Students use this sheet to chart their sympathy for Candy throughout the novel. This sheet could be blown up to A3 to allow students lots of room to annotate the chart with key quotations from the text.

Put students into 6 groups and issue each group one section of the Wife of Bath and one translation sheet. Students are spend 3 minutes with each section and write the modern translation on their translation sheet. IMPORTANT: Students must make sure they write their translation in the correctly numbered space on the sheet to ensure it's in order at the end of the task. They're to use the helpful hints to guide them. After students have had all 6 sections, they're to read out what they've translated. Discuss as a class.

Ask students to close their eyes and put their heads on the table. Play Thomas Newman track and read the second-person edit of Chapter Two's description of the garage. Read the description slowly to allow students to imagine how Michael would feel entering the garage. After you've read the description, allow students 1-2 minutes to reflect with their eyes closed. Explain that once they open their eyes, they're to write down how they felt in the given situation. Ask students to share with a partner. De-brief post-activity; ask students: ‘How did it feel to do that?’ This activity should help students to engage with Michael's character and how he feels when entering the garage where Skellig resides.

Students will need access to a computer to complete this activity. Put students into small groups and issue A4 paper one of the questions from the Questions Pack.. Students are to create an attractive poster which provides the answers to the question(s) they've been given. After 30 minutes, students are to 'present' their poster to the rest of the group. Students are to make notes in their books so that they have a record of the contextual information about Skellig. Display students' posters in your classroom as a point of reference throughout the study of Skellig.

This resource offers a fun way of researching WW1 context. Before the lesson print of the questions and put them into colour-coded piles. You'll need as many questions as you have groups of students. For example, if you have 6 groups, you must have 6 print-outs of the questions. You'll need 6 x yellow questions, 6 x green questions, 6 x blue questions etc. Put students in teams of 3-4 students. Students must have immediate access to a laptop or computer to be able to find the answers to the questions. You need to put the piles of questions on your desk. Issue Q1 to all groups and 1 piece of paper to all groups for them to write their answers on. Groups must find the answer to Q1, write it down on their answer sheet and then bring their answer sheet to you. If the answer is correct, you issue them with Q2, and so on until groups have found all the answers to all the questions. It is basically a race to the finish, but the answers must be of quality because you have to 'okay' them before they're issued with the next question. Students enjoy the competitive element of this task. You may wish to give the winning group a small prize as an added incentive. Discuss the contextual research once the task is over and discuss its links with the poems being studied.

A 30-minute activity for students to understand what makes a great story opening. Students analyse some of the world's most renown story openings, they identify what's effective about them and then they use their new-found knowledge to craft their own enticing story opening. There are 13 story openings including The Lovely Bones, Orwell's 1984, Jane Eyre and The Curious Incident of the Dog in the Night-time - a real mix for students to get their teeth into. I dare say this activity may encourage some students to read the books after being drawn in by some of the openings.

This resource contains a PPT and a selection of poems for students to practise approaching unseen poetry. The PPT guides students through the following: 1. Title 2. Shape/form 3. Personal response 4. Voice 5. Vocabulary 6. Imagery 7. Structure 8. Interpretation Encouraging students to look at these aspects of a poem will enable them to engage and understand the unseen poem.

Students are to work in pairs. Issue one line from the poem to each pair. Students are to analyse the language closely to try to learn about the speaker’s feelings. Motivate students by asking them to imagine their police detectives, with only one sentence of the criminal’s confession to analyse. They are to read the line deeply to consider the multiple layers of meaning. Model activity. Whole-class feedback. Students should write down what their peers say.

This short activity tests students' ability to follow instructions. It is a fun starter and shows students the importance of reading ALL the instructions before starting a task.

In this lesson students revisit the features of gothic stories before identifying them in an extract from Mary Shelley's Frankenstein. Students are then told that they'll be re-telling a popular nursery rhyme in the gothic genre. They are shown examples of Jack and Jill in the 'romance' genre and then the 'gothic' genre to give them an idea of how a nursery rhyme can be adapted. Students then choose and nursery rhyme and have a go themselves. From personal experience, students absolutely love this activity and it really gets their creative juices flowing. It allows for very rich, high quality descriptive writing. This lesson is compatible with all abilities, but very successful with high ability KS3 students.

Issue Belfast Confetti ‘Wordle’ to students. Explain that the Wordle contains the entire poem, with the prepositions removed. All that’s there is the core vocabulary; these lexical words provide the meaning of the poem. Tell students that you want them to sort the words into lexical sets (groups of words that are associated by meaning), categories essentially. Ask students to invent their own groupings and categories and find their own associations: for example, punctuation or place names. Students may then decide to create thematic categories. Through this activity students can ‘discover’ patterns of meaning, for instance underlying metaphors, before reading the poem and seeing them revealed in the true context of the whole text.

This is a fun way of offering further exploration of Bayonet Charge by appealing to students' different strengths and skills, e.g. artistic, creative, visual, mathematical or social. This is an engaging, outstanding lesson, and was designed with Garner's Multiple Intelligences in mind. You will need to prepare for this lesson beforehand by creating the 'resource stations': Resource Station 1: Visual – Saving Private Ryan Clip, available on YouTube, lined paper (x5), instructions Resource Station 2: Creative – activity (x5), lined paper (x5), instructions Resource Station 3: Social – activity, instructions Resource Station 4: Artistic – plain A4 paper, activity, instructions Resource Station 5: Mathematical – activity (x5), instructions Lesson Plan: Ensure that students are sat in groups of five. Tell them that the group they’re sat with is their ‘home group’. Show students the ‘resource stations’ slide. Explain to students that they’ll see five different resource stations around the room. Explain the activity at each resource station. Explain that each group will send one group member to each resource station to complete the activity. After 20 minutes, all group members will return to their home group and feedback what they’ve learnt. Give groups one minute to decide which group member will go to each resource station. If they cannot decide, then they’ll be randomly numbered one-five and will go to the corresponding station. Check students’ understanding by using ‘thumbs-up’. Ask a student to re-explain if there’s misunderstanding. Allow students to move to their designated resource station to start their activity. Instructions and resources will be ready at each station. Teacher facilitates, circulates, ask students questions to deepen their learning. After 20 minutes, students are to return to their ‘home groups’ to feedback. Tell them that they have 10 minutes and they should hear from everybody. Ask students in their books to write down three things they feel they’ve learnt from other people about Bayonet Charge.

Issue sets of these cards to groups or pairs. Students are to sequence them in the correct order. Great as a quick starter activity to get students thinking about the order of events in the play. Extend the task by asking students to find quotations to accompany all or some of the events.

In Act 2, Scene 1 Macbeth is deciding whether to kill Duncan or not. Read Macbeth’s soliloquy to students from ‘Is this a dagger which I see before me?’ Ask students to listen carefully as you read aloud to them – try to be quite dramatic and theatrical! Instruct students to jot down any words or phrases that they think are especially important. Ask students to feedback. Also, ask them about their first impressions of the speech. Issue Lesson 5 – Macbeth’s Soliloquy (High Ability Students) or Lesson 5 – Macbeth’s Soliloquy (Low Ability Students). Watch http://www.youtube.com/watch?v=pusU90ov8pQ This will aid understanding. With Lesson 5 – Macbeth’s Soliloquy, give pairs three highlighters to share. They must identify how Macbeth is feeling at the prospect of murdering King Duncan, exploring three possible choices: 1) Macbeth is intent on the murder. 2) Macbeth is undecided. 3) Macbeth is horrified by the prospect of murder. They’re to use 3 different colours to represent each of the three choices. They should try to highlight each line in a colour. Issue Lesson 5 – Macbeth Chart to students. They’re to create a line graph which illustrates Macbeth’s decision making. (20 mins) Students are to answer the following question: Why does Macbeth decide to kill King Duncan? Students should refer to the soliloquy, but also what’s happened in other scenes from the play. They should use the PEE format in their response. You may decide to make this form the basis for an extended piece of writing. Select quotations for low ability students to work with, rather than them trying to find their own. (Macbeth's Soliloquy - with helpful definitions - was taken from The RSC Shakespeare Toolkit for Teachers.)