Brief 10 question diagnostic assessment task for KS2 Ancient Egypt Pupils have to answer 10 fairly open ended questions for which answers are provided reflecting the knowledge and understanding outlined in the medium term planner. Q1 How can we know so much about a civilization such as Ancient Egypt that lived so long ago? Planning for teaching Ancient Greece KS2 Outstanding new medium term planning for Ancient Greece, matched to history national curriculum The main foci throughout this planner are: Ideas, Beliefs, Attitudes especially the role of women ; Way of life contrasting Athens with Sparta and grasping that ideas flourished in a society where there
And why should I care? Writers often focus on the second question, how to hook a reader. But orienting the reader is just as important. They need to know the setting: Readers revisit these same questions at the beginning of every chapter or major change in setting.
What would your character see, hear, smell, taste or feel? Using the senses is self-explanatory, except the feeling sense, where you want to emphasize temperature and texture, or how it feels for this character to move within the space. I hesitated, my heart thumping, at the boundary between light and dark.
From the overhead clumps of moss, cold drops plopped into my hair, a water clock ticking away the precious seconds. The musty smell, was it from bats?
Or was there something more sinister in this cave? Sensory details are the basis of active fiction that pulls the reader directly into a story. David Morrell, author of First Blood and more than 30 other thrillers, says he tries to anchor every scene with details from at least three different senses.
This grounds the fiction in our common experience as humans: Assign a color to each of the senses then use markers to highlight the sensory details you used in a section of your story.
Often, writers tend to use one sense more than the others. Everyone struggles with smell and taste. It partly depends on the setting of your story whether there are any appropriate smells or tastes.
Certainly, a Christmas banquet would allow for a deeper exploration of these senses.
But even in our cave setting there were some smells and tastes. Think of the smell of cinnamon at Christmas. Kinesthetic details are usually translated into strong verbs, for example: She swung her arms in a wide circle. Your characters are moving around, doing things, reacting to things and you should search for strong verbs to express this action.
In the cave paragraph, what if I reworded the opening a bit? My toe caught a rock and I stumbled, catching myself against the slimy wall. I was at the boundary of light and dark. A final tip in using this exercise is to be as specific as possible. Poor use of modifiers: Choose specific, precise verbs.
Water fell onto my head. Water plopped onto my head. Once the verb is specific, then you can add modifiers—and not before.
Poor use of adverbs: Water fell quickly onto my head. Better use of adverbs: Water plopped rhythmically onto my head. Sensory Details Change When The Setting Changes The sensory detail exercise is flexible and allows a writer to quickly orient readers to a variety of settings.
Specific Location A friend wrote a story about a school in Barrow, Alaska. When she rewrote the story, a student looked out the window toward the sea.
She wrote something like this:Almost everything you’ll need to know about setting and description can be encapsulated in a single exercise about using sensory details. Let’s go over the exercise first and then see how it applies. Story Setting Checklist (12 member reviews) Classic Collection Click for more information.
About to use the editable version of this for a Year 3 class doing a setting description. Should be very useful! Kizzyl0u, Jun 5th Homepage» National Curriculum Resources» English» Key Stage 2 5/5(12).
Making the most of Talk for Writing training Download a PDF version of document here Rome wasn’t built in a day Talk for Writing Primary Adviser Maria Richards explains why you must invest time and have a plan if you want to reap the potential benefits of Talk for Writing for your school.
Teaching prompts and modelled write for a short burst write linked to suspense - Set in a forest. Almost everything you’ll need to know about setting and description can be encapsulated in a single exercise about using sensory details.
Let’s go over the exercise first and then see how it applies. Setting. The setting is the place and time your story is 'set'. Letting your readers know where and when your story is set will help bring the story to life.