medium term planning template -...

Helen Douglas 18/05/2023

MEDIUM TERM PLANTitle of Scheme of Work: Poetry Writing

Year group: 8 Duration of Scheme of Work: 6 weeks

Learning Objectives:Word9 - use specialist terms in own writing11 – appreciate impact of figurative language

Sentence4 – explore the effects of changes in tense

Reading5 - trace the development of themes, values or ideas in texts.7 – identify the ways implied and explicit meanings are conveyed in different texts.10- analyse the overall structure of a text to identify how key ideas are developed.11- investigate the different ways familiar themes are explored and presented by different writers.14 - recognise the conventions of some common literary forms and explore how a particular text adheres to or deviates from established conventions.

Writing1 – planning, drafting, proofreading and presenting writing, taking account of the time available2 – re-read work to anticipate effect on the reader and revise style and structure with this in mind.6 – experiment with figurative language in conveying a sense of character and setting.7 – experiment with different language choices to imply meaning8 – develop imaginative or unusual treatment of established conventions9 - experiment with presenting similar material in different forms and styles of poetry.11 – explain complex ideas clearly

Speaking and Listening10 – use talk to question, hypothesise, speculate, evaluate and develop thinking about complex issues and ideas.11 – recognise and build on other people’s contributions

Assessment:

EN3Three pieces of writing on the subject of wind (week 4)Assessing the ability to:

Experiment with presenting similar material in different forms and styles of poetry.

EN2 and EN3Comparative Essay on Blake and Hughes (week 5)Assessing the ability to:

Analyse the overall structure of a text to identify how ideas are developed

Investigate how different writers explore and present familiar themes Explain complex ideas clearly Use specialist terms in own writing

EN3Two poems in draft and final form plus accompanying essay (week 6)Assessing the ability to:

Experiment with figurative language and different word choices to imply meaning

Re-read work to anticipate effect on reader and revise style and structure with this in mind.


Resources: Humpty Dumpty Unformatted Texts (prose/poems/lyrics/limericks)worksheet Unformatted poems worksheet Song and accompanying lyrics Worksheet prompts for lyrics First Frost by Andrei Voznesensky trans by Stanley Kunitz First Ice by Andrei Voznesensky trans by George Reavey Cloze exercise on Mushrooms by Sylvia Plath The Highwayman by Alfred Noyes Background information on Ned Kelly Charges and Payments prose and poem

Membership Contract A selection of Haikus Computer Haikus November Night and Niagara, Seen on a Night in November. by

Adelaide Crapsey. Picture/painting of a windy day Sound of the wind blowing Wind by Ted Hughes There Came a Wind Like a Bugle by Emily Dickinson Piece of music for creative writing session Selection of pictures/photos for creative writing session The Tyger by William Blake cut into strips The Jaguar by Ted Hughes cut into strips Comparative essay writing frame Dictionaries and thesauruses Poetry quiz

Content and Sequence of lessons:

Week 1

Topic coverage: what are the features of a poem?Learning focus: introduce terminology (stanza, line, rhyme, rhythm, alliteration, onomatopoeia, simile, metaphor etc); form.Outcomes: class list of common features of poetry (to be kept on display for remainder of unit); a song lyric; cloze exercise.

Principal tasks/activities: Analysis of different text types: lyrics, prose, poems

Song Lyrics First Frost/First Ice – care with language Cloze exercise

Week 2

Topic coverage: impact of figurative languageLearning focus: Narrative poem, Ballad, rhyme, metaphor, simile, personification, alliterationOutcomes: a ballad; metaphor poetry; annotation of The Highwayman.

Principal tasks/activities: The Highwayman – annotate Create a whole-class metaphor poem Write own ballad using metaphors Create group metaphor poems


Week 3

and Week 4

Topic coverage: impact of form on poetryLearning focus: free verse; haiku; cinquain; prose; ballad; lyric.Outcomes: Membership Contract poem; a haiku, a cinquain; one subject written in three forms; annotation of Wind by Ted Hughes and There Came a Wind Like a Bugle by Emily Dickinson; Wind rewritten in two different forms; three poems produced in response to a music stimulus, a picture stimulus and a guided fantasy.

Principal tasks/activities Format Membership Contract into a poem Explore features of a haiku and unusual use of haiku Explore features of a cinquain Take existing poem and rewrite in another form Writing activity – same subject in three forms, one of which must be

prose. Annotate two poems on subject of wind Rewrite Wind in two different forms Poetry writing using a variety of stimuli

Week 5

Topic coverage: familiar themes explored by different writersLearning focus: comparing poemsOutcomes: comparative essay on The Tyger by William Blake and Jaguar by Ted Hughes; a poster to accompany Jaguar.

Principal tasks/activities: Annotate The Tyger Create sculpture of the poem Annotate Jaguar Design a poster for the poem Write a comparative essay on The Tyger and Jaguar

Week 6

Topic coverage: Drafting, Shaping, EditingLearning focus: self-assessment; revising and editing own work.Outcomes: success criteria/marking ladder; cloze exercise; final drafts of two or more poems; an explanatory essay to accompany one poem.

Principal tasks/activities: Create success criteria for own poetry Explore draft versions of The Tyger Cloze exercise Edit, shape and improve own poems Self-assess own poems against marking ladder Write explanation to accompany draft and final versions of one of own

poems Class quiz


SHORT TERM PLANScheme of Work Title: Exploring Poetry Y8

Week 1 Objectives Introduction Development Development PlenaryLesson 1

S&L 10 – use talk to question, hypothesise, speculate, evaluate and develop thinking about complex issues and ideas.

S&L 11 – recognise and build on other people’s contributions

In pairs: debate whether or not Humpty Dumpty is a poem. Poem should be on board or OHP. One half of each pair must argue for and one against. Allocate which side of the debate by giving everyone a number 1 or 2. They have 2 minutes to debate.

Feedback to whole class.

Pair work on unformatted texts (prose / poems /song lyrics / limericks) – need to decide if texts are poetry or not.

Feedback into whole class discussion and begin to develop a class list of common features of poetry (this will be useful for building success criteria in lesson 16)

Pair work on unformatted poems. Need to try and format poem by deciding where the line breaks should be, and what punctuation is required.

In groups of four, share formatted poems and describe what helped with making decisions.

Display actual poems on the board or OHP to whole class.

Lesson 2

S&L 10 – use talk to question, hypothesise, speculate, evaluate and develop thinking about complex issues and ideas.

S&L 11 – recognise and build on other people’s contributions

Play song, perhaps Cry by James Blunt or Wish You Were Here by Pink Floyd. Ask whole class to listen to the song twice and note anything that the song shares with poetry. Have lyrics displayed on interactive whiteboard, OHP or as handouts and annotate pupils’ suggestions.

In pairs, pupils are to share their song lyrics, explaining why they find these lyrics particularly enjoyable. Use worksheet prompts to help.

In same pairs discuss which features of poetry these lyrics share. Use list from last lesson to guide.

Whole class buzz session on similarities/differences between poems and lyrics.

Individually or in pairs, write a short lyric using the same or similar form as the song lyric brought in. Explain that these lyrics will not have to be shared publicly. Lyrics should be placed in poetry portfolio for use later in the unit.


Lesson 3

Wr2 – re-read work to anticipate effect on the reader and revise style and structure with this in mind.

Wr7 – experiment with different language choices to imply meaning

As a class read First Frost by Andrei Voznesensky trans. by Stanley Kunitz. Pupils to discuss in groups of 3 or 4 which of the following themes they think the poem is about: pain of young love; failure of communication; complexity of human relationships; trials of growing up; loneliness. Feedback to whole class.

Handout First Ice by Andrei Voznesensky trans. by George Reavey. Explain this is the same poem translated by a different translator. In pairs, explore the different wordings and decide which you feel are better and why.

Whole class buzz session with emphasis on why a particular word or phrase is preferred.

Cloze exercise on Mushrooms by Sylvia Plath. Working individually, pupils choose the word they feel best suits the poem. Explain there is no right or wrong answer.

On interactive whiteboard or OHP work through the poem as a whole class, calling on individuals for their word choice and asking for an explanation why they selected that word.

Reveal actual poem and compare with class version.

Assessment In lessons one and two, pupils will be formatively assessed on their ability to use talk to question, hypothesise, speculate, evaluate and develop thinking about the differences and similarities between poetry and lyrics during class discussion and group work.In lesson three, pupils will be formatively assessed on their ability to experiment with language choices during the plenary.

Differentiation

Lesson 1 – Unformatted texts and unformatted poems will be distributed along the lines of most/least able.Lesson 3 – Most able will have copies of the poem with no suggestions. Less able will have suggested words to choose from.

Homework Lesson 1 – Choose a suitable song lyric to share with the class.

Week 2 Objectives Introduction Development Development Plenary


Lesson 4

Wr6 – experiment with figurative language in conveying a sense of character and setting.

Whole class Taboo. Choose three volunteers. Send two children out of the class. The third remains inside. Tell class that pupil #3 will have to describe the sea to pupils #1 and 2. Rest of class suggests 5 or 6 words pupil #3 may not use. Pupils #1 and 2 come back into class and try to guess the word #3 is describing to them. (Aim: describe something without using obvious words)

On whiteboard display a straightforward description (the rain fell hard), plus a simile (the rain fell like bullets) and a metaphor. In pairs pupils to discuss the effect of the simile and the metaphor.

Share thoughts with the whole class.

Whole class metaphor poem. Using ideas from the starter, images of the sea, and perhaps a recording of the sea for inspiration, pupils are to write a metaphor of the sea. They may work individually or in pairs. Their metaphor should be written onto a strip of paper in marker pen. All the metaphors will be used to create one metaphor poem.

In mixed ability groups, each group will create their own metaphor poem on a given topic. Suggestions: moon, the night, the river, the forest, the city.

Each group reads its group metaphor poem back to the whole class.

Lesson 5

W 11 – appreciate impact of figurative language


Whole class taboo using the word moon.

Introduce the poem The Highwayman (Narrative poem, ballad, written approx 1905 by Alfred Noyes.) Read the poem aloud as a whole class.

Teacher models how to annotate the poem for metaphor and simile using the first two stanzas. Discuss as a whole class the effect of these metaphors.

Divide class into mixed ability groups of 3 or 4. Each group to have several stanzas to annotate for similes and metaphor.

Class feeds back their similes and metaphors to whole class. Class follows along on photocopies.

In pairs, pupils to identify other features of the poem – personification, rhyme, rhythm, alliteration etc.

Buzz whole class for ideas.


Lesson 6

W11– appreciate impact of figurative language


Whole class taboo using the word sun.

Individually, write some metaphors for your poem.

In pairs, read each other’s metaphors and explain which ones you think are the most successful and why.

Individually, use the pattern of The Highwayman to write your poem.

In groups of 3 or 4, discuss what you found easy and what you found difficult. Try to make suggestions to help each other with the difficult parts.

Pick 2 or 3 poems and read to whole class (with pupil permission) to highlight good practice.

Poems should be placed in poetry portfolio for use later in the unit.

Assessment In lesson four, pupils will be formatively assessed on their understanding the impact of figurative language during the whole class metaphor poem. In lesson five, pupils will be formatively assessed on their annotation of The Highwayman for figurative language.In lesson six, pupils will peer assess metaphors and will be formatively assessed on their ballads for experimentation with metaphor.

Differentiation

Lesson 4 – less able pupils will be supported in this lesson by use of mixed ability groups.Lesson 5 - less able pupils will be supported in this lesson by use of mixed ability groups.Lesson 6 – less/more able pupils will be catered for in terms of the number of stanzas they are required to write.

Homework Lesson 5: - Pupils will be writing a narrative poem of their own using the structure of The Highwayman. They can write about Australian bushranger Ned Kelly and his gang, the Clanton gang, Robin Hood or someone of their choice. They must research the story and the setting and the story for the next lesson.Lesson 6 – finish the ballad



Lesson 7

R10 - analyse the overall structure of a text to identify how key ideas are developed.

Wr9 - experiment with presenting similar material in different forms and styles of poetry.

Display on board or OHP Charges and payments in verse form. Read through as a whole class. Give pupils two minutes to reflect individually on whether or not this is poetry.

Whole class. Display the invoice of Charges and Payment and read Kim Poulton’s comments aloud. Pupils can follow along on photocopies.

In groups of 3 or 4 pupils to discuss the impact of rearranging the text.

Pupils will now do the same activity with a new text: Membership contract. Ideally this will take place in the computer suite, so pupils are manipulating the text rather than typing it up. They should work on this in pairs to promote dialogic talk.

In groups of 4 (two sets of pairs) pupils should explain the decisions they have made.

Printed copies of their poem should be placed in poetry portfolio for use later in the unit.

Lesson 8

R14 - recognise the conventions of some common literary forms and explore how a particular text adheres to or deviates from established conventions.

Wr8 – develop imaginative or unusual treatment of established conventions

Give out copies of Haikus. Give pupils two minutes to reflect the features of a haiku in small groups. Take whole class feedback. Ensure pupils are confident about counting syllables and recognise the typical themes of a haiku.

Whole class activity: teacher models writing a haiku about the rain. Begin with thought-shower, pupils making suggestions. Then model putting into haiku form, taking suggestions from the class.

Individual work: ask pupils to have a go at writing a haiku on snow, using a thought-shower to help generate ideas.

Whole class: hand out copies of Computer Haikus. Read as a class. Ask pupils why the subject of these haikus is surprising.

Whole class: thought shower the subject ‘school’ on the board.

Individually, pupils to write a haiku on this subject.

Discuss in groups or 3 or 4 the impact of inverting expectations.

Whole class buzz session for feedback.


Lesson 9

R14 - recognise the conventions of some common literary forms and explore how a particular text adheres to or deviates from established conventions.


Give out copies of November Night and Niagara, Seen on a Night in November. by Adelaide Crapsey. In groups: each group is responsible for annotating poem for a different feature: number of syllables; verbs; nouns; adjectives; adverbs; imagery; rhyme.

Feedback to whole class.

Whole class: explain the cinquain form.

Whole class: teacher models thought-shower on the subject of anger.

Whole class, with teacher modelling, writes a cinquain on anger.

In pairs pupils write a cinquain on a given topic or inspired by a given object or picture. They have ten minutes, then each pair swaps cinquains with another pair. Pupils edit and revise this new poem.

Pupils hand back poems to original pair and examine changes to their original poem.

In groups of four pupils discuss the differences and similarities between haikus and cinquains.

Whole class buzz session to build a list of similarities and differences.

Assessment In lesson seven pupils will be formatively assessed for ability to examine structure of a text and will peer assess Membership Contract poem.In lesson eight pupils will be formatively assessed on their two haikus for ability to recognise established conventions and unusual treatment of form

Differentiation

Lesson 7 – more able students can format an additional text on school rules if they complete membership contractLesson 8 – more able students can be extended by writing additional haikus.Lesson 9 – more able students can be extended by writing an additional ronelet.

Homework Lesson 8 – finish haikuLesson 9 – finish cinquain



Lesson 10


R11 - investigate the different ways familiar themes are explored and presented by different writers.

Whole class: teacher plays the sound of the wind blowing fiercely and/or shows a picture of a windy day on the whiteboard. Teacher models a thought-shower of verbs that could be used to describe the wind blowing, using suggestions from the pupils.

Whole class: read Ted Hughes’ poem Wind.

In pairs, annotate poem, looking at nouns, verbs, imagery.

Whole class feedback: try to elicit comments on the use of powerful verbs.

Whole class: read There Came a Wind Like a Bugle by Emily Dickinson.

In pairs annotate for nouns, verbs, imagery.

Whole class feedback: try to encourage pupils to recognise that unlike Hughes who relies on powerful verbs, Dickinson relies on metaphor to create images.

In groups discuss the differences between the two poems in terms of form and content.

Hand out spokesperson counters and have each group feedback their thoughts to the whole class.

Lesson 11

W4 – explore the effects of changes in tense


Whole class activity: teacher models rewriting Wind in prose, as a first-person narrative in the present tense. First stanza only.

Individual work: using The Wind by either Hughes or Dickinson, pupils are to rewrite the poem as a piece of prose. Emphasize that they may alter the tense or the verbs or add metaphors of their own.

Individual work: pupils to rewrite one of the poems on Wind as either a haiku or a cinquain and in another form of their own choice

In groups or 3 or 4 discuss how changing the form of the text affects its meaning, and the choices that have to be made. Teacher hands out spokesperson counters towards the end of the discussion.

Each spokesperson to report back to the whole class.


Lesson 12



Whole class: display one of the paintings/photos on the whiteboard. Ask the class for adjectives to describe the mood of the piece.

Building on the suggested adjectives, ask pupils to begin to construct sentences to describe the mood of the piece.

Explain they will be creating some original work in the lesson today. They will be creating fragments or rough drafts, they do not need to be finished pieces.

Individual work: guided fantasy: in silence, pupils to close eyes and picture a wild animal. Guide them to look around at the setting, watch the animal move, listen, touch the animal, smell the air. Open eyes and write down immediate impressions.

Play a piece of music, preferably exciting. Ask pupils to write a poem or prose piece inspired by the music.

Give each individual a different photo or picture. Ask pupils to write a poem or prose piece inspired by the picture.

Brain break: 5 minutes to chat and stretch.

Individually: pupils to choose one of the fragments of writing and attempt to craft it into a poem, using a form of their choice.

In pairs, pupils discuss which of the stimuli they found the most helpful, if any. Come up with other suggestions for stimulating ideas. Share their fragments with each other if they wish.

Assessment In lesson ten, pupils will be formatively assessed on their understanding of the different methods Hughes and Dickinson have used to create their poem on the wind.In lesson eleven, pupils will be summatively assessed on their ability to experiment with presenting similar material in different forms.

Differentiation

Lesson 10 – less able will be asked to annotate for verbs as this will have been explored during the starter and should be fresh in the mind.Lesson11 – less able can be given the first few sentences to help them get going.Lesson 12 – more able can be given unusual or abstract pictures.

Homework Lesson 11 – pupils to complete poems and prose extract on Wind.Lesson 12 – pupils to finish rough drafts of their three poems.



Lesson 13

R5 - trace the development of themes, values or ideas in texts.


R11- investigate the different ways familiar themes are explored and presented by different writers.

Pair work: each pair is given a copy of The Tyger by William Blake, with all the lines cut up. They are to try to reassemble the poem.

Whole class: discuss the thinking that informed the decision-making process.

Whole class: show the actual poem and read it through. Ask pupils what they think the poem is about (theme).

In pairs: pupils are each given a copy of the poem to annotate. Each pair is given one or two features to explore, from: the type of verbs used; metaphor; simile; personification; choice of nouns; use of rhythm and rhyme; alliteration; structure.

Whole class feedback with teacher annotating poem on OHP.

Groups of 4: create a sculpture of the poem with one pupil as the sculptor and the other three as the clay. Sculptor describes her choices to the rest of the class.

Whole class: everyone to come up with one word to describe the poem or their response to the poem.


Lesson 14

R5 - trace the development of themes, values or ideas in texts.



Pair work: each pair is given a copy of The Jaguar by Ted Hughes, with all the lines cut up. They are to try to reassemble the poem.

Whole class: discuss the thinking that informed the decision-making process. Show the actual poem and read it through.

Whole class: show the actual poem and read it through. Ask pupils what they think the poem is about (theme).

In pairs: pupils are each given a copy of the poem to annotate. Each pair is given one or two features to explore, from: the type of verbs used; metaphor; simile; personification; choice of nouns; use of rhythm and rhyme; alliteration; structure.

Whole class feedback with pupils annotating their own copies of the poem.

Individually pupils design a poster inspired by either The Tyger or The Jaguar. Explain that the picture does not have to be representational.

An alternative, if the computer suite is available: search for images on the internet and design a poster to illustrate one of the poems.

No plenary in this lesson.


Lesson 15


Wr1 – planning, drafting, proofreading and presenting writing, taking account of the time available

Wr11 – explain complex ideas clearly

In pairs or small groups: pupils explain the choices they made in designing their poster.

Whole class: Using the annotated copy of The Tyger on the OHT and the pupils’ copies of The Jaguar, the teacher demonstrates how to write the opening paragraph to an essay comparing two poems. Pupils contribute to the demonstration with ideas.

Individually: pupils to write a comparative essay using their own notes and the OHT. Writing frames will be provided to guide and assist.

Emphasize that pupils need to comment on the effect, not just the technical feature itself.

Whole class: feedback one similarity or difference between the two poems.

Assessment In lesson thirteen pupils will be formatively assessed on their understanding of The Tyger by William Blake at several points during the lesson.In lesson fourteen pupils will be formatively assessed on their understanding of The Jaguar by Ted Hughes at several points during the lessonIn lesson fifteen pupils will peer assess posters. In lesson fifteen pupils will be summatively assessed on their comparative essay for objectives stated.

Differentiation

13 – more able pupils will be given more complex features to annotate14 - more able pupils will be given more complex features to annotate15 – writing frames will be distributed to pupils according to need.

Homework 15 – write up neat copy / final draft of poetry comparison



Lesson 16


As a whole class, devise a success criteria for writing poetry.

Show on OHP or whiteboard, the draft of Blake’s The Tyger and the final version.

In pairs pupils read through the draft and discuss the choices Blake made when drafting the poem, using the worksheet questions as a guide.

Whole class buzz session to check understanding.

Individual work: pupils are to choose one of the poems from their poetry portfolio and edit it.

Ensure each desk has access to a dictionary and thesaurus.

In pairs, explain one of the changes you have made in your poem and why.

Lesson 17



Whole class cloze exercise on The Road Not Taken by Robert Frost

Whole class: use examples of work from anonymous pupils and ask their peers to suggest possible ways of improving the work.

Individual work: pupils are to choose another one of the poems from their poetry portfolio and edit it.

Ensure each desk has access to a dictionary and thesaurus.

In pairs, explain one of the changes you have made in your poem and why.


Lesson 18

Wr1 – planning, drafting, proofreading and presenting writing, taking account of the time available

Wr11 – explain complex ideas clearly

Individual work: using the success criteria the pupils devised in lesson 16, pupils are to self-assess their two finished poems against a marking ladder.

In pairs pupils to come up with 5 questions they would like to ask the poet about a poem.

Feedback into whole class so that there are between 5 and 10 generic questions that could be asked of any poem.

Individually, students to write an explanation of one of their poems, ensuring that they address all of the questions.

Whole class activity: weakest link style quiz on poetry, covering technical language and the poems that have been explored during the unit.

Assessment In lesson sixteen, pupils will peer assess their own poetry.In lesson seventeen, pupils will peer assess their own poetry.In lesson eighteen, pupils will self assess their own poetry.In lesson eighteen, pupils will be summatively assessed on their explanation essay and two finished pieces of their own poetry against Wr2 Wr6 Wr7 and Wr8

Differentiation

Lessons 16 & 17 – more able pupils can continue to edit further poems from their portfolio.Lesson 18 – less able pupils may choose fewer questions to answer.

Homework Lesson 16 – finish editing poem and type or write up a clean copyLesson 17 – finish editing poem and type or write up a clean copyLesson 18 – finish poetry explanation and email to teacher

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