–13 |
|(108–115) | | | | |
|14 Whole text |Develop their responses to and |AF4: Structure |Y9: R18, SpL9 |OHT: 14a |
|Pages 435–445 |judgements about a text through |AF6: Writer’s purposes | |RG: pp. 14–15 |
|(116–end) |exploratory talk | | | |
|15 Evaluating the text |Judge how appropriate Noughts and |AF4: Structure |Y9: R18, Wr13 |WS: 15a, 15b, 15c, |
| |Crosses has been for class reading |AF6: Writer’s purposes | |15d |
| |Use informative and persuasive | | |RG: pp. 15–16 |
| |language to promote a novel or give | | | |
| |reasons for not promoting it | | | |
NAVIGATOR
|Section/ Chapter |Plot outline |
|Prologue |Meggie McGregor (a nought) and her employer, Jasmine Hadley (a Cross), watch their children, Callum |
| |and Sephy, play together. When Kamal Hadley unexpectedly comes home, Meggie does not realize that |
| |Jasmine needs her to tell a lie to cover for her. Telling the truth loses Meggie her job and her |
| |family must suffer. |
|CALLUM AND |Chapters 1–2 |Three years later, Callum and Sephy are still friends, though social divisions threaten their |
|SEPHY | |relationship. Callum – a nought – is about to start at Heathcroft High – the Cross school that Sephy |
|Pages 19–88 | |attends. Callum’s family have mixed feelings about his new school. His brother Jude, full of hatred |
| | |for Crosses, does not want him there. His Mum is doubtful, but his Dad is keen. His sister Lynette – |
| | |a disturbed young woman – lives in a world of her own. |
| |Chapter 3 |Sephy overhears her dad talking with a blond-haired nought man who has a pony tail. She is shocked to|
| | |overhear their anti-nought views, but pretends to have heard nothing. |
| |Chapters |Callum prepares for his first day at Heathcroft High School, but it turns out to be disastrous. There|
| |4–7 |are riots outside the school trying to stop the noughts from entering. Sephy tries to stand up for |
| | |them but offends everyone, especially Callum, when she tells the rioters they are behaving like |
| | |‘blankers’. |
| |Chapters |On the television news Kamal Hadley threatens death to the Liberation Militia (the noughts’ |
| |8–10 |liberation group) and the riots at Heathcroft are reported. Callum and Sephy realize that the Hadleys|
| | |and the McGregors are on two sides of the political fence. |
| |Chapters |At Heathcroft, Sephy tries to remain friends with Callum but they soon see how difficult this will |
| |11–15 |be. Callum is treated with contempt by the teachers and Sephy is beaten up by other Cross girls. |
| | |Friendship between a nought and a Cross is not acceptable. |
|THE TURNING & |Chapters |Callum is turned away from the Hadley house when he tries to visit Sephy – but, against the odds, |
|THE PICNIC |16–24 |their relationship survives in secret. Together, on the beach, they try to reconcile their |
|Pages 91–114 | |differences. But while Sephy happily recalls a previous summer picnic, Callum remembers being accused|
| | |of having stolen the first-class train ticket that Sephy has purchased for him. Though he resents the|
| | |Crosses and a world that divides people, he cannot hate Sephy. |
|BREAKDOWN |Chapters |Sephy, too, realizes the social division between her and Callum, but wants to remain friends. When |
|Pages 117–182 |25–26 |Callum arrives home, there is a family row – Jude is fighting with Lynette. The result is that Callum|
| | |learns the truth of Lynette’s past: she had a Cross boyfriend and they were both badly beaten up as a|
| | |result. Her instability and confusion about her identity have followed. Callum realizes the hatred |
| | |and fear that rules relationships in his society. |
| |Chapters |Sephy plans to invite Callum to her birthday party. He suspects her motives. In a school history |
| |27–33 |lesson, Callum tries to promote past nought heroes, but Mr Jason excludes Callum, rejecting his |
| | |views. Another teacher, Mrs Paxton, tells Callum that Jason is half-nought. Sephy is worried when she|
| | |overhears her parents talking of divorce. She decides not to invite Callum to her party. Callum’s |
| | |sister Lynette expresses extreme pessimism when she talks with him, but he does not want to accept |
| | |her view of life. Meanwhile, Sephy gains some comfort from her sister, Minnie, who is more worldly |
| | |wise than the naïve Sephy. |
| |Chapters |Callum tries to defend himself when he gains low marks for his work with Mr Jason. Callum reveals |
| |34–42 |that he knows Jason is half-nought, and Jason is furious. At home, Jude’s anger is mounting. Lynette |
| | |goes out for a walk and later police arrive to announce she has died in a traffic accident. Meanwhile|
| | |Jasmine Hadley takes an overdose and is rushed off to hospital. Callum finds that Lynette has left |
| | |him a letter – he is devastated and hardened by the burden she has left him. Sephy’s mother recovers,|
| | |and Sephy decides to attend Lynette’s funeral. She is not wanted, and her presence brings the |
| | |relationship between the two families to crisis point. When Sephy and Callum meet on the beach, long |
| | |shadows fall ominously across them and their future. |
|THE SPLIT |Chapters |Sephy’s mum, still in hospital, asks her daughters not to make the mistakes she has, but continues to|
|Pages 185–257 |43–50 |drink. Jude and Ryan McGregor admit they are part of the Liberation Militia. Callum arranges to meet |
| | |Sephy in the Dundale Shopping Centre, but senses the worst when Jude tries to stop him going there. |
| | |Nevertheless, he manages to reach Sephy and take her to safety before a bomb explodes. When Callum |
| | |arrives back home, the bomb is on the news. Meggie is so furious that she breaks one of her fingers |
| | |slapping Ryan. Callum and Jude take Meggie to the hospital. |
| |Chapters |Meanwhile Sephy starts to drink, like her mother. At the hospital, Callum and Jude’s details are |
| |51–56 |taken to be stored on the database – they are assured they will be wiped off when Meggie’s fingers |
| | |are treated. She insists that Ryan leave the family home and Jude chooses to go with him. When Callum|
| | |meets Sephy, he realizes she has been drinking and tries to make her see how foolish she is being. |
| | |The couple embrace – their love is still secure, despite circumstances. That night, the police raid |
| | |Callum’s home and he is arrested. |
| |Chapters |While Sephy alternates between wanting to go to boarding school and thinking of Callum, Callum is |
| |57–64 |interviewed by the police. Ryan is charged with the bombing and Meggie and Callum seek legal support |
| | |from Adam Stanhope. However, Ryan confesses to save Jude, and his case looks hopeless until a top |
| | |Cross lawyer, Kelani Adams, takes on the case – Callum thinks Sephy must be paying for her. Kamal |
| | |Hadley comes home for the trial. Callum is suspended from Heathcroft High. |
|THE TRIAL |Chapters |As Sephy plans to go to boarding school, Ryan’s trial begins. Sephy is called as a witness and her |
|Pages 261–286 |65–74 |meeting with Callum near Dundale is questioned. Ryan has pleaded not guilty and the trial goes well |
| | |with Kelani Adams’s fine work. The section ends on a cliff-hanger – what is the final verdict? |
|THE WAY IT IS |Chapters |Sephy is taken, without realizing it, to Ryan’s execution. She is disgusted but a last-minute stay of|
|Pages 289–331 |75–81 |execution is issued. All but Ryan think there is a chance to get him out of prison. Callum, desperate|
| | |to see Sephy, climbs to her balcony and into her room – they spend the night together. Though they do|
| | |not make love, Callum does whisper that he loves Sephy as she sleeps beside him. |
| |Chapters |News breaks that Ryan McGregor has been electrocuted, escaping from prison. Callum, by chance, meets |
| |82–88 |Jude and is encouraged to join the LM. At the same time, Sephy decides that if Callum wants to run |
| | |away with her she will go. Otherwise, she will go to Chivers boarding school. She writes him a letter|
| | |asking him to make his choice. When the letter is first delivered, Callum is too busy preparing for |
| | |his joining of the LM. By the time he reads it and reaches her house, Sephy has, with huge regret and|
| | |distress, left for Chivers. |
|THE HOSTAGE |Chapters |Some years pass. Sephy copes well with school and Callum becomes a sergeant with the LM. All is well |
|Pages 335–392 |89–103 |until Jude turns up as his lieutenant. A plot is hatched to kidnap none other than Sephy Hadley and |
| | |Callum is used as decoy. He writes to her and asks her to meet him on their beach. She is taken |
| | |hostage and ransom money is sought from Kamal to fund LM activities. Callum tries hard to be cold |
| | |towards Sephy. At first he succeeds but they are fatally attracted to each other and they make love |
| | |when left alone. Jude arrives to say that they have all been betrayed, and finds them together. Jude |
| | |thinks that Callum has raped Sephy and realizes the awful consequences. In the confusion, Sephy runs |
| | |out and Callum secretly helps her to escape. Before they part, Sephy warns Callum against Andrew Dorn|
| | |– the man with the blond pony tail. |
|THE CONFESSION|Chapters |Kamal Hadley appears on television to talk about the kidnapping. Callum tells the cell his suspicions|
|Pages 395–421 |104–113 |of Andrew Dorn. The LM cell agree to go their own ways to avoid capture. Meanwhile, Sephy finds that |
| | |she is pregnant. Callum finds out about the pregnancy and risks all to see her, while Sephy’s parents|
| | |plan for her to have an abortion. Callum and Sephy meet in her rose garden – but Callum is captured |
| | |and arrested. Kamal Hadley guesses that Callum is the father and wants to believe he must have raped |
| | |Sephy. |
|DECISIONS |Chapters |Kamal Hadley offers Callum his life if he’ll agree to admitting rape and thus enabling Sephy to have |
|Pages 425–432 |114–115 |an abortion. He asks Sephy to choose between Callum’s death and an abortion for her baby. |
|LOSING MY |Chapters |The choice is made and Callum is hanged. As he dies he hears Sephy calling out that she loves him, |
|RELIGION |116–117 |just as she hoped he would. |
|Pages 435 to | | |
|the end | | |
|Epilogue |Sephy gives birth to Callie Rose. |
LESSON 1
Lesson objectives
Yr 9: R6, R11
AF3, AF6, AF7
Focus: The Prologue – establishing contexts
Learning outcomes
Students will be able to:
• Use contextual clues to anticipate the content, theme and viewpoint of a novel
• Use textual clues to infer character and relationships
Starter
Display or write up the words ‘Noughts and Crosses’. Ask the class what these words might suggest when used as the title for a novel. Take feedback.
Distribute the novel, asking students to look only at the front cover. What does the cover, particularly the colour and design, add to their thoughts? Draw out ideas on contrast and conflict. Tell students that some editions of the novel include a quotation from Benjamin Zephaniah about the novel. He calls it ‘intelligent, emotional and imaginatively wicked’. Question his inclusion and tell them that he is a British-born West Indian writer who has written extensively on racial issues. Ask students what this knowledge adds to their speculation about the cover.
Move swiftly on to look at other external features of the book, and draw out any further available contextual features.
Ask students to make predictions about the sort of story they are going to be reading and what themes it might include. Take brief feedback.
Introduction
Distribute the Reading Guide and ask students to turn to page 4. Work through this page, addressing the questions, focusing on how a writer’s context and perspective might influence her choices in writing, and addressing other questions that may arise.
Advise the class that writers do not always do exactly what we might expect. Read the opening Prologue of the novel, asking the class to note:
a) the clues that reveal character and relationships between the characters whom we meet in this section
b) the evidence for thinking that relationships are going to deteriorate.
Begin by prompting inferences, e.g. Why is it rare for Jasmine Hadley to giggle? Why does Meggie McGregor call Jasmine Hadley ‘Mrs Hadley’ while Jasmine calls her ‘Meggie’? Why is Meggie worried that Sephy and Callum’s friendship might not last? ‘No barriers. No boundaries. Not yet anyway’ (p. 9). Why must Meggie ‘keep her mouth well and truly shut’ (pp. 9–10)? Why does she want a virus to wipe out every single Cross? When Kamal Hadley slaps Jasmine, what does that suggest about him? Why is Meggie patching Jude’s school trousers? Why is she so keen on his education?
Who are the Crosses? Who are the noughts?
Development
Ask the students to work in pairs to collate the evidence, using WS1a (copied onto an A3 sheet) to chart what they have learned of characters and their relationships. If necessary, complete some points together to support students. You may choose to work with a small group of lower-attaining students on this task to ensure their understanding at this early stage in the study. Use WS1b to support the guided work.
Plenary
Either allow the guided group to lead feedback to the whole class, or draw key points together with the whole class contributing.
Ask students what sort of society is being represented. How far is it like or unlike their own, and in what respects, e.g. social and class divisions, problems in relationships within families and between friends? But noughts and Crosses are unfamiliar names for social groupings. What do students think the names represent?
Briefly consider these two questions before setting homework: Where are the reader’s sympathies at this stage, and why? How might these relate to the writer’s viewpoint?
Homework
What will happen to Callum and Sephy? Ask students to make two or three predictions and justify those choices with reasons based on the opening Prologue.
Characters and relationships
1 Decide on suitable words to write on each of the characters to describe briefly what you learn about them in the Prologue, including a brief explanation as to why you think this and a page reference as evidence. For example, Kamal is a powerful bully – he slaps his wife (p. 12).
2 Draw connecting lines between the characters and write down the most important quotations and page references from the text that show the nature of their relationship:
a) ACROSS families, e.g. a line joins Sephy and Callum, with the words ‘They were good friends playing together’ (p. 9), ‘their pure joy in each other’ (p. 13).
b) BETWEEN family members, e.g. Kamal and Jasmine Hadley: ‘Kamal Hadley gave his wife a look of such contempt and loathing’ (p. 12). Keep the quotations brief and to the point.
3 Find two quotations that provide the reader with the evidence for thinking that relationships are going to deteriorate further.
a) ………………………………………………………………………………………………………………………………………………………………………
b) ……………………………………………………………………………………………………………………………………………………………………….
Guided work
Introduction
Remind students that they are only drawing on the Prologue, which they have just read.
Strategy checks
■ Check that students understand how they should complete the first part of the task. Check that they understand that they are making inferences (using what the text suggests to make judgements about character and relationships).
■ Check that they know the sort of points to include by repeating earlier suggestions: Why does Meggie McGregor call Jasmine Hadley ‘Mrs Hadley’ while Jasmine calls her ‘Meggie’? Why is Meggie worried that Sephy and Callum’s friendship might not last? (p. 9: ‘No barriers. No boundaries. Not yet anyway’).
■ Ask one student to suggest another point about character to see whether the task is understood.
■ Ask another student to suggest another point about relationships to see whether the task is understood.
Independent reading
Ask students to work in pairs and support them as they work on character and relationships.
Return to the text
Share some completed points, giving students the opportunity to talk through their thinking as they report back and extend all students’ completion of the task. Then ask them for two points that suggest that relationships are going to deteriorate further, and ask them to write down the relevant quotations.
Review
Ask the group how confident they feel about making inferences having completed this task. Check what they understand by inference and ask how useful they think this strategy will be in reading this novel.
If you wish, you may prepare the group for feeding back to the rest of the class.
LESSON 2
Lesson objectives
Yr 9: R1, R6
AF2, AF4
Focus: Pages 19–59 Viewpoint
Learning outcomes
Students will be able to:
• Identify and evaluate narrative viewpoint
• Determine the key points about social relations in the world of this novel
Starter
Collect students’ predictions from homework, ensuring reasons for ideas are fully explained and explored. Can they predict anything about the other characters? Will Kamal Hadley change? What might happen to Jude when he is forced out of education?
Introduction
Read from page 19 to 33 with the class, identifying the first-person narrative. While reading, analyse the effect of this choice of narrative viewpoint. Draw out the contradiction that we see things from Sephy’s viewpoint but are also drawn to question her perspective.
Also draw out what else the chapter teaches us about social relationships in the Noughts and Crosses world. Model selecting key quotations, e.g. the inferior position of the noughts, recognized in Callum’s comment on education (p. 25): ‘Until a few years ago… educated up to the age of fourteen’. There seems to be ‘a huge, great wall between’ them (p. 27). Sephy thinks nothing can come between them (p. 28). Draw attention to the description of Sephy’s home on pp. 30 and 32. What does this tell us about the Hadley family and what does it add to our ideas about social relations?
Development
Read the opening of Chapter 2 (up to ‘Mum and Dad wouldn’t part with it’ (p. 34). What happens to Sephy’s first-person narrative and why has the writer chosen to make this change? How does the content of this opening link to the last chapter? Draw out the contrasts between the nought underclass lifestyle and that of the ruling Crosses. But question whether the Hadley family or the McGregor family are the happiest, and what their reasons might be for this happiness.
Distribute the Reading Guide and read page 5 with the class. (The third and fourth bullet points can be used as a focus for their homework reading.) Then, focus on Callum’s opening description of his home and ask students to complete WS2a to make that point clearly.
Complete the chapter, drawing out differences between Callum’s and Sephy’s homes and families, and their attitudes. Pause to ask the class how they feel about Jude – the writer says that he ‘teased maliciously’ (p. 40). Why is he doing this? Is he jealous?
Plenary
Drawing on what has been learned about Sephy and Callum’s very different backgrounds, ask for a volunteer to role-play Callum. The rest of the class must ask Callum questions about his home and family, and about Sephy’s home and family. Make sure that Callum’s optimism about education is included in his responses. You may wish to model asking questions of or answering as Callum before students do so. At suitable points, refer the class back to the text to clarify feelings and ideas.
Then repeat the process with Sephy. Draw out the tension that lies at the heart of their relationship and, indeed, their whole society.
In conclusion, evaluate Malorie Blackman’s choice of the double narrative. Draw out the fact that the double narrative emphasizes the difference in perspective of Callum and Sephy, to attract attention to the damaging social divide.
Homework
Read to page 59, focusing on how Callum and Sephy both feel, a) before he arrives at Heathcroft High, and b) when he and the other noughts arrive. Why is it hard for Sephy to understand Callum’s feelings when she uses the word ‘blanker’ to condemn her fellow students?
Also ask students to notice their responses to Kamal Hadley – how do they feel about this man and why?
They should prepare to feed back on all points for the next lesson.
Family life
|Sephy’s home and family |Quotations giving facts |Quotations about feelings |
|life | | |
| |‘My parents’ country house. Seven bedrooms and five |‘What a waste… four lonely peas rolling about in a |
| |reception rooms |can’ page 30 |
| |for four people’ (p. 30) | |
| | |‘I pretended I didn’t see Callum flinch at the sight |
| |‘It rose like an all-seeing giant above us’ (p. 30) |of it’ (p. 30) |
| | | |
| | |‘She [Minerva] loved our house as much as I hated it… |
| | |To me it was like a bad museum – all cold floors and |
| | |marble pillars and carved stonework which glossy |
| | |magazines loved to photograph but which no-one with |
| | |half a gram of sense would ever want to live in’ (p. |
| | |32) |
| | | |
| | |‘I preferred the laughter of his house to the |
| | |dignified silence of my own’ (p. 30) |
|Callum’s home and family |‘I live in a… | |
|life – note key points | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
LESSON 3
Lesson objectives
Yr 9: R12, R16, SpL12
AF3, AF5
Focus: Pages 59–120 Language and theme
Learning outcomes
Students will be able to:
• Identify discrimination implicit in language
• Identify some of the novel’s major themes
Starter
If this point has not already arisen, check the class have realized what colour noughts and Crosses are. Does this surprise them?
Take responses on the homework reading, allowing students to respond to the riots and Sephy’s foolish actions.
Emphasize that before that fatal first day:
a) Callum was determined – look again at the end of page 41
b) Sephy was optimistic: ‘It was going to be wonderful’ (p. 43).
Recall Kamal Hadley’s attitudes and his mysterious visitor. Do we trust Kamal? How does Sephy feel about him, and what does this suggest about her character at this point in the story?
On the fatal day, why does the word ‘blanker’ cause so much offence?
Introduction
Distribute the Reading Guide and work through pages 6 to 7, either as a class or as a paired activity. Draw attention to the way language contains prejudices that are difficult to set aside.
Continue to page 8 in the Reading Guide, drawing attention to the relationships between historical events and Malorie Blackman’s novel.
Ask the class what is the most significant choice Malorie Blackman has made in writing her novel (the black/white reversal). Then read her letter at the beginning of the Reading Guide to further clarify thinking.
Development
Using either independent or guided reading, cover from page 59 onwards (more will be read for homework – the plenary can be based on however much the class has tackled in the time available).
Students should be thinking about:
a) The forces that might drive Sephy and Callum apart (these can be people as well as ideas). For example, hatred or fear or tyrants like Kamal.
b) The forces that will keep them together.
Use WS3a to support this reading and description of forces. If you are also guiding a group, WS3b will support the session.
Plenary
Can their relationship survive? What threatens that relationship?
Choose two students to represent Callum and Sephy. Then, select students to represent people or forces that may separate Callum and Sephy (Kamal Hadley, Jude, the Liberation Militia, prejudice, hatred and so on). Ask students representing the destructive forces to stand between Sephy and Callum, displaying cards that label their threat. What forces will keep them together? (Love, loyalty.) Select students to represent these positive forces, too.
The students playing Sephy and Callum must decide which of the forces is most destructive of their friendship and indeed if any will separate them. The whole class can choose to agree or disagree, provided they give reasons. The class, as a whole, must agree on the most destructive of the forces and the strongest force that will keep them together.
Homework
Ask students to read to page 120, continuing to focus on what might destroy the relationship between Sephy and Callum, or what will hold them together. They must continue to use WS3a to focus and record their observations.
Sephy and Callum
|What forces might separate Sephy |What forces will keep Sephy and Callum together? |
|and Callum? | |
|They belong to different social groups: ‘If only |Page as |Callum believes in education – he will improve |Page as |
|Callum wasn’t a nought’ |evidence |himself and become more like Sephy through |evidence |
| | |education: ‘I could make something of myself’ | |
| |P. 33 | |P. 41 |
| | | | |
| | | | |
| | | | |
| | | | |
| |Page as | |Page as |
| |evidence | |evidence |
| | | | |
| | | | |
| | | | |
| | | | |
| |Page as | |Page as |
| |evidence | |evidence |
| | | | |
| | | | |
| | | | |
| | | | |
| |Page as | |Page as |
| |evidence | |evidence |
| | | | |
| | | | |
| | | | |
| | | | |
| | | | |
| |Page as | |Page as |
| |evidence | |evidence |
| | | | |
| | | | |
| | | | |
| | | | |
| |Page as | |Page as |
| |evidence | |evidence |
| | | | |
| | | | |
| | | | |
Guided work
Introduction to text
Tell students which pages you expect them to read in the lesson, and tell them that they will be using the same focus for homework reading.
Strategy checks
Check that all students understand that they will be selecting what they think are forces that will drive Sephy and Callum apart. Show them the examples on Worksheet 3a. Ask them to suggest other forces (including characters) that may force the pair to separate from their reading of the novel so far. Model how to add this point to their copy of Worksheet 3a. Do the same for a force that they think will keep them together. Depending on the nature of the group, model one or more other examples before the independent reading. Point out to them that it is unlikely that the force will be named as such – they must do a little inferring as they did in Lesson 1. Tell them that if they find the same thing twice, they can note the page reference. If they keep finding this same thing, it will be important.
Independent reading
Set the group to read, working with one student or more to assist reading if suitable.
Return to the text
Ask the group to share their points and agree the best ideas, ready to share with the whole class.
Review
Ask students if they now feel confident to continue with the task for homework (as far as page 120). How well have they inferred and picked out key forces that will destroy or secure Sephy and Callum’s friendship? This is a big chunk of reading, so if the group are slow readers, you may wish to compromise and give them a shorter amount to read.
LESSON 4
Lesson objectives
Yr 9: R1, R2, R6
AF2, AF6, AF7
Focus: Pages 121–149 Theme and reader response
Learning outcomes
Students will be able to:
• Identify how far and in what ways a writer draws on history to inform fictional events
• Begin to develop judgements on writers’ and readers’ sympathies
Starter
Recap homework reading, using the Navigator to support summary if required.
Check that students noticed:
• The section headings. Question these headings; for example, what is the significance of the heading The Turning, when the previous heading was Callum and Sephy?
• How does the double narrative contribute to the reader’s sense of the two different views of the world in the section The Picnic?
Re-question the class – what is the major force that threatens the friends? (e.g. racial conflict/inequality)
Introduction
Distribute the Reading Guide and turn to p. 9 on Martin Luther King and Malcolm X – the different approaches to civil rights. Consider the question about using violence to oppose racial discrimination.
What approaches to civil rights (fighting for the equality of all people in a society) have been evident in Noughts and Crosses so far? Allow pairs a few minutes to think about some points before collecting ideas for a list on the board, e.g. Callum’s belief that education matters most (p. 41), Jude’s leaning towards violence (p. 67, Jude says: ‘Long Live the Liberation Militia’).
Development
Ask the class to read from pages 121–149 (or as far as they can in the time), either independently or in groups. They should be focused on the different attitudes to inequality. How many different views are represented in this section? For example, Jude has strong feelings about inequality which he expresses in violence; his Dad feels the hatred but does not act (Jude
calls him a ‘spineless wonder’, p. 123); Meggie admires Alex Luther’s ‘peaceful methods’
(p. 130).
Plenary
In what respects has Malorie Blackman drawn on the history of the struggle for racial equality in Noughts and Crosses? What do the class think made her include the chapter on the history lesson? What point is this episode making about history?
Tell the class that Malorie Blackman has been criticized for not representing peaceful protest with sufficient strength. What do they think? Why did she do that, do they think?
Ask individuals in the class to say with which characters their sympathies lie. Ask them to justify those sympathies by referring to the text. Where do they think Malorie Blackman’s sympathies lie, and why? Refer students to the Reading Guide and read Malorie Blackman’s comment on page 11 where she claims her sympathies lie with Callum, a white boy.
Homework
Ask students to choose a research topic on black history to be completed for Lesson 6 in a form that is readable by their peers. WS4a supports the tasks. The work will be displayed and discussed in Lesson 6.
Students should also ensure they have finished reading to page 149 before the next lesson.
Research task
For every task, use either books and/or the Internet for your research. In collating your findings, select suitable images to be used to display with your writing. You are expected to write around 500 of your own words to answer your research questions (don’t just print out materials from websites).
Task 1
In Chapter 30, Callum is forced to accept a Cross view of history. On page 446 of Noughts and Crosses, Malorie Blackman has more to say on this topic. Find out about two or more of the historical figures mentioned in that chapter (Garrett Morgan, Charles Drew, Daniel Hale Williams, Matthew Henson, Elijah McCoy). What does your answer prove about the way history is written?
Task 2
Martin Luther King advocated non-violent resistance to unjust laws in America. Why was he so against violence? Find out about his campaign to gain equality in the southern states of America. Why was he shot dead? Does Malorie Blackman have anyone like Martin Luther King in her story?
Task 3
Malcolm X believed that the end justified the means, so he believed violence was a necessary part of the fight for equality. Find out what Malcolm X did to fight for equality. Why did he call himself Malcolm X? Why was he shot dead? Does Malorie Blackman have anyone like Malcolm X in her story?
Task 4
Malorie Blackman mentions the Stephen Lawrence case as an inspiration for writing Noughts and Crosses. Find out who Stephen Lawrence was and why his case caused so much publicity in England only a few years ago. Why do you think his case inspired Malorie Blackman to write her novel?
LESSON 5
Lesson objectives
Yr 9: R12
AF4, AF5
Focus: Pages 149–182 Structure
Learning outcomes
Students will be able to:
• Trace how a writer uses characters to structure a plot
• Identify the turning points in the developing plot and patterns in words to link to the concept of tragedy
Starter
Read from page 149–151.
Ask the class which they would choose – being someone, or making a difference? Why would they choose that option? Allow several students to express their views and explore their reasoning.
Introduction
Continue to read with the class to page 160, focusing on the fortunes of the two families and the parallels between them, modelling the use of WS5a. The worksheet is designed to allow students to see how the fortunes of the two families compare, an important structural device in this section. Pause while reading to note down the parallels and think about the similarities and differences between the main characters. For example, is Lynny anything like Minnie? Has Jasmine Hadley anything in common with Lynny?
Point out to the class the ominous comment Lynny makes to Callum: ‘The higher you climb, the further you have to fall’ (p. 153). Suggest that such a comment implies worse is to follow. Mention that such an attitude is pessimistic and could be called a tragic view of life.
Development
Ask students to continue reading independently from page 160 to page 182 (end of Chapter 42). Complete for homework if some students need more time.
Tasks while reading:
• Continue to look for parallels between the two families (using WS5a).
• This section of the novel is called ‘Breakdown’. What is the ‘breakdown’ in this section for Callum’s family?
• Why does Sephy decide to attend Lynny’s funeral, and what are the consequences?
• What hints are there in these chapters that worse is to follow?
Plenary
Take feedback on the reading.
Note, in passing, a key plot point – a man with a pony-tail is with Callum’s father on page 175. Have we met him before? Where and when? What is he doing?
Why has Malorie Blackman drawn these parallels between the two families? What does she achieve by doing so?
Continue with a discussion on the concept of tragedy – the idea that some people are ill-fated and that they cannot succeed, even though they promised to be special. Lynny’s comment to Callum suggests this.
What are the hints that worse may follow?
• ‘My ineffectual days are over’ (p. 179)
• ‘Something in his voice scared me. Scared the living daylights out of me’ (p. 180)
• ‘… pave my way faster to hell’ (p. 180)
• ‘… and the shadows lengthen’ (p. 182).
Homework
On page 181 Sephy says: ‘This is growing up, isn’t it?’. Identify at least three things that have happened from pages 144 to 181 to make her say this.
WS5b supports this task, and it can be customized to allow for different student needs.
Parallels
Record your evidence of parallels between the two families using the table below.
|Chapter |The McGregor family |The Hadley family |
| | | |
| | | |
| | | |
| | | |
| | | |
|32 and 33 |Lynny asks ‘Can I come in?’ when Callum is in his bedroom. |Sephy asks ‘Minnie, can I come in?’ when Minnie is in her |
| |He replies ‘’Course.’ They talk. Lynny is pessimistic about|room. She replies ‘If you must.’ They talk. Minnie is |
| |the future. |pessimistic about the future. |
|36 |Lynny goes for a walk. | |
| | | |
| | | |
| | | |
| | | |
Growing up
In Chapter 31, Sephy overhears her parents arguing, and is dismayed to hear that her father is seeking a separation. Not only that, but she also hears him talk about his son and his possible future wife. Sephy feels her world is crumbling because she feels can no longer rely upon either of her parents for support. She realizes that this might be what is meant by ‘growing up’.
Identify three more things that happen between pages 144 and 181 that change things and make Sephy or Callum realize that growing up brings change and challenge, possibly even heartache.
Give reasons for your choice of points.
1.
2.
3.
LESSON 6
Lesson objectives
Yr 9: R4, R12
AF4, AF6
Focus: Pages 185–233 Narrative tension
Learning outcomes
Students will be able to:
• Identify how a writer builds narrative tension
• Evaluate how far a writer’s viewpoint is evident in a fictional text
Starter
Arrange the class so that they can read each other’s research tasks from Lesson 4 homework. Briefly, as they are reading, check their homework responses from Lesson 5 and survey what sources proved most valuable to them in their research. Take the opportunity to evaluate how well they are using research sources.
Complete this section of the lesson by reading page 10 of the Reading Guide together. Ask students if they have changed their minds about social or racial inequality at all, since beginning their study of this novel. Take some brief feedback.
Introduction
Display Ryan McGregor’s words from page 179, ‘My ineffectual days are over’. Ask students what he means by this.
Before beginning reading, ask students what we know already about the Liberation Militia in Noughts and Crosses. What might Ryan and/or Jude do if they join the LM?
Read pages 185 to 201 swiftly with the whole class. Prompt students to respond to the tension that the writer is building in this section with her ominous hints (adults make mistakes, p. 187, Jude’s membership of the LM, p. 190, reference to ‘a noose’ p. 191, Jude’s response to the mention of the shopping centre, p. 197). Draw their attention to the lightness of tone when Callum agrees to meet with Sephy and when Sephy is shopping with her mother. This lightness acts as a contrast just before the crisis.
Ask students to predict the consequences of the bombing. How is this plot development engaging the reader?
Development
Continue reading to page 207. Dwell on the description of the atrocity on page 203 – how does Malorie Blackman want the reader to feel? She uses powerful images of violence and strong words to describe it: ‘carnage’, ‘atrocity’, ‘cowardly, barbaric act of terrorism’ (p. 203), innocent people wounded – a woman, a child (p. 203). Yet, are these her choices? Or one of her characters’? Or someone else’s? Why have these words been used? How can we describe them and the effect they have upon us?
Tell students that you are going to be in the hot-seat as Meggie. They must ask about your feelings when you see the news of the bomb.
Then ask a student to be hot-seated as Jude. Prompt the student to consider how different his view will be from Meggie’s. In questioning him, draw out Jude’s fanaticism and ask students what has made him so violent and extreme.
Plenary
Can the bombing be justified, ever? Does Malorie Blackman have a view to be detected? Reconsider what she says in the Reading Guide on page 4, and what is included on pages 6, 7, 8 and 9. Reflect on these ideas, briefly.
Finally, reiterate the point that Malorie Blackman’s ominous hints make readers anticipate worse events. We want to find out if we have predicted correctly – a clever device to keep us reading.
Homework
Ask students to read independently from pages 208 to 233 and to complete WS6a, which guides them through these chapters and follows through the focus of the lesson on ominous hints.
Reading chapters 51 to 57
How does Sephy cope with change in these chapters?
What happens to Callum’s family and why?
How do Sephy and Callum feel about one another in these chapters?
What in particular happens to Callum at the end of Chapter 56?
Why does Sephy decide she wants to go to boarding school?
What ominous hints or narrative hooks do you notice?
LESSON 7
Lesson objectives
Yr 9: R12
AF6
Focus: Pages 233–257 Genre and plot
Learning outcome
Students will be able to:
• Identify how a writer manipulates genre
and plot to maintain reader engagement
Starter
Briefly, review the homework task, following through the omens and exploring possible future events. You may wish to have a review of events so far for the benefit of the slower readers or students who have missed a lesson. The Navigator can be used for this task. Looking at the section headings is a useful way of reviewing the overall direction of events. A quick quiz to recall major events could be used.
Then ask students in which genre they would place the text so far, checking first that they are confident with the term. Explore some options: love story, family story, school story, thriller? Challenge suggestions and agree the genre. At some stage it will be appropriate to mention that Malorie Blackman calls the book ‘a story of love’. Students may, after their collecting of omens, want to call the story a tragedy. It is important not to discount any generic titles at this stage.
Introduction
Read pages 233 to 246. Ask the class to focus on the genre to which they think this section belongs. When reading Chapter 60, begin to consider why Malorie Blackman has introduced this sort of plot detail at this stage. Is it like a detective story – what do they expect of this genre? Or a police drama – what about that genre? Prompt the class to draw on what they already know about detective/police/law drama.
Development
Ask students to work in groups, reading from page 246 to page 257 focused on how Malorie Blackman maintains reader interest. For example, suggesting that Ryan McGregor will hang, introducing Kelani Adams (who is paying for her?), bringing back Kamal Hadley for one of his rare appearances for the trial (do we like him any more this time?).
Plenary
Share ideas on how Malorie Blackman maintains the reader’s interest.
Return to considering the plot so far (using WS7a for support; if suitable, WS7a can be made into a card-sort activity). How have we arrived at this trial with Ryan under threat of execution by hanging? Where did all this begin? Who is responsible for all this? Encourage students to see how human choices have consequences.
Homework
Ask students to consider the novel so far for themselves. Can they plot the key events that have led to Ryan McGregor’s confession of the Dundale bombing? They can choose to represent this as a flow chart, a storyboard, a list of bullet points – whatever suits their learning style.
WS7a offers sample plot events and can be adapted to meet different learning needs.
Plot kernels
LESSON 8
Lesson objectives
Yr 9: R9, R14, Wr11
AF5, AF6
Focus: Pages 261–286 Reader response
Learning outcomes
Students will be able to:
• Identify the dramatic potential of a court scene in fiction
• Exploit dramatic potential of language for media reporting
Starter
Ask the class if they can recall any TV and film trials. Suggest some recent TV cases they may remember and explore why these make good drama. If possible, show students a short section from a court case drama/film. To Kill A Mockingbird (in the novel, chapters 16–21) would be a pertinent example and could afford some valuable comparisons with Noughts and Crosses. If appropriate, you could suggest students read To Kill A Mockingbird to compare its treatment of race issues with their current novel.
Draw out the key characteristics of a trial that appeal to an audience/reader, e.g. the tension of not knowing the result, the ups and downs of the questioning, the revelations from some witnesses, the unexpected twists in the evidence, the skill of the barristers, the delight in seeing an unpleasant witness being cross-examined, the satisfaction as the truth emerges or horror when it fails to do so, the shifts in sympathy occasioned by events.
Introduction
Suggest that some of these features will be seen in Ryan McGregor’s trial. Ask students what they think the verdict will be, and why.
Read pages 261–286. Read the first chapter swiftly. Then ask students to read the parts of key characters in the court case as dramatically as possible. If suitable, students could be seated to make the classroom look like a courtroom with everyone taking on a role in the court during the dramatic readings, which continue to page 286 (with some lapses). The teacher should take the role of narrator and read the sections that are not set in the courtroom. Pause to allow responses that may arise during the reading.
When the reading is complete, ask the class if they consider this a dramatically successful part of the novel – and why, or why not. Has Malorie Blackman used the classic courtroom drama to good effect? Take feedback.
Development
Tell students that they are now going to write up the news item about the McGregor case for an evening TV news slot in the Noughts and Crosses society. Their report must last for 60 seconds and must obey the golden rules of news reports: it must include the who, what, where, when, why and how of the case. Refer back to the reporting of the bombing (p. 202) as a model and/or use WS8a to support the task, providing some starting points and suggestions. Students must remember that Crosses dominate the media, and this fact will give their report its slant. Their report must aim to be dramatic and emotive (influencing the reader’s feelings), as the report of the bombing did.
You may choose to work with a guided group for this task, using WS8b to support the students’ writing. Looking again at the report of the bombing, and exploring the emotive language used in describing it, will be helpful.
Plenary
If appropriate, read out the students’ initial attempts at their news report and draw out strong features from which others can learn.
Ask the class what they think will be the verdict of the trial and why. Are there any bad omens (e.g. page 284 – Callum’s dream of being shut in a box)?
Recap on the previous homework task, retracing the plot details that led the McGregor family to this ‘trial of the century’. The WS7a card sort could be used here as an alternative way of checking the homework task.
Homework
Ask students to complete and perfect their TV news stories for assessment in a week’s time.
TV news story
Write up the news item about the McGregor case for an evening TV news slot in the Noughts and Crosses society. It must last for 60 seconds and must obey the golden rules of news reports to include the who, what, where, when, why and how of the case. Remember that Crosses dominate the media, and that will give your report its slant.
Remember to use emotive words as Malorie Blackman did when she reported the bombing as seen on television. (See pages 202 to 204.) You can draw on the detail of his charge, given on page 246, as well as events included in the novel during the trial from pages 264–286.
You must write in the third person and concentrate on a) the facts, b) feelings, with a bias towards the ruling Cross class.
You could begin:
The trial of Ryan McGregor, accused of the terrorist bombing at Dundale Shopping Centre, continued today. McGregor has pleaded not guilty and we are currently awaiting the verdict…
Guided work
For the guided group on the TV report of the trial
Introduction
Check through the task on Worksheet 8a.
Strategy checks
Recall the events in the court case and decide what would be reported. Collect the who, what, when, where, why and how of the case, drawing on the text (pages 246, 264–86).
Check the style of the TV report of the bombing given on pages 202–204.
Remind students of their time limit, working out roughly how much they will need to write by timing 60 seconds as they read some text at about the right speed for the news.
Independent writing
Model writing an opening phrase based on the facts collected, then support students to suit their needs as they work independently or, if you prefer, in pairs, on the writing.
Return to the text
Ask individuals to read out their reports, check the timing and check for the vital details.
Review
What have the students learned about writing a news report? What are the important things to remember when time is short?
LESSON 9
Lesson objectives
Yr 9: R12, SpL12
AF6
Focus: Pages 289–304 Writer’s craft
Learning outcome
Students will be able to:
• Explore how a writer’s choices (viewpoint, structure, language) affect a reader’s response
Starter
How have we already seen the ways a writer can affect a reader’s thoughts and feelings? Refer to students’ TV report and the one in the text describing the bombing, with its emotive language. How does Malorie Blackman seek to affect the reader’s responses at the end of the previous chapter: ‘And I heard the verdict that time…’ (p. 286).
Point out that the next section is called ‘The Way It Is’ – does this suggest what the verdict was?
How are we expecting the next chapter to start?
Introduction
Begin reading from page 289. Model the use of WS9a to record responses to the next chapter as you read, dwelling on Sephy’s innocence and childishness. Stop at the point where they have reached the prison and Sephy is feeling hot (top of page 292).
Students should then read pages 292 to 304 in groups. Ask them to continue to use WS9a to note the writer’s choices and their responses.
Either prearrange for a student or two to give feedback, or take students through the task yourself.
Development
Ask the class why they think Malorie Blackman chose to write this part of the novel as she did. (To shock? To disgust? To increase sympathy for Ryan and increase hatred of Kamal Hadley?)
Direct one student to play each of these characters:
• Callum
• Ryan
• Meggie
• the prison officer
• Kelani Adams.
They are going to act out the very end of Chapter 78. Ask other individual students to sculpt each character into position for this final scene, just before Ryan walks away from everyone, from ‘Ryan, you’re nor going to do anything stupid, are you?’ (p. 304).
When the class are content with the ‘stage’ picture, ask students to voice the innermost thoughts of Ryan, Meggie and the officer at this moment, in turn. Students may disagree with one another; find a point of agreement about each character.
Then ask one student where they, as a reader, would place themselves in the scene, showing whom they feel closest to in sympathy. Other students can agree or disagree, giving reasons. Then ask a student to be the writer and place himself or herself in the same moment. Listen to agreements or disagreements until consensus is reached.
Plenary
How successful is Malorie Blackman in directing reader response in this section? How has she achieved this? Explain that the homework task will ask them to look in some detail at how Malorie Blackman uses language to develop her readers’ response. Explain the homework task in the detail appropriate to the class, offering further examples if necessary, or limiting their comments to three points, for example.
Homework
Ask students to look closely at WS9b (a short extract from the novel and a task). They should make a first analysis of how Malorie Blackman’s choices of language, structure and viewpoint affect reader response in this extract.
The writer’s choices and your response
|Page |What the writer does |What effect this has on the reader |
|Page 289 |Begins the chapter with Sephy on a |I begin to suspect the worst, though I am not certain. I |
| |swing – childish, carefree, innocent. She sulks when her |know more than Sephy. |
| |Dad tells her off and is only thinking of herself. | |
|Page 291 |Mentions the prison and makes Sephy ask questions. |Now I am sure something nasty will happen. |
|Page 292 |Makes Sephy focus on herself – ‘my dress was beginning to |I know she’s being naïve. |
| |stick to me ...’ | |
|Page 292 | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
Language, structure and viewpoint
How do Malorie Blackman’s choices of language, structure and viewpoint affect reader response in this extract? Add your own comments to those already provided as a model.
Things to look for:
■ How Sephy’s particular viewpoint and feelings about what she sees make the reader feel.
■ The order of thoughts and events that shape reader response.
■ Word choices and expressions that affect the reader.
‘Nothing is going to make me sit here and watch this. I’m leaving,’ I turned on my heels, trying to push past the other dignitaries in my row.
Mother stood up, spun me around and slapped my face. ‘Now sit down and don’t say another word.’
Cheek smarting, eyes stinging, I sat down. Some eyes were watching me. I didn’t care about that. More eyes were watching the scaffold. Well, maybe I couldn’t leave but they couldn’t force me to watch. They couldn’t force me to raise my head. And if they did, they couldn’t force me to open my eyes. And if they did, they couldn’t force me to see. But I couldn’t keep my gaze lowered… Slowly, I raised my head, my eyes drawn to the sight, my heart disgusted by it. Angry with myself, I turned away, only to find myself looking straight at Callum. He wasn’t watching his dad either. He was looking at me – and wishing me and every other Cross as dead as dead could be. I’d seen that look on other’s faces – noughts looking at Crosses, Crosses looking at noughts. But I’d never seen it on Callum’s face before.
And I knew in that moment that now I’d never stop seeing it. Flinching, I turned. Back to the scaffold. A choice of views. Hatred or hatred. They were putting a black hood over Callum’s dad’s head now. The prison clock began to strike the hour. When it struck six, it’d all be over.
LESSON 10
Lesson objectives
Yr 9: R7, R12
AF4, AF5, AF7
Focus: Pages 305–331 Comparison
Learning outcome
Students will be able to:
• Recognize the nature of tragedy
Starter
Briefly review the previous homework task, asking how straightforward they found the task and taking in the student work for comment. Time could be spent sharing some examples of the work before moving on to the next task.
Distribute the Reading Guide. Turn to pages 12–13 to consider parallels between Romeo and Juliet and Noughts and Crosses. Work through the tasks as set in the guide but working from what they currently know of the plot. Ask students if they think Noughts and Crosses will end so tragically. If so, why do they think this? If not, again, what are their reasons for this belief?
Introduction
Read from pages 305 to 316. Ask the class if this reminds them of the plot of Romeo and Juliet – in which respects?
Then ask: can this happiness last? How do we know it will not? Suggest the story is structured like a tragedy – refer to page 13 in the Reading Guide.
Ask students what bad choices Sephy and Callum make. Give students a few minutes in
pairs to review the plot so far, thinking of the bad choices, and then share these.
Ask the class what clues we already have that things will deteriorate. Field some suggestions from students. Advise students to be alert to the choices that will follow and what they might lead to. Sample some of their current predictions.
Development
Ask students to read independently or in groups to page 331. They must note what they think are the tragic clues and bad choices, using WS10a to record the page references and their reason for choosing it. Some suggestions are given on the worksheet.
Plenary
Discuss and agree key tragic clues and bad choices.
Ask the class: if they know the story will end unhappily, why read on?
Homework
Using the uncut version of WS7a as their starting point and model, students should continue to select key events of the plot from where that sheet ends to their current page of reading. WS10b provides suggestions for the rest of the novel. This sheet could be adapted to support students, if wished: adapt or cut it to match students’ current stage of reading. Students will also use this plot outline in a later task.
Remind students also that their news report of the trial is due for handing in for the next lesson.
Tragic clues and bad choices
On page 311 Sephy thinks of ‘all the million and one other well-meant but badly thought out things I’d done in my life’. Can you find more such bad choices in the next eight chapters? Can you also find some clues that bad things seem inevitable?
Record page references and/or quotations, and your reasons for your choices, as in the examples below:
|Page |Tragic clue or bad choice |Reason |
|321 |Callum meets Jude and agrees to join the Liberation |Callum must realize that this will be fatal. It has already|
| |Militia: ‘I’m in.’ |killed his father. |
| | | |
|322 |Sephy relies on a letter delivered by someone else to let |Relying on a messenger is risky. It might not be Callum but|
| |Callum know she is going to Chivers if he doesn’t confirm |the messenger who lets her down. |
| |that he will run away with her: ‘Please don’t let me down.’| |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
More plot kernels
LESSON 11
Lesson objectives
Yr 9: R12, Wr17
AF2, AF5, AF6
Focus: Pages 335–359 Writer’s craft
Learning outcomes
Students will be able to:
• Select key character developments
• Analyse how a writer’s use of language, structure and viewpoint affect a reader’s response
Starter
Hand back student work on language analysis from Lesson 9 homework, drawing out key points for learning. If possible and appropriate, display a good example of work. Take in the news reports on the trial (Lesson 8 homework). These can be displayed later.
Ask students to pair review their plot event lists and briefly agree essential points, using WS10b (adapted as necessary) if appropriate.
Examine the title of the next section – ask the class to consider who the hostage will be and ask for reasons to justify any views.
Introduction
Tell the class that the next section of the novel takes place three years later. What developments in the two main characters might they predict? Will age have changed them?
Give the class 15 minutes to read independently up to page 349, noting the key character developments and experiences of Sephy and Callum. For example, Sephy appears confident after a liberal education. She has joined an educated dissident group, ‘Crosses fighting for change in the system’ (p. 336). It gives her ‘my reason for doing well’ (p. 336). She is going to be a lawyer and feels she has ‘direction to my life’ (p. 338). Callum works his way up the LM ranks and at 19 is a sergeant in a well-respected cell codenamed Stiletto (p. 344). He has become vengeful and cold; ‘the Callum Ryan McGregor who loved to sit on the beach and watch the sun go down didn’t exist any more’ (p. 339). He has a reputation as ‘the first one into danger and the last one out’ (p. 343).
When the reading has been completed and the character developments noted, ask the class: Why is the reunion with Jude dangerous to Callum and everyone else in the cell? Do they detect any changes in the character of Jude? Why does Callum want to see Sephy?
Development
Share the reading of chapters 92, 93 and 94, focusing on how the writer’s choices of structure, language and viewpoint affect readers’ responses, using WS11a for class recording. For example in Chapter 92, Blackman uses dialogue and Callum’s viewpoint to suggest the threat to safety that Jude presents. She describes Callum’s hostility to Jude with phrases like ‘My brother could go rivet himself’. The reader sees Callum resisting Jude’s bullying while the others present fall for his ‘big man’ act.
Take some time to read the section, drawing out such detail, especially of the actual kidnapping.
Plenary
Tell the class that for homework, they will be writing an analysis of how the writer’s use of language, structure and viewpoint affect the reader’s response in Chapter 93. Remind them that they partially completed such a task previously and explain what such work will require this time. If you wish to differentiate the homework, limit the number of points required, or ask some students to tackle only one aspect of the task, or provide some students with particular points you would like them to explain.
Model for the class how to write a full comment on viewpoint or structure or language, by selecting a point from Chapter 93. Use WS11b as an example if suitable. This sheet can also be used to support the homework task.
Homework
Students should write an analysis of how the writer’s use of language, structure and viewpoint affect the reader’s responses in Chapter 93.
Analysing language, structure and viewpoint
|Aspect to consider |Quotation and page reference |Exploration/comment |
|How the particular viewpoint | | |
|and feelings make the reader | | |
|feel | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
|The setting of events | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
|The order of thoughts and | | |
|events that shape reader | | |
|response | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
|Word choices and expressions | | |
|that affect the reader | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
Comment
Malorie Blackman chooses to present the initial kidnap from Sephy’s point of view, so Sephy (though not the reader) is relaxed, not suspecting anything and happily anticipating meeting Callum: ‘I couldn’t remember when I’d felt more at peace’. The reader either feels sympathy for Sephy because he/she knows Sephy has been tricked, or possibly enjoys anticipating her inevitable capture.
The setting for this key event is Sephy and Caluum’s old meeting place, the beach. The reader is doubly critical of Callum for allowing this event to occur on such hallowed ground. The choice of setting allows Malorie Blackman to dwell on Sephy’s innocence as Sephy kicks up ‘the water lapping over my feet and ankles’ and revels in ‘the moonlit water’. Sephy clearly feels she is in a potentially romantic scene. The reader knows otherwise.
The writer also chooses to create suspense by emphasizing the time lapse: ‘I glanced at my watch…’, followed by the sudden appearance of what looks to Sephy a very grown-up Callum. The language used to describe Callum suggests Sephy’s admiration of him: ‘He’d definitely sprouted muscles…’. But the reader already knows these muscles will be used against her. It is ‘a brief, icy-cold kiss on the lips’ that alerts Sephy to the truth.
LESSON 12
Lesson objectives
Yr 9: R12
AF4, AF6
Focus: Pages 359–408 Reader response
Learning outcome
Students will be able to:
• Begin to recognize how a writer prompts a reader to anticipate the ending of a novel
Starter
Peer review the homework analysis, identifying and sharing successful features. Take in students’ work for more detailed review.
Introduction
Read pages 359 to 380 with the class. Ask students to focus on Callum’s internal conflict. This is a large amount of reading but it is a tense and emotional part of the text. What would be Callum’s best choice right now, and why?
After the reading (or if suitable, at stages during the reading), allow students time to discuss the question in pairs, and to note down what they think he ought to do and what they think he wants to do before the next task. They must also discuss in their pairs how he must be feeling.
Before starting the next activity, ask students how much sympathy they have for Callum at this time.
Development
Ask one student (at a time) to play Callum. Organize a conscience corridor for Callum, with other students ranked on two sides of Callum, expressing alternative choices and feelings – on one side, students will be telling him what he ought to do, on the other, they will be tempting him to do what he really wants to do. Callum must listen to everyone’s suggestions and then make a choice. Try this with more than one student. Students can develop and change what they say as his ‘conscience’ each time if they wish.
Follow this by asking the class to compose questions for Callum about his feelings at this difficult time. Hot-seat one of the Callums, to develop the interpretation of his feelings and the reader’s sympathies for his predicament.
Plenary
Ask a student to sculpt another student (as Callum) into a likely pose for the last line of Chapter 100. Ask individuals in the class to position themselves to represent their degree of sympathy for Callum. Then ask another student to place themselves as the writer. What do we learn from the distance between the two?
Ask the class to predict – what will Callum do?
Homework
Ask students to follow the instructions on WS12a. They should read pages 380–386, pause and answer the questions. Then continue reading to confirm predictions.
Predictions
Read pages 380– 386.
1 What previous plot details and patterns have been developed that might help the reader to predict what happens in Chapter 101?
• The first kiss in the first chapter
• The first real embrace when Sephy has been drinking
• The balcony scene and Callum’s night in Sephy’s bedroom
• The recognition by both parties that they have grown and developed since they last met; those developments are attractive
• Callum’s wish that someone should ‘Get me out of here, before I do something I’ll regret’ (p. 380)
2 Predict the consequences:
• in the short term
• in the long term.
3 Read to page 408 to confirm your predictions.
LESSON 13
Lesson objectives
Yr 9: R9, R18
AF4, AF6
Focus: Pages 409–432 Reader response
Learning outcome
Students will be able to:
• Confirm how a writer prepares a reader for a novel’s conclusion
Starter
Take feedback from the previous homework (WS12a) sharing plot patterns and predictions.
Briefly return to the Reading Guide, pages 12–13, on the tragic structure. Has the plot continued to follow the tragic structure? How far does the plot resemble Romeo and Juliet? In what ways is it different?
Introduction
Read pages 409–432 swiftly, but allowing comments to arise where appropriate. Ask the class to focus on either Sephy or Callum and be prepared to explain their actions and reactions in this part of the novel.
Development
There may only be a short time for this discussion once the reading is completed, and enough time must be allowed for the plenary.
In groups of four (all four must have focused on Sephy in their reading), students should explore the dilemma faced by Sephy. Which would they choose and why? In groups of four also, those who have focused on Callum must consider: What would Callum want?
How do both sets of students respond to Kamal Hadley’s attitude at this point in the plot?
Spend some time with the class as a whole considering the role of Kamal Hadley in the plot. He is a dark and threatening character throughout. Does he do anything good? Can we admire him in any way? Do Sephy’s feelings for him change over the whole novel? Is he just the villain? What does he represent? Is there anyone else in the novel who possesses his amount of calculating nastiness? Is he too much of a cardboard cut-out of a villain? Ask students to reflect on his character and role in the novel for a few minutes.
Take feedback.
Plenary
What are the possible endings for this novel? What is likely to be most satisfying, given the themes and the nature of the novel? Remind students of the tragic overtones throughout – what factors might lead us to suspect the worst?
Use the plot structure that has been agreed to begin to plot the emotional highs and lows of the novel. Suggest that this could have two plot lines – one for Sephy and one for Callum. How might they match each other? WS13a offers one such graph, for Sephy, but it will be important to negotiate the precise feeling of the class about this graph. If you wish, use the Navigator to support this task, using the highest and lowest points in the main sections of the novel as points for recording the emotional intensity. The happiest moments will be 10 and the worst moments 0.
Homework
Students must plot their own emotional graph for the main events in the novel, explaining how their graph will help them to predict the novel’s ending. You may choose to give some students one character’s emotional highs and lows only to plot. For more able students, you might wish to ask them to consider the differences between Sephy’s and Callum’s graphs.
Plot graph
Emotional graph of the major plot events for Sephy – key moments only
LESSON 14
Lesson objectives
Yr 9: R18, SpL9
AF4, AF6
Focus: Pages 435–445 Whole text
Learning outcome
Students will be able to:
• Develop their responses to and judgements about a text through exploratory talk
Starter
Very briefly, explore ideas from homework through peer discussion. The likely conclusion is that events take a downward slope in this novel with the occasional, short-lived moment of happiness.
Read the very end of novel (pages 435–445) with the class (though it is likely they will have read this for themselves by now).
Introduction
Give students a few minutes to talk in pairs about their responses to the end of the novel if that seems appropriate. Some students may be shocked by the ending and need time to reflect before discussing their ideas with the whole class. Some may not wish to talk about it.
If students seem ready to respond orally, take immediate responses and allow the ideas to develop freely. If they seem reluctant to respond at this point, use OHT14a to open up some ideas. Or this sheet can be used when suitable for the class.
Allow the discussion to reach some satisfying agreements about the ending.
Development
Distribute the Reading Guide. In groups or pairs, students should read pages 14 and the top of page 15, and address the stimulus questions. They can also look back at page 11 or the writer’s letter and reconsider her views on racism.
Share further responses as appropriate. Students may also wish to phrase questions about the novel they would still like answered.
If time is available, the class could be directed to the Noughts and Crosses website to find answers to their questions and survey wider views of the novel.
Plenary
Explain to students that when a novel is written, it is sent to editors who comment on what they like and more particularly, what they might want changed or cut. Ask students to imagine that they are an editor. What three positive comments would they make about the novel to its writer? What two things might they challenge and why? Give students a few minutes in pairs and then fours to generate ideas.
Share a few ideas, drawing on all the positive suggestions and then offering suggestions for possible editing, e.g. cutting certain sections or changing the ending.
Homework
What three positive comments would they make about the novel to its writer? What two things might they challenge and why?
The ending
Malorie Blackman said the following in an interview:
It was funny because I was writing it and I wasn't sure how it was going to end, and I felt, Oh no! It was like it wasn't my story any more. It wasn't my story from about chapter two, it was just like these people were talking through me. It sounds bizarre when I say that, but it really did feel like that. It was like these people were talking through me and I was trying to get it down. At the end I got so close to Callum, I thought Oh my god, at my keyboard, and it was so bizarre. It had never happened to me before. In Pig-heart Boy at the end Cameron's Nan dies and I kind of felt if you are dealing with the issue of someone facing their own mortality then it'd be a bit false for no one to die. And at the end of that I kind of got a lump in my throat when she did. But this one I was in tears.
I originally finished it when Sephy says, 'Please God, please let him have heard me. Please. If you're up there somewhere.' And Annie said, could we have something a bit positive at the end? And I thought I didn't want to add another chapter. So I thought, OK, a birth announcement saying that she’s had this child, that she's given it Callum's surname, and you know she's had the baby. I think that was actually a good thing, because it would have been so, so downbeat. But again, that for me was the middle of the story.
LESSON 15
Lesson objectives
Yr 9: R18, Wr13
AF4, AF6
Focus: Evaluating the text
Learning outcomes
Students will be able to:
• Judge how appropriate Noughts and Crosses has been for class reading
• Use informative and persuasive language to promote a novel or give reasons for not promoting it
Starter
How are books chosen for schools? Sample some student responses to this question. Then, distribute WS15a and ask students to rate Noughts and Crosses according to these criteria.
This task can be differentiated as follows:
• The most able can decide their own criteria and then compare them with the list before completing.
• The criteria can be limited for the less able, or the task could be guided to varying degrees.
Introduction
Tell students that they are going to complete a writing task that will help them to evaluate Noughts and Crosses as a whole. They will eventually be delivering their writing as a speech to a senior teacher. The idea is that the English department wants to purchase another set of Noughts and Crosses because the teachers think it meets so many of the criteria.
Students should:
Write a convincing, persuasive promotion of Nought and Crosses lasting no more than three minutes, suitable for an audience of teachers (WS15b supports this task).
Page 15 in the Reading Guide offers further support for this task.
Should there be some dissenters in the class, they might like to be different and to write a persuasive argument to convince the same audience that Noughts and Crosses is not a suitable text for a class reader. This would be a useful choice for higher-attaining students and would add value to the eventual presentations, but it is not essential.
Model identifying the sort of informative and persuasive writing to employ, as appropriate to the group’s needs, using WS15b as a guide.
Development
Allow students to plan and write up their promotions. To differentiate the task, students could work in pairs on planning. WS15c offers some prompts for writing, if needed. Allow a short time to ensure students have understood and started on the task, but they will not have finished it.
If there is time, allow some peer review of writing in progress and identify strong features and points for improvement.
Arrange for the completion of this written task and, if appropriate, for presentation of the most effective examples to a senior teacher at a convenient date.
Plenary
Conclusions – ask the class what they think they have learned, in particular, from reading this novel. Take some feedback. Then ask students to complete the self-evaluation (WS15d).
As students finish the self-assessment sheet, they can read through the Pathways page in the Reading Guide.
Homework
Students should write up their promotional materials for possible presentation in future.
Criteria for choosing a class novel
Which of the following do you consider makes Noughts and Crosses a good choice?
What other reasons would you suggest for choosing Noughts and Crosses?
|Criteria |This is true of Noughts and Crosses (grade |
| |from 0 to 5; 5 is highest grade) |
|The themes and the subject matter are suitable for the age group | |
|The content is unlikely to cause offence to any particular pupil group | |
|The reading demands will suit most of the class, offer some challenges, and be within the | |
|reach of all readers with support | |
|The language and style will engage all readers | |
|It is rich enough to engage readers of different abilities, sexes, cultures and interests | |
|It allows the teacher to address particular and appropriate reading strategies | |
|It goes beyond previous reading experiences | |
|It has an appeal for the age group and is topical | |
|It will lead students to other texts by the same author or on a similar theme | |
|It will still feel like a good novel in five years’ time | |
|It lends itself to reading aloud and being shared as a class or group text | |
|It contains enough starting points for discussion | |
|The themes and characters are strongly presented and developed | |
|It has been written since 2000 | |
Which are the three most significant criteria that make Noughts and Crosses a good choice for class reading?
1
2
3
Promoting Holes by Louis Sachar
Thank you very much for agreeing to listen to me. As you know, the English department would like to purchase some new novels for years 8 and 9 to read in class next year. There is one novel in particular that I think is vital for year 8. That novel is Holes by Louis Sachar.
My reasons for selecting this novel are many. I will mention just a few.
Most importantly, it is a wonderful story – a teenage boy, Stanley Yelnats, finds himself in Camp Green Lake in the middle of an American desert. He has been wrongfully punished for a crime that he didn’t commit. He finds himself condemned to hard labour, digging holes in the sun-baked desert with a bunch of disaffected but fascinatingly diverse adolescents. But in the camp, his life (and that of his whole family) is utterly transformed. The history of his family and that of his friend Zero become strangely connected. The warden of the camp, it appears, has good reason for making her prisoners dig holes – Green Lake has a history too and Stanley is destined to find its secrets – all readers are hooked from the start.
That alone does not mean it is a good choice for class study. The story stimulates all sorts of discussions on topical issues that interest the class – crime, punishment and injustice being the most obvious. The characters in the camp also appeal to year 8 – they are portrayed as lively and varied teenagers – and they also represent a range of different ethnic groups, which is valuable. Apart from them, there are some amazing characters from the past – a wonderful old lady called Madame Zeroni, who has the power to foretell the future, and a tough American teacher, called Kissing Kate Barlow. Venomous lizards and life-saving onions also feature.
The novel is excellent to read aloud. It presents challenges because it makes the reader work hard to make connections between the different strands in the plot, but this structure also makes for a satisfying read.
Many modern novels for teenagers end unhappily and can give teenagers an over-pessimistic view of life. Holes does the opposite. Stanley is rewarded for being honest and loyal to his friends and for committing himself to a difficult cause. In this novel the bad are punished and the good end happily. It is a great book and worth the study.
Writing persuasively and informatively
Sentence starters and ideas
Firstly, this novel is …
Most importantly, this novel is ……
Another reason why this is a good choice is …….
The characters are
The issues are because…
I recommend this novel because…
It is suitable for year ____ because…
It will be good value for money because…
This novel made me feel ____ because…
This novel teaches that… so…
WS15d Self-assessment sheet
|AF |Assessment focus |You practised this when: |I do this |I can do |I need to |
| | | |well |this |practise this |
| | | | |some-times | |
|AF2 |Understand, describe, select or |you noted ways in which Noughts and Crosses were | | | |
| |retrieve information, events or |treated in their society | | | |
| |ideas from texts and use quotation| | | | |
| |and reference to text | | | | |
|AF3 |Deduce, infer or interpret |you worked out what was suggested about certain | | | |
| |information, events or ideas from |characters and their relationships in the Prologue | | | |
| |texts | | | | |
|AF4 |Identify and comment on the |you looked at how characters’ lives ran in parallel | | | |
| |structure and organization of |you predicted how the plot would develop | | | |
| |texts, including grammatical and |you thought about narrative tension | | | |
| |presentational features at text |you thought about how the novel would end | | | |
| |level | | | | |
|AF5 |Explain and comment on writers’ |you analysed the TV news report on the bombing | | | |
| |uses of language, including |you explored and then analysed Malorie Blackman’s | | | |
| |grammatical and literary features |choices about viewpoint and language | | | |
| |at word and sentence level | | | | |
|AF6 |Identify and comment on writers’ |you thought about Malorie Blackman’s viewpoint | | | |
| |purposes and viewpoints, and the |you placed the writer beside the characters in drama| | | |
| |overall effect of the text on the |exercises | | | |
| |reader |you placed the reader beside the characters in drama| | | |
| | |exercises | | | |
| | |you thought about your response to events, | | | |
| | |characters and endings | | | |
|AF7 |Relate texts to their social, |you thought about black history, Malorie Blackman’s | | | |
| |cultural and historical contexts |context and your own society | | | |
| |and literary traditions |you considered the novel beside Romeo and Juliet and| | | |
| | |as a tragedy | | | |
|Teacher comment |
| |
| |
| |
| |
| |
| |
| |
-----------------------
Acknowledgements:
We are grateful for permission to include the following copyright material in these resources
Malorie Blackman: extract of interview quoted on Laura Atkins website, used by permission of Malorie Blackman.
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.
Illustrations:
Steve Evans Design and Illustration
Callum writes to Sephy, asking her to meet him, but Sephy becomes a victim of kidnapping. Callum’s LM cell will use her to raise funds from her father for their cause.
Jude arrives as the new lieutenant for Callum’s LM cell.
Three years pass as Sephy succeeds at Chivers boarding school and Callum becomes a sergeant with the Liberation Militia.
Sephy decides she will go to Chivers boarding school unless Callum prevents her. She sends him a letter, telling him of her decision, but he fails to read it in time.
Callum meets Jude and is persuaded to join the Liberation Militia.
Ryan McGregor is electrocuted when he tries to escape from prison.
Callum secretly climbs up to Sephy’s bedroom and spends the night with her.
Sephy is made to attend Ryan’s hanging but he is reprieved at the last moment.
A high-profile trial of Ryan McGregor finds him guilty despite valiant defence by Kelani Adams (who has been secretly paid for by Jasmine Hadley).
Ryan McGregor confesses to the bomb blast to save Jude – he is formally charged with political terrorism and seven counts of murder.
The McGregor house is raided and Callum is arrested.
Jude and Ryan McGregor leave the McGregors’ home at Meggie’s request.
When Meggie’s hand is treated in the hospital, Jude and Callum’s fingerprints are taken – they ask for the prints to be destroyed.
The scene of the bomb explosion is shown on TV and Meggie McGregor is furious with Ryan and Jude – she injures her hand in her fury and has to go to hospital, accompanied by her sons.
Callum announces he is going to the Dundale Shopping Centre and Jude tries to stop him. Callum finds Sephy in the café and takes her to safety just before a bomb, planted by the Liberation Militia, goes off.
Sephy tells Callum she is going shopping at the Dundale Shopping Centre.
Ryan and Jude McGregor secretly join the Liberation Militia.
Lynette McGregor commits suicide.
Callum goes to Heathcroft High School, but the prejudice against noughts is hard to bear.
Lynette McGregor has a Cross boyfriend but the relationship ends in tragedy and Lynette has mental health problems.
Jasmine Hadley dismisses her long-standing employee Meggie McGregor when Meggie fails to provide her with an alibi at a time when Kamal Hadley suspects his wife of being unfaithful. As a result, Jude McGregor has to leave school because his mother’s loss of work causes family hardship.
Concluding positive comment
Indicating that I am being selective
Not revealing a key factor
Moral appeal – will influence for good
A few key plot details but not all
Adverbs used to stress interesting qualities
Each paragraph tackles a new reason for recommending
Academic appeal – hard work!
Curiosity-stirring detail
Selection of key points of interest
Reasons draw on criteria from WS15a
Adjectives to appeal to listener and make characters sound fascinating
Naming the novel and writer
Polite opening
Another key factor
First and best reason
‘All’ and ‘hooked’ are positive recommen-dations
Giving reason for meeting
fascinating
unique
wonderful
amazing
sympathetic
The verbs ‘spun’ and ‘slapped’ suggest violence, and shock the reader
Sephy makes a brave but pointless stand – the reader feels some sympathy
At first Callum can cope with being cruel to Sephy but eventually the pair cannot deny their love for one another and become lovers, though they are immediately frightened by what they have done, knowing it will have consequences.
Jude and Callum’s LM cell is betrayed by Andrew Dorn, who has been a ‘mole’ for the Crosses for years – Sephy tells Callum, thus enabling them to avoid capture.
Sephy – with Callum’s help – escapes from her kidnappers.
Sephy finds that she is pregnant.
Callum finds out about the pregnancy.
Sephy wants to keep her baby but her parents want her to have an abortion.
Callum risks visiting Sephy in her rose garden but he is arrested.
Kamal Hadley offers Callum the choice between his own life and the life of his baby. Sephy is also offered a choice – either she has an abortion or Callum will hang.
Callum is hanged. Sephy gives birth to Callie Rose.
topical
current
relevant to today
crucial
Ryan
McGregor
Meggie McGregor
Callum McGregor
Jude McGregor
Lynette McGregor
Noughts
Crosses
Sephy Hadley
Minerva Hadley
Jasmine Hadley
Kamal Hadley
................
................
In order to avoid copyright disputes, this page is only a partial summary.
To fulfill the demand for quickly locating and searching documents.
It is intelligent file search solution for home and business.
Related searches
- staying in a dead marriage
- living in a dead marriage
- what does a dead bird symbolize
- what is a dead marriage
- calling a function in javascript
- c calling a function
- charging a dead car battery
- charging a dead 12 volt battery
- charging a dead battery with a charger
- recharging a dead car battery
- python calling a function within a function
- calling a function python