This is a comprehension activity - structured for increasing difficulty - with the tasks and questions divided into four sections: vocabulary, information retrieval, inference and explanation of methods. Useful for cover or for homework. Useful for a focused study of this particular section of Stoker’s novel.

The extract used is the description of Jonathan Harker’s journey towards Dracula’s castle. There are 12 questions focusing mainly on the writer’s methods and their effect. Useful for homework or as a cover activity. Could also be used to structure a guided reading session.

This is an old-school comprehension activity focusing on the excerpt from “Great Expectations” in which Mrs Joe is introduced. Created for a year 8 class who needed a cover lesson in the middle of a Dickens SOW, this has 17 questions and could be used as intended - for cover - but also for homework or even to structure a guided reading activity. If you find this useful then I would be very grateful if you could take the time to leave a review.

This lesson uses the excerpt in which Mrs Joe is introduced. Students are asked to work through 3 of Dickens’s methods for characterisation: contrast, symbolism (specifically, the symbol of Mrs Joe’s apron) and the use of a semantic field. Through a mixture of questioning and discussion, pupils are guided through some ideas about the effect of these methods. Thereafter, they are asked to write a response to this question: Explain how Dickens uses contrast, the symbol of the apron and a semantic field to create the character of Mrs Joe. The final slide of the powerpoint is a self-assessment grid.

This lesson uses Jack London’s brilliant story “Moon Face” which would sit really well alongside Poe’s “The Tell Tale Heart”. Planned for a year 9 class as part of a unit on short stories but has potential to be used elsewhere at KS3. The aim of the lesson is to use inference to explore the idea of an unreliable narrator. The lesson takes the students through discussion of the effect of a simile, of personification and begins to explore the idea of the narrator’s hypocrisy. After a short time in paired discussion, students are then asked to respond to this question - In ‘Moon Face’, what do we understand about London’s unreliable narrator?

Emily Dickenson’s “Summer Shower” with 11 questions intended to encourage close reading and some simple analysis. Planned for year 7 as part of a unit on poetry but also suitable at the top end of KS2. Could be used as a homework activity or for cover - the questions could also be used to structure a guided reading session.

A workmanlike comprehension activity based on the excerpt from chapter 23 in which Victor discovers that Elizabeth has been strangled and tries to shoot the creature. There are ten questions focusing on comprehension, inference, methods and their effect. Useful for homework, for cover or even for structuring a guided discussion of the text.

A very matter of fact comprehension exercise based on an excerpt from chapter 19 of “Frankenstein” in which Victor ‘hides out’ on Orkney in order to create a bride for his creature. There is a focus on inference and the characterisation (in terms of thoughts and feelings) of Victor Frankenstein as he narrates this part of his story.

A walkthrough of Thomas Hardy’s “Neutral Tones” intended to be a first teaching of the poem for candidates preparing for their GCSE English Literature exam. When it comes to looking at Hardy’s use of oxymorons with “tedious riddles” and “grin of bitterness”, the ppt makes reference to some of Shakespeare’s methods in “Romeo and Juliet”. This is because this class is also studying the play so the references are intended to support a bit of recall. The final slide sets a homework - there is a multiple-choice quiz also available on TES (though listed separately).

This lesson can be taught in two ways depending on the students’ level of confidence and the amount of scaffolding required. The resource used is Vachel Lindsay’s “The Spider and the Ghost of the Fly” which is an extended metaphor exploring the end of a relationship. More confident students can approach the task more or less straight away (after a warm-up which asks them to explore the title and furnishes some initial ideas). The task and poem are on slide 3 which is a printable but could be displayed on the screen if you’re trying to cut down on photocopying ! The idea is that students will approach the task fairly cold and then the subsequent 7 slides can be used to support an improved response, ensuring that the response is as thorough as possible. Less confident students (for whom this was planned) can work through all of the slides so that they have a wealth of ideas on which to draw before attempting their own response.

Planned for a year 8 class, this lesson looks at Dickens’s viewpoint on slums and the methods that he uses to communicate this viewpoint. The lesson begins with a discussion about a modern slum, an introduction to the idea that vocabulary gives an indication about viewpoint and questioning intended to ensure that all pupils have a secure understanding of viewpoint before they begin to look at the extract. The extract used is from “Oliver Twist” as Oliver and his employer (‘owner’), Mr Sowerberry, go into the slums to collect the corpse of a woman. The lesson uses several hinge questions to check crucial points of understanding. Wherever a question is used, the answer is given on the subsequent slide, just for clarity. For some reason, the ppt preview does not appear in the correct order. I will try to get TES to rectify this.

Planned for a year 8 class as part of a unit of work on Charles Dickens, this lesson focuses on Dickens’s use of setting for characterisation. The extract used (a short one; printable is on slide 11); prior to that, the pupils are asked to look at the description of the Chocolate Room from ‘Charlie and the Chocolate Factory’, explaining how Dahl’s use of colour suggests the character of Willy Wonka. There is then a focus on concrete nouns and pupils are asked what these suggest about Willy Wonka - what aspect of his personality they might reflect. Having built confidence in this skill, the focus then shifts to the more challenging text - from ‘Great Expectations’. Having gone through some text marking, pupils are then asked to share what they think the setting suggests about Miss Havisham - then pick one aspect of that setting and write up an analytical paragraph. For homework, pupils are asked to describe a room that gives the reader clues as to their own character - describing the room’s colour, temperature, listing at least 3 concrete nouns and mentioning the view from the window.

Planned as part of a SOW for year 8 - a unit on Charles Dickens with a focus on characterisation - this lesson looks at Pip’s first visit to Satis House (chapter 8 of ‘Great Expectations’) and the first description of Miss Havisham. The aim of the lesson is to infer and deduce from description. Pupils are asked to explore the symbolism of colour, looking at the connotations of the colour used in the description of Miss Havisham. Their attention is drawn to the noun ‘lustre’ - this is used later to model a paragraph of analysis. Teaching strategies used are questioning, paired discussion and modelling.

Planned for a year 8 class but also suitable for year 9, this is a lesson as part of a SOW on Charles Dickens. It asks the pupils to focus on establishing the writer’s viewpoint and begins with some context on the deplorable practice of baby farming. There is an image to generate understanding and ideas, followed by a non-fiction text from Benjamin Waugh (the founder of the NSPCC) in which he exposes and denounces baby farms. This text is studied in two sections. Once the pupils have worked through these texts and got an understanding of context and of viewpoint (Waugh’s writing is highly emotive and very scathing) they are then given an excerpt from “Oliver Twist” describing the parish farm run by Mrs Mann. The lesson culminates with the pupils being asked to identify Dickens’s viewpoint and then explain how the methods that he uses help to communicate that viewpoint. There is paired work and questioning along the way to get the pupils to this point.

Planned for a year 8 class, this lesson takes as its central idea Holmes’s comment at the end of “The Adventure of the Speckled Band” that, ‘I am no doubt indirectly responsible for Dr. Grimesby Roylott’s death, and I cannot say that it is likely to weigh very heavily upon my conscience.’ After a recap of what’s meant by a noun phrase, pupils are directed to choose adjectives to develop nouns from the story into emotive noun phrases, thereby building a word bank. They then use their word bank in developing Holmes’s sentence into a speech to Watson in which he expands and develops his viewpoint.

Planned for a year 8 class, this explores Holmes’ and Watson’s vigil towards the end of “The Adventure of the Speckled Band”. Pupils are guided through an understanding of the meaning of tension. There is a text marking activity after which a grid is used to clarify their thinking. The lesson concludes with a piece of evaluative/comparative writing in which pupils are asked which of their identified methods is most successful in creating tension; which is least successful. Depending on the amount of modelling/scaffolding needed and the length at which you want your pupils to write, this lesson could be extended over two hours - although it was planned to occupy one hour.

This lesson was planned for a year 8 group but could be used elsewhere at KS3. It uses Conan Doyle’s story and this lesson focuses on how Conan Doyle creates a sense of urgency as Holmes uncovers the motive for murder and heads to Stoke Moran to try to protect Helen Stoner. The lesson asks the pupils to explore three of the writer’s methods for creating a sense of urgency: the plot itself, the setting and the dialogue. Focused questioning is used throughout. Differentiation is possible in the approach to this questioning - pupils could be asked to think and pair, then share; for greater challenge, responses could be written without any discussion.

Planned for year 8 but useful at any point in KS3, I think, this lesson focuses on using understanding of connotation to broaden and deepen understanding of Doyle’s characterisation of Dr Roylott as he appears in Sherlock Holmes’s rooms. Pupils are asked to look at the comparison of Dr Roylott to a bird of prey and think of the connotations of this noun, using the connotations in an explanation of what they understand about the character. Thereafter, their attention is turned to Doyle’s use of verbs. They are asked to choose the most effective verb - the one with the strongest connotations - and to use their work on the “bird of prey” comparison as a model to work more independently on their chosen verb.

Planned for a year 8 class but useful at any point in KS3, I think. This lesson focuses on the part of the story where Helen Stoner is relating the events of the night of her sister’s death. Pupils are asked to identify the mood of the segment. There is then a quick look at how foreshadowing might be used to contribute to mood (with a hinge question to ensure that all pupils know what’s meant by foreshadowing) after which pupils are asked to do some text marking to identify the language that contributes to the mood. There’s then the opportunity for some modelling to improve a response, ensuring that it explains how and why the language has the effect that it does. After which, and using the whole-class model as a guide, pupils are asked to work more independently on a different explanation.

Lesson 2 of a sequence planned for a year 8 class. This lesson focuses on looking closely at evidence to explain characterisation. The lesson is intended to get the pupils to zoom in more closely as the lesson progresses. The focus in the text is the part of the story where Helen Stoner is telling Sherlock Holmes about her family history and introduces information about her stepfather, Dr Roylott. There are prompts (in the form of questions) for the explosion of one quotation; students are then asked to work more independently to explode a second quotation, using the first as a model.