Y7 & Y8 – 25/05/17

Due: 05/06 (Issued: 25/05)

Title: Paper One – Awful Auntie

Spend 15 minutes reading and preparing the extract for your answers (identify which parts are relevant to which questions and identify important subject terminology).

Use the following sentence starters for the following questions:

Question 2: (Write two full paragraphs)

Point: The writer uses language to…
Evidence: This is revealed in the quotation “…”
Identify & Define: The     “…” shows/suggests…
Writer: The writer is signifying / implying / suggesting… because…
Reader: The reader feels / imagines / thinks… because…
Link: Further, the writer… / This is further supported by the quotation “…”

Question 3:  (Write at least two full paragraphs)

Focus: The focus [opens on / shifts / broadens / narrows to]… where the reader learns…
Evidence: The writers states “…” and “…”
Questions & Answers: The reader is questioning / has learned… because…
Effect: The focus [is / has changed] because… to make the reader feel…

Question 4: (Write at least three full paragraphs)

Point: I (dis)agree with X to a [great / certain / minimal] extent because the writer uses language to…
Evidence:This is revealed in the quotation “…”
Identify & Define: The     “…” shows/suggests…
Writer: The writer’s method of… [signifies / implies / suggests]… because…
Reader: [I / This makes me] [feel / imagine / think]… because…
Link: Further, the writer… / This is further supported by the quotation “…”

Section A

Answer all questions in this section.

You are advised to spend about 45 minutes on this section.

  1. Read again lines 1-5.

List four things from this part of the source about Stella.                                (4 marks)

 

  1. Look in detail at lines 34-39 of the source

How does the writer use language here to describe Aunt Alberta?

You could include the writer’s choice of:

  • Words and phrases
  • Language features and techniques
  • Sentence forms (8 marks)

 

  1. You now need to think about the whole of the source.

How has the writer structured the text to interest you as a reader?

You could write about:

  • what the writer focuses your attention on at the beginning
  • how and why the writer changes this focus as the source develops
  • any other structural features that interest you. (8 marks)

 

  1. Focus this part of your answer on the middle part of the source, from line 13 to line 21.

A student, having read this section of the text, said “This part, where Stella recalls being terrified, builds suspense and makes the reader anxious for her”.

To what extent do you agree?

In your response, you could:

  • Consider your own impressions of the growing suspense
  • Evaluate how the writer reveals the suspense through Stella
  • Support your opinions with quotations from the text.                              (20 marks)

Awful Auntie by David Walliams

Stella Saxby is the sole heir to Saxby Hall, but she is also the prisoner of her awful Aunt Alberta, who has other ideas.

Stella felt as if she had been asleep forever. Was it days? Months? Years? Her mouth was as dry as a desert. Her body felt as heavy as stone. As still as a statue.

For a moment the little girl thought she might still be asleep and dreaming. Dreaming she was awake in her bedroom. Stella had experienced that dream before, and it was frightening because try as she might she couldn’t move. Was this the same nightmare again?

Or something more sinister? To test whether she was asleep and dreaming, the girl thought she would try to move. Starting at the far end of her body, first she tried to waggle her little toe. If she was awake and she thought about waggling her toe it would just waggle. But try as she might it wouldn’t waggle, or wiggle. Or even woggle. One by one she tried to move each toe on her left foot, and then each toe on her right. One by one they all point-blank refused to do anything. Feeling increasingly panicked she tried to circle her ankles, before attempting to stretch her legs, then to bend her knees and finally she concentrated as hard as she could on lifting her arms. All were impossible. It was as if she had been buried in sand from the neck down.

Beyond her bedroom door, Stella heard a sound. The house dated back centuries, it had been passed through many generations of the Saxby family. It was so old that everything creaked, and so vast that every noise echoed down the endless labyrinth of corridors. Sometimes the young Stella believed that the house was haunted. That a ghost stalked Saxby Hall in the dead of night. When she went to bed, the little girl was convinced she could hear someone or something moving about behind her wall. Sometimes she would even hear a voice, calling to her. Terrified, she would dash into her mother and father’s room, and climb into bed with them. Her mother and father would hold Stella tight, and tell her she was not to worry her pretty little head. All those strange noises were just the clatter of pipes and the creaking of floorboards.

Stella was not so sure.

Her eyes darted over to the huge oak-panelled door of her bedroom. At waist height there was a keyhole, though she never locked the door and didn’t even know where the key was. Most likely it had been lost a hundred years ago by some great-great-great- grandparent. One of those Saxby lords or ladies whose paintings were hung every few paces along the corridors, captured forever unsmiling in oils.

The keyhole flickered light to dark. The little girl thought she saw the white of an eyeball staring at her through the hole before quickly disappearing out of view.

“Mama? Is that you?” she cried out. Hearing her own voice out loud, Stella knew this was no dream.

On the other side of the door an eerie silence lingered.

Stella plucked up the courage to speak again. “Who is it?” she pleaded. “Please?” The floorboards creaked outside. Someone or something had been spying on her through the keyhole.

The handle turned, and slowly the door was pushed open. The bedroom was dark, but the hallway was light, so at first all the girl could see was a silhouette.

It was the outline of someone as wide as they were tall. Even though they were extremely wide they still weren’t particularly tall. The figure was wearing a tailored jacket and plus fours (those long billowy shorts that golfers sometimes wear). A deer-stalker hat adorned the figure’s head, with the ear flaps unflatteringly down. Jutting out from their mouth was a long thick pipe. Soon plumes of sickly sweet tobacco smoke clouded the room. On one hand there was a thick leather glove. Perched on the glove was the unmistakeable outline of an owl.

Stella knew instantly who this person was. It was her awful aunt, Alberta.

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Y9 & Y10 – 25/05/17

Due: 05/06 (Y9) & 07/05 (Y10) (Issued: 25/05)

Title: Personal Response

Task:

  • Read through the following literary quotations and decide on 3 that you wish to talk about
  • In your book, write down the quotation, and…
  • Identify (briefly) what you think the writer is trying to say, before…
  • Reacting to it. What does it make you FEEL, IMAGINE, and/or THINK? – explore your emotions, imagination and intellectual reactions. Why do you think that you have reacted as you have? What might they mean to you on a personal level? Why did you pick them over the others? How might they inform your understanding of life and of others? Why are they important and sacred life philosophies?
  1. “Sometimes I can hear my bones straining under the weight of all the lives I’m not living.”
    ― Jonathan Safran Foer, Extremely Loud and Incredibly Close
  2. “Usually we walk around constantly believing ourselves. “I’m okay” we say. “I’m alright”. But sometimes the truth arrives on you and you can’t get it off. That’s when you realise that sometimes it isn’t even an answer–it’s a question. Even now, I wonder how much of my life is convinced.”
    ― Markus Zusak, The Book Thief
  3. “…I think we are well-advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind’s door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were.”
    ― Joan Didion, Slouching Towards Bethlehem
  4. “To choose doubt as a philosophy of life is akin to choosing immobility as a means of transportation.”
    — Yann Martel, Life of Pi
  5. “She wasn’t doing a thing that I could see, except standing there leaning on the balcony railing, holding the universe together.”
    —J. D. Salinger, “A Girl I Knew”
  6. “I took a deep breath and listened to the old brag of my heart; I am, I am, I am.”
    —Sylvia Plath, The Bell Jar
  7. “Beauty is an enormous, unmerited gift given randomly, stupidly.”
    —Khaled Hosseini, And the Mountains Echoed
  8. “Sometimes I can feel my bones straining under the weight of all the lives I’m not living.”
    —Jonathan Safran Foer, Extremely Loud and Incredibly Close
  9. “What are men to rocks and mountains?”
    —Jane Austen, Pride and Prejudice
  10. “Once upon a time there was a boy who loved a girl, and her laughter was a question he wanted to spend his whole life answering.”
    —Nicole Krauss, The History of Love
  11. “I have spread my dreams under your feet; / Tread softly because you tread on my dreams”
    —W. B. Yeats, “Aedh Wishes for the Cloths of Heaven”
  12. “I wondered if that was how forgiveness budded; not with the fanfare of epiphany, but with pain gathering its things, packing up, and slipping away unannounced in the middle of the night.”
    —Khaled Hosseini, The Kite Runner
  13. “So we beat on, boats against the current, borne back ceaselessly into the past.”
    –F. Scott Fitzgerald, The Great Gatsby
  14. “The seeds of life— fiery is their force, divine their birth, but they are weighed down by the bodies’ ills or dulled by earthly limbs and flesh that’s born for death.”
    — Virgil, The Aeneid: (Penguin Classics Deluxe Edition)
  15. “I want God to play in my bloodstream the way sunlight amuses itself on the water.”
    — Elizabeth Gilbert, Eat, Pray, Love: One Woman’s Search for Everything Across Italy, India and Indonesia

Y8, 9 & 10 – 19/05/17

Due: 23/05 (Y9 & Y10) 24/05 (Y8) (Issued: 19/05)

Title: Paper One

Section A

Answer all questions in this section.

You are advised to spend about 45 minutes on this section.

  1. Read again lines 1-4.

List four things from this part of the source about the chains.                     (4 marks)

 

  1. Look in detail at lines 11-20 of the source

How does the writer use language here to describe the Spine Adept?

You could include the writer’s choice of:

  • Words and phrases
  • Language features and techniques
  • Sentence forms (8 marks)

 

  1. You now need to think about the whole of the source.

How has the writer structured the text to interest you as a reader?

You could write about:

  • what the writer focuses your attention on at the beginning
  • how and why the writer changes this focus as the source develops
  • any other structural features that interest you. (8 marks)

 

  1. Focus this part of your answer on the first part of the source, from line 23 to line 36.

A student, having read this section of the text, said “This part of the text, where Scrimlock observes the Spine, reveals his worry and concern”.

To what extent do you agree?

In your response, you could:

  • Consider your own impressions of Scrimlock’s reaction in these lines
  • Evaluate how the writer reveals Scrimlock’s anxieties
  • Support your opinions with quotations from the text.                  (20 marks)

 

Scar Night (by Alan Campbell)

The city of Deepgate hangs suspended by giant chains over a seemingly bottomless abyss where the dread god Ulcis, ‘hoarder of souls’, is said to reside. Above the unfathomable darkness, it is Scar Night and the rogue angel, Carnival, is seeking souls. Except, tonight, the Church’s Assassins guild has finally trapped her.

Chains snarled the courtyard behind the derelict cannon foundry in Applecross: spears of chain radiating at every angle, secured into walls with rusted hooks and pins, and knitted together like a madwoman’s puzzle. In the centre, Barraby’s watchtower stood ensnared. Smoke unfurled from its ruined summit and blew west across the city under a million winter stars.

Huffing and gasping, Presbyter Scrimlock climbed through the chains. His lantern swung, knocked against links and welds and God knows what, threw shadows like lattices of cracks across the gleaming cobbles. When he looked up, he saw squares and triangles full of stars. His sandals slipped as though on melted glass. The chains, where he touched them, were wet. And when he finally reached the Spine Adept waiting by the watchtower door he saw why.

‘Blood,’ the Presbyter whispered, horrified. He rubbed feverishly at his cassock, but the gore would not shift.

The Spine Adept, skin stretched so tight over his muscles he seemed cadaverous, turned lifeless eyes on the priest. ‘From the dead,’ he explained. ‘She ejects them from the tower. Will not suffer them there inside with her.’ He tilted his head to one side.

Below the chains numerous Spine bodies lay in a shapeless mound, their leather armour glistening like venom.

‘Ulcis have mercy,’ Scrimlock said. ‘How many has she killed?’

‘Eleven.’

Scrimlock drew a breath. The night tasted dank and rusty, like the air in a dungeon. ‘You’re making it worse,’ he complained. ‘Can’t you see that? You’re feeding her fury.’

‘We have injured her,’ the Adept said. His expression remained unreadable, but he pressed a pale hand against the watchtower door brace, as if to reinforce it.

‘What?’ The Presbyter’s heart leapt. ‘You’ve injured her? That’s . . . How could you possibly . . .’

‘She heals quickly.’ The Adept looked up. ‘Now we must hurry.’

Scrimlock followed the man’s gaze, and for a moment wondered what he was looking at. Then he spotted them: silhouettes against the glittering night, lean figures scaling the chains, moving quickly and silently to the watchtower’s single window. More Spine than Scrimlock had ever seen together. There had to be fifty, sixty. How was it possible he’d failed to notice them before?

‘Every single Adept answered the summons.’

‘All of them?’ Scrimlock hissed, lowering his voice. ‘Insanity! If she escapes . . .’ He wrung his hands. The Church could not afford to lose so many of its assassins.

‘She cannot escape. The window is too narrow for her wings; the roof is sealed, the door barricaded.’

Scrimlock glanced at the watchtower door. The iron brace looked solid enough to thwart an army. That still did not give him peace of mind. He looked for reassurance in the Adept’s eyes, but of course there was nothing there: only a profound emptiness the priest felt in his marrow. Could they have injured her? And what would be the cost to the Church? What revenge would she seek? God help him, this was too much.

‘I will not sanction this,’ he protested. He waved a hand at the heap of dead bodies, at the blood still leaking onto the cobbles. ‘Ulcis will not accept these opened corpses; every one of them is damned.

Y7 – 18/05/17

Due: 24/05 (Issued: 18/05)

Title: A student’s perspective

Task: A student having read this section of the extract, said “The racism of others and Sui’s own confusion shows how sad it makes her”. To what extent do you agree?

In your response, you could:

  • write about your own impressions of how sad Sui is
  • evaluate how the writer has created these impressions
  • support your opinions with references to the text.

Avoid the detention

  1. A minimum of three paragraphs
  2. Each paragraph to include, evidence, identified keyword, defined subject terminology, why the writer has written it, and how it affects the reader

Point: I (dis)agree with X to a [great / certain / minimal] extent because the writer uses language to…
Evidence: This is revealed in the quotation “…”
Identify/Define: The _________ “…” shows/suggests…
Writer: The writer’s method of… [signifies / implies / suggests]… because…
Reader: [I / This makes me] [feel / imagine / think]… because…
Link: This is further supported by the quotation “…”

Background

In 1890, Sui Sin Far wrote her autobiography in which she describes her experience of growing up in England and Canada, the child of a Chinese mother and English father and the racism she encountered.

Extract

When I look back over the years I see myself, a little child of scarcely four years of age, walking in front of my nurse, in a green English lane, and listening to her tell another of her kind that my mother is Chinese. “Oh Lord!” exclaims the nurse. She turns around and scans me curiously from head to foot. Then the two women whisper together. Though the word “Chinese” conveys very little meaning to my mind, I feel that they are talking about my father and mother and my heart swells with indignation. When we reach home I rush to my mother and try to tell her what I have heard. I am a young child. I fail to make myself intelligible. My mother does not understand, and when the nurse declares to her, “Little Miss Sui is a story-teller,” my mother slaps me.

Many a long year has past over my head since that day—the day on which I first learned I was something different and apart from other children, but though my mother has forgotten it, I have not.

I see myself again, a few years older. I am playing with another child in a garden. A girl passes by outside the gate. “Mamie,” she cries to my companion. “I wouldn’t speak to Sui if I were you. Her mamma is Chinese.”

“I don’t care,” answers the little one beside me. And then to me, “Even if your mamma is Chinese, I like you better than I like Annie.”

“But I don’t like you,” I answer, turning my back on her. It is my first conscious lie.

***

I am only ten years old. And all the while the question of nationality perplexes my little brain. Why are we what we are? I and my brothers and sisters. Why did God make us to be hooted and stared at? Papa is English, mamma is Chinese. Why couldn’t we have been either one thing or the other? Why is my mother’s race despised? I look into the faces of my father and mother. Is she not every bit as dear and good as he? Why? Why? She sings us the song she learned at her English school. She tells us tales of China. Though a child when she left her native land she remembers it well, and I am never tired of listening to the story of how she was stolen from her home. She tells us over and over again of her meeting with my father in Shanghai and the romance of their marriage. Why? Why?

I do not confide in my father and mother. They would not understand. How could they? He is English, she is Chinese. I am different to both of them—a stranger, though their own child. “What are we?” I ask my brother. “It doesn’t matter, sissy,” he responds. But it does. I love poetry, particularly heroic pieces. I also love fairy tales. Stories of everyday life do not appeal to me. I dream dreams of being great and noble; my sisters and brothers also. I glory in the idea of dying at the stake and a great genie arising from the flames and declaring to those who have scorned us: “Behold, how great and glorious and noble are the Chinese people!”

Y10 – 17/05/17

Due: 19/05 (Set: 17/05)

Title: Plan your article

Time: 20-25 minutes

Familiarise yourself with all that follows and develop and plan the following: i) argument, ii) content, iii) structure and chronology, iv) effective rhetorical devices for an argument of your own choosing

Consider:

Register

The appropriate use of lexical and grammatical features, for a given context; dependent upon audience (who), topic (what), purpose (why) and location (where).

  • Give/respond to information;
  • Cite evidence and use quotations;
  • Include rhetorical devices;
  • Select, organise and emphasise facts, ideas and key points.

 

Purpose

Writing types and purposes provide you the opportunity to communicate your personal view(s).

Write to persuade
Persuade the reader of the statement that…

 

Article (newspaper – broadsheet/tabloid, magazine, web log)

Basic marks:
i) Use of a simple title/headline,
ii) paragraphs.

Detailed marks:
Use of i) a clear/apt/original headline/title, ii) a strapline (caption), iii) subheadings, iv) introductory (overview) paragraph, v) effectively/fluently sequenced paragraphs.

 

Proposed Structure:

RSAE
Respond
Statistics
Anecdote
Expert
Conclusion

Paragraph One: Respond to the statement.

  • What is your initial reaction to the statement?
  • Why do you think what you do?
  • Remember: Keep to one clear viewpoint.

Paragraph Two: Uses statistics to support your response.

  • Use the results of an imagined survey to support your ideas.
  • Consider a percentage of people affected by the statement.
  • Remember: Keep the numbers realistic so that your work is sophisticated.

Paragraph Three: Use an anecdote to make your response more personal.

  • Tell the story of someone that has been affected in some way by the focus of your statement.
  • Consider the positive/negative impacts on their life.

Paragraph Four: Use an expert to make your response credible.

  • Use your expert to give clear reasons for your viewpoint.
  • Who do they work for?
  • What research have they conducted?
  • What observations have they made?

Aiming for the top?

Include:
– Counterpoints
– A one word sentence
– A one word or one sentence paragraph
– Additional statistics/experts/anecdotes.

Y7 – 12/05/17

Due: 16/05 (Set: 12/05)

Title: Analysis and rewrite of Black Boy

Time: 20-25 minutes

  1. Write out your selected quotation in a spider diagram
  2. Explore keywords, subject terminology and connotations
  3. Complete your rewrite:

Point: The writer uses language to…

Evidence: This is revealed in the quotation “…”

Identify: The         
Define: “…” shows/suggests…

Writer: The writer is signifying / implying / suggesting…
because…

Reader: The reader feels / imagines / thinks…
because…

Link: Further, the writer…
This is further supported by the quotation “…”

Extract

Red circles were eating into the white cloth; then a flare of flames shot out. Startled, I backed away. The fire soared to the ceiling and I trembled with fright. Soon a sheet of yellow lit the room. I was terrified; I wanted to scream but was afraid. I looked around for my brother; he was gone. One half of the room was now ablaze. Smoke was choking me and the fire was licking at my face, making me gasp.

Y8 – 12/05/17

Due: 17/05 (Set: 12/05)

Title: Mockingjay – P1Q3

Task: Read the extract and answer Paper 1 Questions 3 (8 marks)

Paper 1 Question 3

You now need to think about the whole of the Source.

This text is the opening of a novel.

How is the text structured to interest you as a reader?

You could write about:

  • what the writer focuses your attention on at the beginning
  • how and why the writer changes this focus as the Source develops
  • any other structural features that interest you.

[8 marks]

Extract – Mockingjay – Susanne Collins

My name is Katniss Everdeen. I am seventeen years old. My home is District 12. I was in the Hunger Games. I escaped. The Capitol hates me. Peeta was taken prisoner. He is thought to be dead. Most likely he is dead. It is probably best if he is dead….

“Katniss. Should I come down?” My best friend Gale’s voice reaches me through the headset the rebels insisted I wear. He’s up in a hovercraft, watching me carefully, and ready to swoop in if anything goes amiss. I realize I’m crouched down now, elbows on my thighs, my head braced between my hands. I must look on the verge of some kind of breakdown. This won’t do. Not when they’re finally weaning me off the medication.

I straighten up and wave his offer away. “No. I’m fine.” To reinforce this, I begin to move away from my old house and in toward the town. Gale asked to be dropped off in 12 with me, but he didn’t force the issue when I refused his company. He understands I don’t want anyone with me today. Not even him. Some walks you have to take alone.

The summer’s been scorching hot and dry as a bone. There’s been next to no rain to disturb the piles of ash left by the attack. They shift here and there, in reaction to my footsteps. No breeze to scatter them. I keep my eyes on what I remember as the road, because when I first landed in the Meadow, I wasn’t careful and I walked right into a rock. Only it wasn’t a rock–it was someone’s skull. It rolled over and over and landed face up, and for a long time I couldn’t stop looking at the teeth, wondering whose they were, thinking of how mine would probably look the same way under similar circumstances.

I stick to the road out of habit, but it’s a bad choice, because it’s full of the remains of those who tried to flee. Some were incinerated entirely. But others, probably overcome with smoke, escaped the worst of the flames and now lie reeking in various states of decomposition, carrion for scavengers, blanketed by flies. I killed you, I think as I pass a pile. And you. And you.

Because I did. It was my arrow, aimed at the chink in the force field surrounding the arena, that brought on this firestorm of retribution. That sent the whole country of Panem into chaos.

In my head I hear President Snow’s words, spoken the morning I was to begin the Victory Tour. “Katniss Everdeen, the girl who was on fire, you have provided a spark that, left unattended, may grow to an inferno that destroys Panem.” It turns out he wasn’t exaggerating or simply trying to scare me. He was, perhaps, genuinely attempting to enlist my help. But I had already set something in motion that I had no ability to control.

Burning. Still burning, I think numbly. The fires at the coal mines belch black smoke in the distance. There’s no one left to care, though. More than ninety percent of the district’s population is dead. The remaining eight hundred or so are refugees in District 13–which, as far as I’m concerned, is the same thing as being homeless forever.

Points of Answer

Focus: Perspective and subject of paragraph

Tone: Positive? Negative? Tense? Humorous? Happy? Creepy? Mysterious?

Questions: What questions does the reader have after reading this section?

Answers: has the reader answered any questions from the previous section(s)?

Effect: How has this section made the reader feel?

Sentence Starters
Focus: The focus [opens on / shifts / broadens / narrows to]… where the reader learns…

Evidence: The writers states “…” and “…”

Tone: The tone [begins with / shifts to / grows]…

Questions: The reader is questioning… because…

Answers: The writer has (not) answered the reader’s questions of… because…

Reader: The focus [is / has changed] because… to make the reader feel…

Katniss is talking to the reader; she has escaped ‘HG’ and thinks Peeta is dead: Peeta was taken prisoner. He is thought to be dead.”

Tone? Negative – Katniss wants to be alone and thinks Peeta is dead
Questions? Why does Katniss want to be alone today especially?
Answers? We aren’t yet sure
Effect: Reader feels tense and curious

Katniss reflects on District 13 (her neighbouring district)’s poverty: The remaining eight hundred or so are refugees in District 13–which, as far as I’m concerned, is the same thing as being homeless forever.”

Tone? Creepy tone – as there are dead bodies littering the pathway
Questions? Why are people dead?
Answers? We think it may have something to do with Katniss
Effect: We are worried, tense, frightened

Katniss walks down a road covered in dead bodies: I stick to the road out of habit, but it’s a bad choice, because it’s full of the remains of those who tried to flee.”

Tone? Depressing / sad – because Katniss feels responsible for many deaths
Questions? Why did Katniss have to ‘set off a spark’ that lead to revolution?
Answers? We are not sure at this point
Effect: The reader is left feeling on edge – the future seems bleak for Katniss and her society