1. Bell Task: Paper 1, Question 3 - Recapping
5 minutes
Should you provide evidence / quote and use technical words / features?
What’s the key focus of the question?
How many marks?
Which bit of the text does Question 3 focus on?
How many points… and how many paragraphs?
How many minutes?
What’s the basic paragraph structure?

2. Construct a model response, integrating ideas, evidence and evaluation
Identify clear language points and support with effective evidence.
2 minutes to share this – edit ‘Subject Key Terms and ‘Dirty 30’ as needed.
Structure
Link, connect
Shift, change
Decided
Necessary

3. STARTER: Recapping Structure
5 mins
‘Structure’ means…
Discourse markers
Hooks
Cliffhangers
Foreshadowing
Semantic fields
Juxtaposition
Shifts
Links
Setting
Gradual disclosure / revelation
Cycles
Threads, patterns
At the beginning of a text, you’d expect to find…
In terms of the sorts of things that might shift or change…
At the end of a text, you’d expect to find…

4. Working an Example (Part 1)
5 minutes
Where are we? What impression is given of the place? Why does this draw our attention?
Who is this? What impression are we given? Why does this draw our attention?
When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course, she did. This is the day of the reaping.
What’s cryptic? What questions are we left asking?

5. Working an Example (Part 1)
5 minutes
8 marks, 10 minutes, 3 points / paragraphs =
3 to 3½ minutes per paragraph
Watch me work (Paragraph 1):
Students create introductions using the ‘Work Through Me’ collaborative structure. They should end up with one each. They can use the sample as a writing frame.

6. Working an Example (Part 1)
5 minutes
8 marks, 10 minutes, 3 points / paragraphs =
3 to 3½ minutes per paragraph
Watch me work (Paragraph 1):
At the beginning of the text, the writer creates a series of hooks: we are given only hints about the first-person narrator (she has a sister who shares her bed), and a cryptic reference to ‘the reaping’ contained within a simple sentence that signals a shift. The effect of these is to engage the reader personally while remaining cryptic, and thereby creating a tense or uncomfortable atmosphere.

7. Working an Example (Part 2)
5 minutes
When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course, she did. This is the day of the reaping.
I prop myself up on one elbow. There’s enough light in the bedroom to see them. My little sister, Prim, curled up on her side, cocooned in my mother’s body, their cheeks pressed together. In sleep, my mother looks younger, still worn but not so beaten-down. Prim’s face is as fresh as a raindrop, as lovely as the primrose for which she was named. My mother was very beautiful once, too. Or so they tell me.
Sitting at Prim’s knees, guarding her, is the world’s ugliest cat. Mashed-in nose, half of one ear missing, eyes the color of rotting squash. Prim named him Buttercup, insisting that his muddy yellow coat matched the bright flower. He hates me. Or at least distrusts me. Even though it was years ago, I think he still remembers how I tried to drown him in a bucket when Prim brought him home. Scrawny kitten, belly swollen with worms, crawling with fleas. The last thing I needed was another mouth to feed. But Prim begged so hard, cried even, I had to let him stay. It turned out okay. My mother got rid of the vermin and he’s a born mouser. Even catches the occasional rat. Sometimes, when I clean a kill, I feed Buttercup the entrails. He has stopped hissing at me.
Entrails. No hissing. This is the closest we will ever come to love.
When is there a shift of time, person, topic or place?
What is the impact of the shift?

8. Working an Example (Part 2)
5 minutes
8 marks, 10 minutes, 3 points / paragraphs =
3 to 3½ minutes per paragraph
Shoulder Partner Example (Paragraph 2):

9. Working an Example (Part 2)
5 minutes
8 marks, 10 minutes, 3 points / paragraphs =
3 to 3½ minutes per paragraph
Shoulder Partner Example (Paragraph 2):
There is a key shift in the second paragraph, with the tone moving from the ominous ‘bad dreams’ and ‘reaping’ of the first paragraph to the semantic field of family and life in the second (‘sister’, ‘mother’, ’younger’, ‘fresh’, beautiful’). The juxtaposition creates an unsettled feeling for the reader, particularly with the repeated structural technique of the cryptic simple sentence ending the paragraph.

10. Working an Example (Part 3)
5 minutes
When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course, she did. This is the day of the reaping.
I prop myself up on one elbow. There’s enough light in the bedroom to see them. My little sister, Prim, curled up on her side, cocooned in my mother’s body, their cheeks pressed together. In sleep, my mother looks younger, still worn but not so beaten-down. Prim’s face is as fresh as a raindrop, as lovely as the primrose for which she was named. My mother was very beautiful once, too. Or so they tell me.
Sitting at Prim’s knees, guarding her, is the world’s ugliest cat. Mashed-in nose, half of one ear missing, eyes the color of rotting squash. Prim named him Buttercup, insisting that his muddy yellow coat matched the bright flower. He hates me. Or at least distrusts me. Even though it was years ago, I think he still remembers how I tried to drown him in a bucket when Prim brought him home. Scrawny kitten, belly swollen with worms, crawling with fleas. The last thing I needed was another mouth to feed. But Prim begged so hard, cried even, I had to let him stay. It turned out okay. My mother got rid of the vermin and he’s a born mouser. Even catches the occasional rat. Sometimes, when I clean a kill, I feed Buttercup the entrails. He has stopped hissing at me.
Entrails. No hissing. This is the closest we will ever come to love.
How does this link back to the rest of the text?
What’s cryptic? What questions are we left asking?

11. Working an Example (Part 3)
5 minutes
8 marks, 10 minutes, 3 points / paragraphs =
3 to 3½ minutes per paragraph
Independent Example (Paragraph 3):

12. Working an Example (Part 3)
10 minutes
8 marks, 10 minutes, 3 points / paragraphs =
3 to 3½ minutes per paragraph
Independent Example (Paragraph 3):
By the end of the text, the sense of foreboding has increased due to interweaving of flashbacks (‘even though it was years ago’) disrupting the chronology, with the tone unsettled further by the semantic field of death and body parts (‘drown’, ‘worms’, ‘kill’, ‘entrails’). It is interesting that the piece as a whole should shift so clearly from life to death, perhaps foreshadowing later events in the text.

13. At the beginning of the text, the writer creates a series of hooks: we are given only hints about the first-person narrator (she has a sister who shares her bed), and a cryptic reference to ‘the reaping’ contained within a simple sentence that signals a shift. The effect of these is to engage the reader personally while remaining cryptic, and thereby creating a tense or uncomfortable atmosphere.
There is a key shift in the second paragraph, with the tone moving from the ominous ‘bad dreams’ and ‘reaping’ of the first paragraph to the semantic field of family and life in the second (‘sister’, ‘mother’, ’younger’, ‘fresh’, beautiful’). The juxtaposition creates an unsettled feeling for the reader, particularly with the repeated structural technique of the cryptic simple sentence ending the paragraph.
By the end of the text, the sense of foreboding has increased due to interweaving of flashbacks (‘even though it was years ago’) disrupting the chronology, with the tone unsettled further by the semantic field of death and body parts (‘drown’, ‘worms’, ‘kill’, ‘entrails’). It is interesting that the piece as a whole should shift so clearly from life to death, perhaps foreshadowing later events in the text.

14. Real Exam Time (RET)
The writer has [effectively / successfully] structured the text [brief overview of structure] in order to [brief summary of effect linked to topic / theme].
At the beginning of the text, the writer uses [structural feature / technique] in line(s) [evidence]. The effect of this is to [explain direct effect], linked to [brief overview of how things then change].
Later in the text, there is a [shift / change] of [time / topic / place / perspective] in [line/paragraph number] when [what the shift is/evidence]. The effect of this is to [explain the effect], giving the reader the sense that [link to opening/overview/ end].
At the end of the text, the writer uses [structural feature/technique] in line(s) [evidence]. The effect of this is to [explain direct effect]. The writer uses this to [link to opening and earlier shift] so that the whole text [explain whole-text effect].

15. Plenary Traffic Lighting: Skill / Topic RAG
5 minutes
Traffic Lighting:
Just for your own benefit, RAG yourself on the skills and topics we’ve covered this lesson.
Which areas do you feel least confident with?
How could you address these?
Skill / Topic
RAG
Understanding the meaning of ‘structure’
Understanding key structural features and where they occur
Drawing inferences from structural choices
Evaluating model responses
Assembling assessment-style paragraphs
Students ‘RAG’ themselves against lesson content – how do they feel?

16. Construct a model response, integrating ideas, evidence and evaluation
Identify clear language points and support with effective evidence.
2 minutes to share this – edit ‘Subject Key Terms and ‘Dirty 30’ as needed.
Structure
Link, connect
Shift, change
Decided
Necessary