2 Blueprints for Fiction

3 What is talk for writing? The externalisation of the internal dialogue that experienced writers hold when writing and consists of: Book talk Writer talk Warming up the word Purposeful sentence level work Learning and remembering texts

4 Retelling Texts Imitate Innovate Invent

5 Why did we start to look at blueprints? Fiction Huge range of genre which children frequently only meet once Many ways of structuring stories Too many aspects to vary and co-ordinate – character, setting etc Non-fiction Only six text types Clear language features for each Not a huge range of structures Skeleton planning diagrams

6 What are blueprints? Underlying patterns many of which have ‘formed the basis for countless other stories in the literature of mankind, at many different times and all over the world.’ Christopher Booker p2 Archetypes – patterns which are copied or emulated and are often symbols recognised by all

7 Overcoming the monster 1.We meet the monster and the hero 2.The hero moves towards the monster but still feels safe and comfortable 3.The hero and monster meet. They battle and it looks like the hero might fail 4.There is a big battle where all seems lost but is finally won. 5.The monster is dealt a fatal blow and its dark power is overthrown. The hero enjoys the prize.

8 Rags to Riches 1.We meet the hero in their lowly, unhappy state surrounded by dark figures who scorn or mistreat them 2.The hero meets ordeals and overcomes them 3.Everything goes wrong. The hero is separated from what is important to them and is in despair 4.The hero emerges from despair and discovers an independent strength. This is put to the test. 5.They succeed and live happily ever after.

9 The Quest 1.Life becomes difficult and this can only be overcome if the hero goes on a journey 2.The hero sets out on a journey meeting ordeals. They have a thrilling escape. There may be someone to guide them 3.The hero can see the end goal but something terrible stands in the way 4.The hero undergoes a series of tests (usually 3) 5.The hero has a thrilling escape and achieves the life- transforming treasure

10 Voyage and Return 1.We meet the main characters and they move into a strange world unlike anything they have experienced before 2.The new world seems exciting but it can never feel like home 3.The mood changes to frustration and difficulty and a shadow begins to intrude which becomes increasingly alarming 4.The shadow starts to dominate and pose a threat 5.The hero escapes threat back to where they started. The question is asked – what did they gain or learn? Have they been fundamentally changed?

11 Comedy The idea of moving from ‘ignorance’ to ‘knowledge’ is at the heart of this plot 1.Two or more things or people are brought together 2.Someone does something and everything becomes confused 3.It becomes even more confused 4.Everything is revealed 5.They live happily ever after

12 Tragedy 1.The hero is looking for something. He finds it and focuses his energy on it 2.He aims for this thing he has found and all seems well 3.Things start to go wrong and may begin to behave darkly 4.Things start to slip out of control badly 5.The hero is destroyed

13 Rebirth 1.A young hero falls under the shadow of a dark power 2.All seems OK for a while 3.The shadow approaches again in full force and the hero seems trapped in a state of living death 4.This continues for along time and it feels as if the dark power has won 5.Then comes the miraculous ‘awakening’ quite often by a person of the opposite sex

14 Identifying blueprints in children’s fiction In pairs choose a title. Read it and decide what blueprint it follows. Try as many as you can in the half hour.

15 Coffee

16 How do you introduce blueprints to children? Children will need to have experience of book talk comparing and contrasting texts sharing other texts that they know linked to a blueprint collecting and categorising generalising and storymapping

17 Using blueprints to tell stories. What stories do you know with these characters? How could we combine these to make a story? Choose a blueprint to develop your story around

18 Other starting points Concept map – like we used on day 3 of the 2+1 (hyperlink) Storyworld cards/FLS cards for myths and legends Any other props Blueprint

19 Inventing Non-fiction Texts Uses for a carrier bag

20 Tell me more … Features Materials Size Strength Shape Pattern Colour

21 Book talk Likes Dislikes Puzzles Patterns

22 Selection of ideas Consider audience and purpose for writing Magpie ideas Choose skeleton to organise your ideas Map onto your skeleton

23 Talk your text Use your map Tell your text

24 Reflection In pairs discuss your understanding of inventing What do you think your children need in order to invent in fiction? What do you think your children need in order to invent in non-fiction? What are you going to go back and try with your children? What and how will you share with other teachers from today?