River Boy TP Part 1

RIVER BOY
Teachers’ Resources
Part 1
CONTENTS
Introduction 1
Overview for Scheme of Work 3
Navigator 6
Lesson Plans 10
Pathways 34
Resources 35
Acknowledgements
We are grateful for permission to include the following copyright material in this Pack:
Tim Bowler: reading from River Boy, interview, extracts from his notebooks, and from his Carnegie
Award acceptance speech used by permission of the author.
Sharon Creech: extract from Ruby Holler (Bloomsbury, 2003), reprinted by permission of the author
and the publisher.
Jane Draycott: 'Sturgeon' from Tideway (Two Rivers Press, 2002), copyright © Jane Draycott 2002,
reprinted by permission of the publisher.
Deborah Ellis: extract from The Heaven Shop (OUP, 2004), reprinted by permission of Oxford
University Press.
Julie Hearn: extract from The Merrybegot (OUP, 200?), reprinted by permission of Oxford University
Press.
Caroline Horn: 'Those Demanding Teenagers', The Bookseller, 17.7.98, and 'Carnegie Medal
Shortlist' table, reprinted by permission of the author and of The Bookseller.
Junior Education review of River Boy, from Junior Education, October 1998, reprinted by permission
of the publishers, Scholastic Ltd.
David & Jill Marshall: Review of Goodnight Mr. Tom from www.readingmatters.co.uk, reprinted by
permission of the authors.
E J Moeran: audio extract from ‘Lonely Waters’ from The Banks of Green Willow, music performed by
Jeffrey Tate and the English Chamber Orchestra (EMI Records Ltd, 1987), copyright © 1935 Novello &
Company Ltd, used by permission of EMI Ltd and of Novello & Co Ltd, The Music Sales Group.
International copyright secured. All rights reserved.
Vicki Nevin: Review of River Boy in Books for Keeps, November 2005, reprinted by permission of
Books for Keeps.
Rodman Philbrick: extract from Lobster Boy (Usborne, 2005), copyright © Rodman Philbrick 2004,
reprinted by permission of Usborne Publishing Ltd, 83-85 Saffron Hill, London EC1N 8RT,
www.usborne.com.
Sally Prue: extract from Goldkeeper (OUP, 2004), reprinted by permission of Oxford University Press
Celia Rees: extract from Witch Child (Bloomsbury, 2001), reprinted by permission of the
publisher.
Owen Sheers: 'River Swimming' from The Blue Book (Seren, 2000), copyright © Owen
Sheers 2000, reprinted by permission of the author c/o Rogers, Coleridge & White Ltd, 20 Powis
Mews, London W11 1JNB.
We have tried to trace and contact all copyright holders before publication. If notified the publishers
will be pleased to rectify any errors or omissions at the earliest opportunity.
Worksheet 10a: Q2A

INTRODUCTION
English teachers don’t need to be told the enormous value and pleasure of reading whole
texts as class readers. Little compares with that feeling when a class are truly engaged in
the reading of a really good book. Those moments stay with you forever – indeed, they fuel
the desire to find another such book to repeat the experience, again and again. Fortunately,
contemporary writers of fiction for young adults continue to offer us fresh opportunities to
enjoy literature with our students.
Oxford Rollercoasters is a series that offers teachers the opportunity of studying first-class
novels – recently written for teenagers – as whole-class readers with Year 7, 8 and 9
students. Each set of materials has been written with two possible year groups in mind, so
that teachers can use the materials with some flexibility according to need and student
progress.
Focus on assessment of reading

Oxford Rollercoasters includes titles with varied themes, challenging subject matter and
engaging plots – for example, there’s the thriller style of Gillian Cross’s Calling a Dead Man,
the exotic appeal of medieval China in Geraldine McCaughrean’s The Kite Rider and the
gentle but powerful emotion of Tim Bowler’s Carnegie Medal-winning River Boy. Each novel
is accompanied by innovative and engaging teaching materials, specifically designed to help
students access the texts and to support learning as required by the National Curriculum.
Rollercoasters is firmly based on the reading objectives in the Framework, and draws on
approaches to reading fiction recommended by the English strand of the Secondary National
Strategy. The series is written by practising teachers and consultants, and, while
concentrating on the explicit teaching of reading skills, also draws on approaches to
literature through drama and media. Theories behind both assessment for learning and
thinking skills are embedded in the materials.
Time-saving resources
For each Rollercoasters novel there is a set of Lesson Plans, specifying particular
objectives, assessment focuses and learning outcomes. These are accompanied by a
compact Overview (see page 3) which gives the teacher, at a glance, an idea of how the
particular scheme works – identifying learning outcomes, lesson coverage, basic lesson
content and necessary resources.
As well as the Overview, teachers are offered a Navigator (see page 6), which highlights key
aspects in each chapter of the particular novel. There is a plot summary, key page
references for characters and details of language techniques, and a section identifying the
stages in the structure of the novel. The Navigator is designed to help teachers to adapt the
pace and detail of work according to the needs of their class.
1
Unique components
In addition to its comprehensive Teaching Packs, Rollercoasters offers some unique
components.
• Each of the novels has its own student Reading Guide, an A4 magazine-style
publication with visual, textual and activity materials that help to engage students in
their study of the novel.
• An accompanying CD not only contains additional resources such as video and audio
clips and visual stimulus, but also includes varied and interesting resources contributed
by the authors of the novels. Authors’ first drafts, research materials and
correspondence about the novel, for example, provide invaluable background material
to enhance and enrich students’ appreciation of the Writer’s Craft. This latter aspect is
important for students developing skills in writing as well as reading.
• The CD resources also include interactive Whiteboard Activities, which are
increasingly popular in the English classroom.
Support for lesson planning in the Teacher’s Pack

Every Lesson Plan follows the Strategy four-part structure with a range of appropriate
homework tasks. Guideline timings are offered for each part, although teachers may want to
tailor them to the needs of their own class. Within the Lesson Plans there is a wide range of
teaching approaches and styles, and, in many cases, options within the lessons meet the
needs of different ability groups.
• Lesson Plans are accompanied by full, varied and practical Worksheets and OHTs,
and drama activities are common within the teaching schemes. The resources that
appear in the free on-line teacher’s materials are shown by the web icon on the Lesson
Plan pages.
• Although all lessons do have starter activities specifically related to the text in question,
a bank of Generic Starters is also provided in the scheme to increase the choice. The
coverage in these starters is also designed to tie in with the moving image Rollercoaster
diagram on each CD.
• For every novel there are carefully planned guided reading sessions as well as the
opportunity to develop further specific group teaching. Class, shared and independent
reading are also fully supported in the Lesson Plans.
• Ideas for wider reading and for the extension of independent reading are also provided
in the Pathways section (see page 34).
• The practice of keeping some form of Reading Journal during the study of the novel is
encouraged in most schemes, and there are several attractive models for such record-
keeping across the schemes.
• Every scheme ends with its own student Reading Assessment Progress sheet, which
the teacher can use to identify areas for development for each student.
Website support
A dedicated website for Rollercoasters will provide access to the free on-line teacher’s
resources and will allow students to find out the latest information about the series and the
authors, read reviews and post their own reviews of novels.
Oxford Rollercoasters provides first-class teaching resources for first-class contemporary

fiction. The series is designed to engage the widest possible range of students in reading for
pleasure, and we feel confident that it will contribute to those memorable experiences of
reading together in the secondary classroom.
2
OXFORD ROLLERCOASTERS River Boy Overview
OVERVIEW FOR SCHEME OF WORK

Lesson Learning outcome Reading AFs and Framework Activities/outcomes Rollercoasters
(Book chapter) Students will be able to: strategies objectives resources
1 Expectations,  Use the title, cover AF2: Locating Yr 8: R4 Starter: Study of title and covers OHT: 1a
initial character and blurb to inform their evidence Yr 9: R13 Introduction: Shared information retrieval and WS: 1b
analysis reading of a text AF3: Inference inference on character RG: pp. 4–5
(Chapter 1)  Identify how writers and deduction Development: Group reading and character analysis: CD: 1.1, 1.2
portray character through Predict, Grandpa, Mum and Dad WB: 1.1, 1.2,
both explicit and implicit speculate Plenary: Feedback on characters 1.3
means Homework: Jess’s character – inference and WC: 1.1, 1.2
deduction
2 Setting  Access setting in a AF5: Use of Yr 8: R4 Starter: Jess – role-on-the-wall RG: pp. 6–7
(Chapter 2) narrative through language Yr 9: R13 Introduction: Setting through guided tour of cottage CD: 2.1
visualizing and AF6: Writer’s Yr 9: SpL12 and river
empathizing viewpoint Development: Discussion on Jess; read Chapter 2
See images, Plenary: Response to river
empathize Homework: Holidaymaker’s comments
3 Imagery  Analyse a writer’s AF5: Use of Yr 8: R5 Starter: Holidaymaker’s comments; remembering the WS: 3a, 3b
(Chapter 3) style through marking language Yr 8: W11 river; the senses CD: 3.1
sensory appeal See images Yr 9: R12 Introduction: Shared reading of Chapter 3 WB: 3.1
 Identify key images Development: Chapter 3 group focus on senses WC: 3.1, 3.2
in a novel Plenary: Recap on senses
Homework: Three appealing details of the river
4 Family  Explore the AF3: Inference Yr 8: R5 Starter: Recap Bowler’s style WS: 4a
relationships presentation of the and deduction Yr 9: R18 Introduction: Characters and relationships; shared RG: pp. 8–9
(Chapter 4–6) relationships between Yr 9: R5 reading of Chapter 4 CD: 4.1
characters in a novel Yr 9: S4 Development: Guided reading of Chapters 5 and 6
Plenary: OHT feedback
Homework: Dialogue between Mum and Dad about
Jess and Grandpa
5 Language to  Identify themes in a AF5: Use of Yr 8: R5 Starter: Themes mindmap OHT: 5a
create mood and novel language Yr 8: S2 Introduction: Language to create mood and WS: 5b
atmosphere  Analyse how a Interpret Yr 8: W11 atmosphere; shared reading of Chapter 7 part 1 CD: 5.1, 5.2
(Chapters 7–9) writer’s use of language patterns Yr 9: R12 Development: Guided reading of Chapter 7 part 2 WB: 5.1, 5.2
creates mood and Plenary: Feed back and relate mood to structure of
atmosphere Chapter 7
Homework: Read Chapters 8 and 9 and answer
questions; write three questions for Jess
6 Empathy and  Explore an issue AF3: Inference Yr 8: R10 Starter: Chapter titles and ordering WS: 6a
narrative tension and develop empathy with and deduction Yr 8: SpL15 Introduction: Recap homework, hot-seat Jess using CD: 6.1
3

(Chapter 10) a character through AF4: Text Yr 9: R14 questions
framing, asking and structure (in a novel) Development: Chapter 10 with questions on tension
answering questions Empathize Yr 9: S4 Plenary: Tension reviewed; information on river boy
 Identify how a writer Yr 9: SpL12 Homework: Tension graph
uses a reader’s curiosity to
provide narrative tension
7 The river boy as  Identify how a writer AF3: Inference Yr 8: R5 Starter: Feedback on tension graphs WS: 7a, 7b,
narrative tension structures a narrative to and deduction Yr 8: R10 Introduction: False tension of Chapter 10; Chapters 7c, 7d
(Chapters 11– maintain a reader’s AF4: Text Yr 8: SpL10 11–13 CD: 7.1
13) interest structure Yr 9: R12 Development: Discussion of river boy, including early WC: 7.1, 7.2
 Explore a complex Hear a reading Yr 9: SpL10 draft of Chapter 13
issue through talk voice, ask Plenary: Sharing views; chapter endings
questions Homework: List of chapter titles and chapter endings;
whole-text tension graph
8 Language to  Identify how a writer AF5: Use of Yr 8: R5 Starter: Whole-text tension around Grandpa’s painting WS: 8a
create empathy creates empathy for language Yr 8: SpL15 Introduction: Dramatic reading of Chapter 14 – RG: pp. 10–11
(Chapters 14 characters through Empathize Yr 9: R12 empathy CD: 8.1
and 15) language choices Yr 9: SpL12 Development: Forum theatre/sculpting – empathy WC: 8.1, 8.2
Yr 9: Wr17 Plenary: Writer’s craft in redrafting
Homework: Read Chapter 15; how author creates
empathy through language
9 Structural  Analyse a writer’s AF4: Text Yr 8: R5 Starter: Language technique card sort OHT: 9c
metaphor use of patterns of structure Yr 8: W11 Introduction: Reading the river as metaphor WS: 9a, 9b
(Chapters 16 language over a whole AF5: Use of Yr 9: R7 Development: Shared reading of Chapters 16 and 17 CD: 9.1, 9.2
and 17) text, focusing on extended language Yr 9: R9 Plenary: Story structure recapped WB: 9.1, 9.2,
metaphor Interpret Yr 9: R14 Homework: Story structure diagram 9.3
 Identify the crisis patterns (in a novel)
point in a novel and how to
see this in relation to
preceding events
10 The climax  Identify how a writer AF4: Text Yr 8: R10 Starter: Long-distance swimming WS: 10a
(Chapters 18 creates, maintains and structure Yr 9: R12 Introduction: Jess’s swim – Chapter 18 RG: pp. 12–13
and 19) releases narrative tension AF6: Writer’s Development: Analysing Chapters 18 and 19
in the climactic sections of viewpoint Plenary: Website report writing model; symbolic
a narrative to engage a Interpret significance of Jess’s swim
reader in a character’s patterns, Homework: Reporting Jess’s swim for website
actions and achievements rationalize what
is happening
11 The ending  Evaluate the writer’s AF4: Text Yr 8: R10 Starter: Endings – diamond ranking WS: 11a
(Chapter 20) craft, especially in relation structure Yr 9: R14 Introduction: Website review editing/comparing with RG: pp. 4–5,
4

to the ending of a novel AF6: Writer’s (in a novel) narrative fiction 8, 14–15
 Explain the viewpoint Yr 9: R10 Development: Shared reading of final chapter and WB: 11.1
difference between Pass response WC: 11.1,
narrative in a news report judgements Plenary: Begin review process 11.2, 11.3,
and a novel Homework: Consider similar books; complete website 11.4
 Decide what they report
have achieved during the
course of their study
12 Reviewing the  Improve their skills AF5: Use of Yr 8: R13 Starter: Share ideas on similar books WS: 12a, 12b,
whole novel through writing a review language Yr 8: R16 Introduction: Shared reading of review and move into 12c, 12d
 Decide what they AF6: Writer’s Yr 8: W18 shared writing (options) RG: pp.14–16
have achieved during the viewpoint Yr 9: R5 Development: Guided writing WC: 12 1
course of their study Pass Yr 9: R16 Plenary: Review writing so far
judgements, Yr 9: R18 Homework: Complete reviews, reading journals and
relate to self-assessment
previous reading
experience
5
OXFORD ROLLERCOASTERS River Boy Navigator
NAVIGATOR
Chapter Plot outline Key character references Themes Language Structure
1 During the summer holidays, 15-year-old  Introduction to the  Love (specifically  Third-person narrative Introduction
Jess, only child and keen swimmer, main characters: Mum, Dad, family love) from Jess’s viewpoint Complication 1:
discovers that her Grandpa is seriously ill. Grandpa  Facing challenges in  Writer uses dialogue Grandpa is ill, Jess
Despite his serious heart condition,  Key character traits life: for Jess, swimming, p. 2: to establish character unable to accept he
Grandpa stubbornly insists that the family established, pp. 3–12 ‘All she needed now… was a will die
will go on holiday – they are booked to big swimming challenge…’; Complication 2: He has
stay in a remote cottage near to where for Grandpa, the unfinished a painting (‘River Boy’)
Grandpa lived as a child. Grandpa, who is painting, p. 9: ‘There was a he is determined to
a painter, has a painting to finish of a river river, which dominated the finish before he dies
scene, which he has named ‘River Boy’. scene…’.
 Subsequent fulfilment
2 Jess, her parents and Grandpa drive to  Other characters  Time and change, p.  River described Development: The
the holiday cottage, which is 40 miles by mentioned, pp. 16 and 21: the 21: ‘Everything changes… through figurative language, setting changes from
road from the nearest town, Braymouth. Grays, who own the cottage, Nothing stays the same. pp. 14–21: ‘It was as though urban to isolated setting
Despite the fact that it is dark before they and Alfred – Grandpa’s Nothing lasts forever.’ there was a spirit here, not in which a river is the
arrive, the sound of the running water childhood companion  Death some ghoul or creeping key and enchanting
tells them that a river runs close to the shade, but a spirit of the river, feature
cottage. Jess is delighted as it makes her of the trees and hills, a spirit
think of swimming. The family settle down running through all this like a
for their first night in the holiday home. magic charm’, (p. 19)
3 Jess wakes early and decides to test the  The river is presented  Challenge and  Further description of Development: Jess
river. At first she is wary, knowing that as a character: ‘this water time/change – bound into the river using figurative senses an unseen
river currents can be dangerous, but she was friendly enough’, p. 25; river image language presence near the river
measures the river’s strength and feels ‘the current was not her
confident that it is safe for her. Though master’, p. 25; ‘In the end, the
the cottage and river are very isolated, river would win’, p. 26
she has the strange feeling that she is
being watched.
4 While Jess’s parents go to visit the Grays,  Link between  Facing challenge  Key description of Development: Grandpa
Jess helps Grandpa to set up his easel to Grandpa and Jess: ‘in some  Love painting: ‘It was still the river feels he cannot
work on his painting of the river. At first, way painting for him must be scene but he had added so complete the painting
he works well but then begins to despair, like swimming was for her’, p. much more. The hints of
thinking that the painting is rubbish. Jess 28 green that had suggested the
likes the picture but cannot understand its river banks were darker’, p.
title – she can see the river, but where is 33
the boy? Suddenly, Grandpa suffers
another attack.
5 Jess gets Grandpa back into the cottage  Facing challenge  Relationships Continuation of painting
and to bed. He recovers a little and he  Love presented through dialogue problem
makes her promise not to say anything to and action
her parents. When her parents do return,
they have a man with them.
6

6 The man turns out to be an old friend of  Alfred introduced: ‘... I  Time and change Development: Alfred
Grandpa’s – Alfred. His memories of have a sort of tendency to  Friendship introduced
Grandpa suggest that Grandpa has talk a lot’, p. 42
always been stubborn and strong-willed.  Reinforcement of
Alfred talks and talks and talks. Grandpa’s character through
Alfred’s memories
7 Jess goes on a walk to the source of the  River boy described:  Time and change:  Intense and sensuous Jess’s first sighting of
river, where she finds a waterfall and a ‘as though he were part of the ‘She knew that even these language. Creation of mood the boy
deep pool below. She sees the river boy stream itself’, p. 49 things around her would pass of mystery and magic:
properly for the first time as he stands at away some day’, p. 45 ‘everything touched by the
the top of the waterfall. But he disappears river held an enchantment’,
as if by magic. p. 48
8 Jess says nothing about the boy when  River boy doubted:  Time and change Is the boy imaginary?
she returns home to find Alfred has been ‘her belief in the boy up at the Alfred’s words suggest
talking non-stop to her parents. Before he fall had faded; and only the he must be
leaves, however, she asks Alfred if there mystery remained’, p. 56
are other young people in the area. He
says no, leaving her thinking she must
have imagined the boy.
9 But in the night she is woken by the  River boy seen again:  Time and change  Atmosphere of Glimpse of boy who then
sound of the river and catches a glimpse ‘A figure was moving in the mystery disappears
of the boy again outside the cottage in the stream’, p. 57  Metaphorical,
river. When she goes out to find him, she sensuous detail, then sudden
runs into her Dad, who is also unable to return to normality
sleep.
10 Mum thinks Grandpa will have to go to  Boy seen in river  Time and change  Mixed styles as Continuation of painting
hospital, but she and Jess know he wants linked in Jess’s mind with  Facing challenge developments are juxtaposed problem
to finish his painting. Jess helps him to painting,  Love  ‘I can see the picture Boy seen again
set up, and although he begins to p. 65 in my head. It’s so clear. But False crisis: Grandpa
grumble, he starts to make progress. He  ‘Black, untidy hair, I… disappears
tells Jess to go away and not bother him, matching equally black, I can’t…’ p. 65
so she goes for a swim, and yet again untidy shorts’, p. 68  ‘A creature spawned
encounters the river boy. Suddenly, her  ‘A creature spawned by the river itself’, p. 69
attention has to switch to Alfred, who is by the river itself’, p. 69
calling for help. Grandpa is nowhere to be  Grandpa’s sense of
seen. For a while, everyone is troubled, humour, p. 74
until Jess discovers that he is hiding in
the ‘coffin’ car roof-box so that he does
not have to talk to Alfred. Grandpa is put
to bed with some soup, with the prospect
of, in a few days, going to hospital.
11 In the night, Jess looks for the river boy,  River boy described  Time and change  Atmosphere of Clearer image of boy
and again she sees him in the river, as ‘a natural swimmer, a mystery
where he swims with power and grace. swimmer of such power and  Metaphorical,
grace, she could only stand sensuous detail as swimmer
and admire’, p. 80 is described
7

12 A doctor calls to see Grandpa, and the  Of Grandpa’s  Lack of achievement,  Dialogue and action Continuation of painting
doctor wants him admitted to hospital. unfinished painting: ‘now this fear of failure create empathy for Jess and problem – Grandpa very
Grandpa despairs. He knows that he is unfulfilled part of his soul Grandpa ill
too weak to finish his painting. Jess is so would rot away inside him, River boy speaks
distressed that she runs off to the river to colouring the last hours of his
cry. There she meets the river boy, who life’, pp. 85–86
asks her why she is crying.
13 Jess tells the river boy why she is crying.  River boy says to  Facing challenge  Dialogue and action River boy provides
She tells him about the unfinished Jess: ‘You finish the picture… create empathy solution to painting
painting and Grandpa’s weakness. The You be his hands’, p. 89  Sense of purpose problem
boy advises her that she must be  ‘If your grandfather builds as chapter proceeds New complication:
Grandpa’s hands. In return for his advice, finishes his picture, will you Jess must do something
Jess promises that she will help him with help me then?’, p. 90 for the river boy
something difficult that he has to do. Jess
goes back to the cottage and tells her
Mum she wants one last try to help
Grandpa finish his painting before he
goes to hospital.
14 Jess helps Grandpa to finish the painting  Jess’s faith in  Facing challenge with  Pace and urgency Mini-climax: Grandpa
– she still cannot see any river boy, just a Grandpa to finish the courage  Dialogue and action finishes his painting
river scene, but Grandpa is pleased with painting: ‘Desperately she  Love create empathy
the results. clung to her faith in his will,
his anger, his courage and,
above all, his love for her’, pp.
94–95
15 Grandpa is peaceful now the painting is  ‘A sense of pride in  Fulfilment  Calm and rest after Grandpa fulfilled
completed to his satisfaction. Mum and his voice as he told Mum and  Love effort
Dad think it is poor, but more than ever it Dad that he had finished his  Soporific effects
makes Jess think about the river boy. picture’, p.101
 ‘ “I love you Grandpa”,
and she knew that was
enough’, p.105
16 Jess climbs to the source of the river in  Jess and the river  Facing challenge  Atmosphere of Jess’s challenge – to
the darkness before dawn. She meets the boy: ‘she realized how much mystery swim with the boy or
river boy and together they look out over this strange boy yearned for  Metaphorical, not?
the river as it flows into the sea. The river her to swim with him’, p. 110 sensuous detail
boy tells Jess that he intends to swim the  Key section on the
river to the sea and asks Jess to go with metaphor of the river, p. 109
him. She declines, saying that she needs
to be with Grandpa. She returns to the
cottage feeling she has let the river boy
down. Alfred is there to greet her.
8

17 Alfred gives her the news that Grandpa  Alfred of Grandpa: ‘He  Love  Tension halted by Link made between boy,
has been taken to hospital and that she used to go on about how he  Facing challenge with matter-of-fact detail painting and Grandpa –
cannot follow him. Alfred then remarks on was going to swim the length courage  Sudden climactic through Alfred
the self-portrait that Grandpa has painted of the river one day, all the moment at chapter end
and Jess suddenly realises the link way from source to sea’, p.
between boy, painting and Grandpa. She 117
knows she must catch the river boy
before he swims out to sea. She dives
into the river, desperate to find him.
18 Jess swims to Braymouth, determined to  Jess realizes: ‘The  Love  Detailed, fast-paced, Climax: Swimming the
catch up with the river boy before he river boy was not a curse but  Facing challenge with tense description of Jess’s river
reaches the sea. She is successful and a benediction; a blessing in courage swim to reach the boy
bids him farewell. the history of Grandpa’s life,  Fulfilment
and in her own small
existence. And here she was,
swimming after all, and with a
challenge to match her
greatest hopes’, p. 119
19 Jess is found by the police, and reunited  Jess ‘wanted that  Love  Relaxation of tension Resolution: Grandpa
with her concerned parents. Grandpa has grief; she knew it was natural  Fulfilment  Muted dialogue and and Jess at peace
died peacefully. and right, just as the passing  Acceptance of change slow pace
of this strange and wonderful
old man was natural and
right, just as her own death
would one day be natural and
right. But there was much
living to do first… much
swimming. In the wake of the
river boy’,
p. 129
20 Jess takes one last visit to the source of  Jess: ‘There was no  Love  Return to Resolution: Jess
the river, and there she scatters her need for pain, only a  Fulfilment metaphorical, sensuous accepts time and
Grandpa’s ashes in the waterfall before wholesome sorrow which  Acceptance of change language change as natural
diving in after them. She knows would, in time, relent’  Gentle valedictory
Grandpa’s spirit will always be with her.  ‘But the spirit of the tone
river boy was in her alone’, p.
135
9
OXFORD ROLLERCOASTERS River Boy Lesson 1
LESSON 1
Lesson objectives Yr 8: R4 Yr 9: R13

AF2, AF3 AF2, AF3
Focus: Chapter 1 – expectations, initial character analysis
Learning outcomes
Students will be able to:
1 Use the title, cover and blurb to inform their reading of a text
2 Identify how writers portray character through both explicit and implicit means
Starter (15 minutes)

Distribute sheet CD1.1, which outlines ideas for keeping a reading journal. Give students 5
minutes to explore the suggestions, working with a partner. Explain that they will be keeping
a record of their responses as they read, and will be referring to this sheet.
Written tasks can be drafted or completed in the journal. Worksheets can be stored there. To
motivate students, you might also suggest an award for the best three journals.
Refer students to pages 4–5 of the Reading Guide. Begin discussion of the various covers
and draw comparisons between them using the sections ‘Judging a book by its cover’ and
‘Try some other covers too!’ Emphasize the need to consider the words used – including the
tag lines and the back cover blurb – and ask students to complete ‘Reading the blurb’.
The covers in Writer’s Craft 1.1 and 1.2 can be distributed to supplement these pages (or
shown on screen). You may also wish to print these cover designs for a wall display.
Students should work in pairs or fours to discuss and make a note of:
• one question about the novel
• one prediction about the novel’s content.
Select four or five students to write their questions and predictions on cards for the wall
display and as the basis for feedback.
Introduction (15 minutes)

Before beginning to read, establish a routine for noticing and/or recording challenging or new
vocabulary, such as a new vocabulary section on the display board, periodic dictionary
checks, or a new word challenge game (with the class divided into teams, any member of
the team can pick a word and challenge another team to give its correct meaning).
You may also want to introduce WB1.1, the River Boy Rollercoaster diagram – clicking on
Chapter 1 and pulling up the Narrative Style box to highlight the aims of their reading.
Read the opening of the novel up to page 3, ‘crashed into the pool’. Ask the students to
focus on these questions.
• Who are the main characters?
• What might be the main themes?
• How has the writer engaged the reader with this opening?
Consider the use of viewpoint; use of the past tense; Grandpa’s uncertain health;
unexplained references to the river boy and hints of other significant events. Check whether
students’ initial predictions have altered.
10
Briefly, model for students how to pick out detail about character and provide evidence and
page references. Pick out what Jess feels about swimming (page 2). Show how Grandpa is
described as ‘a stubborn, prickly old man’.
Next, model how to infer ideas, for example Jess’s impatience with other swimmers – they
‘made her want to shout with frustration’, page 1. Jess is single-minded, determined, likes to
be in control. She cares about Grandpa – she keeps checking on him as she swims.
Grandpa loves Jess and cares about her swimming, otherwise he wouldn’t be there.
Development (15 minutes)

Ask students to continue reading the first chapter – in pairs or small groups – with the task of
identifying at least three things that can be learned about Grandpa, Dad and Mum, using
sticky notes as they read. Allocate the different characters to different groups or pairs if
necessary.
Remind students that they are:

• retrieving information, such as Grandpa was ‘such a stubborn character’ (page 5)
• inferring or deducing, such as the consultant is ‘exasperated’ by Grandpa’s behaviour
(page 5) – indicating that Grandpa is very difficult.
Briefly model how to use the sticky notes to mark the place, identify the relevant quotation in
the text or make an inference.
Plenary (10 minutes)

Use a copy of OHT 1a or WB1.2 and WB1.3 to take concise feedback from students on
each of the three characters. For every point, ask whether they retrieved information or
inferred or deduced it. You could support less able students by preparing points on the OHT.
Ideas are suggested on CD1.2.
Homework (5 minutes)
Ask students to record three things they know about Jess, using Worksheet 1b. Ensure they
distinguish between retrieving information and inferring or deducing it. For each point, they
should provide evidence with a page reference.
Invite students to write ideas in their reading journal, draw characters or record new
vocabulary to consolidate what they have learned so far.
11
LESSON 2
Lesson objectives Yr 8: R4 Yr 9: R13, SpL12

AF5, AF6 AF5, AF6
Focus: Chapter 2 – setting
Learning outcome
1 Access setting in a narrative through visualizing and empathizing

Tell the students that after checking the work set on Jess, this lesson will focus on the setting
for the story. Ask: What do we know about Jess from reading Chapter 1?
Build a character profile (role-on-the-wall) of Jess. Students should write their comments
(from Worksheet 1b) on cards and pin them up around a silhouette to represent Jess. They
should say whether they have retrieved information or inferred and deduced it. For example,
on page 4 we learn that she has a lot of swimming medals – we can deduce that she has
had success as a swimmer as well as enjoyment from it. (CD1.2 contains further sample
points.)
Discuss:
• what Jess has in common with Grandpa, such as being independent, single-minded and
the same age as he was when he left his place of birth
• words that describe Jess’s family and their relationships, such as close-knit, sensitive,
loving, tolerant, sharing, caring, supportive.

Draw students’ attention to how the story is being told – in the third person but through
Jess’s thoughts and viewpoint (she is the focaliser – we see through her eyes). Check that
this is understood. Invite comment on how the story would change if the reader shared
Grandpa’s viewpoint. Ask why the writer has chosen Jess’s viewpoint; for example, seeking
to appeal to a teenage audience by adopting a teenage viewpoint. Teenage readers learn
through empathy with Jess’s experience in a way they would not with an adult viewpoint.
Refer students to pages 6–7 of the Reading Guide, ‘Holiday destination?’, and the activities
outlined in those pages.
• Read the advertisement for the holiday home.
• Share ideas for words to describe the cottage.
• Complete the guided tour. You may wish to use music as a background for this, or
sound effects for a river (you could use the audio clip CD2.1).
Tell the students their homework task will be to compose a comment about the place by a
satisfied holidaymaker, and that you will return to this later.

Discuss what Jess would make of a place like this. What would she do there? Remember
that Jess is a city girl – she’s used to traffic and noise. Read Chapter 2 with the class,
focusing on:
1 Jess’s reaction to the place
2 the river.
12
What three things do they notice about the river? Direct students to mark references to the
river with sticky notes as they read.

Ask students to share what they notice about the river and agree the key points. These
should include Jess’s initial reactions to the setting and reasons why Grandpa might want to
return to it. Points should include the following:
• the river runs very near to the cottage
• Jess hears its rushing waters before she sees it
• it flows out to the sea at Braymouth and is a good-sized river just below the cottage
• it keeps Jess awake, but she likes it – it makes her think of her Grandpa as a boy
• Jess likes the isolation and she likes the river – it makes her think of swimming
• Jess thinks Grandpa’s decision to come here is out of character: ‘he’d always scorned
looking back, as though it were a weakness’, page 14
• Grandpa wants to return to his place of birth to die
• he wants to paint his birthplace – the river
• he needs to recover that part of himself he rejected when his own parents died in the
fire – Jess is the only one who can ‘find’ that part.
Ask students if this river might represent something more. You could suggest a link between
the rushing water of the river and Grandpa’s words ‘Everything changes, Jess …’ (page 21).
Invite students to say what titles they would give to Chapters 1 and 2 and to record ideas in
their journals as appropriate.
Check to see whether students have adapted their ideas about the place by asking how they
would change their holiday destination words as a result of reading Chapter 2.
Ask students to write the satisfied holidaymaker’s comment in around 50–75 words. They
should draw on the work they did in the guided tour and on what they have learned from
reading Chapter 2.
Extension Task
More able or Year 9 students could be asked to write their own description for the holiday
cottage advertisement, based on what they have learned in Chapter 2.
13
LESSON 3
Lesson objectives Yr 8: R5, W11 Yr 9: R12

AF5 AF5
Focus: Chapter 3 – imagery
Learning outcomes
1 Analyse a writer’s style through marking sensory appeal
2 Identify key images in a novel

Ask each student to write the satisfied holidaymaker’s comments on a card and add it to the
wall display. Select well-chosen phrases to comment upon, and recall the effect of the
description of the river in Chapter 2.
Tell students that in his acceptance speech for the Carnegie Medal for River Boy, Tim Bowler
referred to the ‘magic caskets of words’ that writers have. This lesson focuses on how he
uses language to appeal to the reader’s senses, to create the spirit of the river – the central
metaphor of River Boy.
Ask students what they most vividly remember about the river as described in Chapter 2
without checking the text.
Distribute Worksheet 3a, which carries a short extract from pages 19–20 of River Boy. You
may like to show students the opening of the video interview with Tim Bowler (Writer’s Craft
3.1) where he talks about the river.
Students should then circle words that bring sounds to mind, and underline any words that
suggest touch or sight. Allow them two minutes to do this.
Display an OHT version of Worksheet 3a or WB3.1 and use it to record the feedback from
the class and explore key grammatical and figurative techniques used by the writer to
suggest the river – focusing on the dominance of sound effects in this extract
(onomatopoeia, simile, alliteration, sentence length and structure). Point out that Jess asks
the river what it is saying, as if it had a voice – ask students to name this technique
(personification). Make clear that personification is when a writer refers to an inanimate
object as having human qualities.
As an alternative, use Generic Starter 7 on narrative style, on page 41 of this pack, with an
extract of your choice.

Explain that the lesson will now go on to develop ideas about the way a writer appeals to the
senses of a reader.
Ask students to close their eyes as they listen to the opening of Chapter 3, up to ‘… whole
river as it raced past her legs’ (page 23). You may like to introduce Tim Bowler’s own reading
of this passage in the video Writer’s Craft 3.2.
14
Encourage students to share what they remember most vividly with a partner. Discuss these
details with the whole class, re-reading the passage with students looking at the text to
check which senses Bowler is using, drawing out the way the writer’s choice of language
creates strong sensory impressions: combining sound and vision, e.g. ‘tree-tops moving
against a pale sky’, and ‘Dad’s steady breathing’; sound through onomatopoeia in ‘the ripple
of the stream’; and sight through metaphor in ‘snaking river’.

Ask students to read the remaining four pages of Chapter 3, addressing the questions on
Worksheet 3b. CD3.1 provides sample answers.
When they complete the reading, students work in pairs to fill in the grid.
You could choose to support a particular group of students with this work.

Take feedback on the questions on Worksheet 3b, moving rapidly to the final question. At this
stage, some speculation is required, not detailed exploration.
Ask whether the students have questions they wish to ask about the river. If no one mentions
this point, then remind students of it: ‘The feeling started to grow that she had not been –
and was not – alone’ (page 26).
End by asking why it is important for a writer to exploit the reader’s senses, and what has
been gained in the lesson from focusing on the senses when reading.
Invite students to suggest a title for Chapter 3, and to record it in their journals.
Ask students to pick out three details from the description of the river that they find
memorable. Using their chosen details, they should explain how the writer’s choice of
language has made these details memorable. They should complete this work in their
journals.
15
LESSON 4
Lesson objectives Yr 8: R5 Yr 9: R18, R5, S4

AF3 AF3
Focus: Chapters 4–6 – family relationships
Learning outcome
1 Explore the presentation of the relationships between characters in a novel
Starter (5 minutes)
Ask pairs of students to share ideas on what makes the river memorable. Briefly sum up an
appreciation of Bowler’s style in appealing to the senses through powerful imagery
(foregrounding the central metaphor of the river). Alternatively, use Generic Starter 4 on
narrative voice, on page 38 of this pack.
Let students know that their journals will be taken in at the end of this lesson to sample
written comments and assess progress. Explain that in today’s lesson they will be
considering the characters and their relationships.

Refer students to pages 8–9 of the Reading Guide, and ask the class to recall what they
already know about Grandpa’s relationships with other family members. Ask pairs to read the
quotations and look at the central image to help them answer ‘What do we know so far?’
Then invite them to discuss the questions under ‘Hopes and fears’.
The discussion points under ‘Characters in the background’ and ‘Mystery hero’ should
stimulate students’ ideas about who the central character is in the novel. Use ‘Linking Jess,
Grandpa and the river’ to move on from Jess and Grandpa to look at the river boy and the
river as characters in themselves.
Then read up to page 32 of Chapter 4 (‘Ten minutes later, he was at work’) with the class.
Focus on the relationship between Grandpa and Jess, asking students to note evidence of
how the writer presents this as a special relationship. Tell students they will be inferring and
deducing from the writer’s language choices in the dialogue and action between Jess and
Grandpa. For example, Jess’s words on page 29 show she anticipates his needs: ‘Could you
–?’ ‘You know I will.’ This indicates that she often helps him with his painting.

Ask students to read on to page 44, the end of Chapter 6, in groups (or complete this for
homework), focusing on the unfolding relationship between Grandpa and Jess in Chapters 4
and 5. Again, they should note points in the action and dialogue that show a mutual
understanding.
Groups who work quickly should also decide why the character of Alfred is introduced in
Chapter 6.
You may wish to use the plan below to work with a guided group, targeting skills in inference
and deduction. A fuller version of this plan is provided as CD4.1.
16
Guided group reading plan
Introduction to text: Confirm students’ understanding of the task. Share the first
page of reading and show students how to use sticky notes to
mark evidence of Grandpa and Jess’s special relationship.
Independent reading Ask students to look for at least three more good pieces of
and related task: evidence (speech or actions) as they read Chapter 5.
Individuals can be supported as they work.
Return to text: Ask each group member to share their points with a partner,
before sharing one point from each student. Check the text for
each point. Clarify any misunderstandings and develop ideas.
Review: Draw out key learning, checking students’ understanding of the

reading skills of inference and deduction. Is it dialogue or action
that tells them most about the relationship?
If there is time, ask students to read Chapter 6 and consider

why the writer introduces the character of Alfred.
Evaluation: (complete following the session)
Fifteen minutes before the lesson ends, check group progress. Provide each group with a
blank OHT to record three pieces of evidence.

Invite each group to present their main points using their OHTs. Summarize the main points
made by all groups, then ask students whether dialogue or action is the most powerful
means of communicating the relationship, and draw out the importance of the relationship to
the novel’s theme of family love.
Very briefly, touch on the mystery of Grandpa’s painting as represented on page 33: ‘It was
still the river scene but he had added…’ Ask students to identify the effect of having a
mystery to solve (it’s a strong narrative hook).
Explain the homework (to be completed for Lesson 7), using Worksheet 4a. Students will
write some dialogue and action between Mum and Dad as they walk to visit the Grays in
Chapter 4. Models of speech punctuation are provided.
Students can also finish reading Chapter 6 for the next lesson, if necessary.
Take in reading journals to sample progress and to select appropriate students for the guided
work on language in the next lesson.
17
LESSON 5
Lesson objectives Yr 8: R5, S2, W11 Yr 9: R12

AF5 AF5
Focus: Chapters 7–9 – language to create mood and atmosphere
Learning outcomes
1 Identify themes in a novel
2 Analyse how a writer’s use of language creates mood and atmosphere

Return students’ reading journals, commending their successes.
Reinforce any points arising from reading up to page 44 – the character and function of
Alfred, for example. Suggest that Alfred tells us things about the past and is a reliable source
of information. Perhaps show students Tim Bowler’s views on Alfred from the video interview
– Writer’s Craft 3.1.
Alternatively, use Generic Starter 1 on reading strategies, on page 35 of this pack. Ahead of
the lesson, prepare sets of the cards and put them into the ‘Reading strategy’ and ‘Definition’
piles. Then ask groups to match the right definition to each reading strategy and consolidate
understanding through class feedback.
If you prefer, use the noughts and crosses game on WB5.1 to review students’
understanding of the reading strategies used so far.
Ask students to consider what themes they feel are evident in the story. Suggest they look
for pairs of opposites, e.g. youth and age. Use OHT 5A or WB5.2 to illustrate this, showing
how themes relate to character and events. Take feedback on other emerging themes after a
brief paired discussion. Students might suggest success/failure, past/present,
strength/weakness, life/death, change/sameness. Tell students to keep adding to their
diagrams as they read on.

Explain that the lesson will focus on how a writer creates mood and atmosphere. Begin a
shared, close read of Chapter 7, asking the class to highlight words, phrases, patterns and
grammatical features that create mood and atmosphere. Point out that a film maker would
need to decide on the music to accompany this scene; thinking this through should help
students to analyse mood and atmosphere.
Share the reading to the end of the first paragraph on page 47, ‘her doubts would recede’. A
sample of annotations for the opening passage is given on CD5.1.

Ask students to read to the end of the chapter silently, focusing on the chapter’s shape –
noticing how it ends and looking back to its beginning. Ask them: If this chapter was mapped
on a tension graph, what would it look like?
18
Ask the students, working in small groups, to select a 15–20 line section from Chapter 7 to
annotate closely. Consider, for example, one or more of the following: use of verbs, adverbs,
noun phrases, patterning of language, figures of speech. Give two or three groups OHTs of
their lines, so they can present their annotations to the whole class in the plenary.
You may wish to use the plan below to work with a guided group of five or six students. A
fuller version of this plan is provided as CD5.2.
Teaching objective(s): To explain a writer’s language choices

Text Chapter 7 (selected passage of 15–20 lines)
Introduction to text: Distribute the selected passage and read together.
Model the chosen activity for students (e.g. cloze exercise
where verbs have been blanked out, then compare with
original; highlight verb/adverb choices/noun phrases and decide
the effects of those choices; mark sentences in different colours
– what this shows about sentence lengths).
Independent reading Set students to work in pairs on their task, and support them as
and related task: they work.
Return to text: Ask each pair to share their text marking results with the group.
Clarify any misunderstandings and develop ideas. Draw out key
learning.
Review: If there is time, students could prepare OHT versions of their

selected text marking to show others in the plenary.
Ask groups to decide on two questions to ask Jess about her current feelings.
Plenary (5 minutes)
Select feedback appropriate to the class’s needs. Display all annotated text. Ask what mood
and atmosphere is created in Chapter 7, and what this tells us about the river boy. How is
this mood shaped by the chapter structure? Again, we have a mystery. What effect does this
have upon the reader?
Ask students to read Chapters 8 and 9, focusing on the questions on Worksheet 5b. Advise
students to read the questions before they begin reading and that if they get stuck, they
should move on to the next question. As a follow-on, they should note down three questions
to ask Jess about her current feelings and experiences, for a hot-seating exercise in the next
lesson.
19
LESSON 6
Lesson objectives Yr 8: R10, SpL15 Yr 9: R14 (in a novel), S4, SpL12

AF3, AF4 AF3, AF4
Focus: Chapter 10 – empathy and narrative tension
Learning outcomes
1 Explore an issue and develop empathy with a character through framing, asking and
answering questions
2 Identify how a writer uses a reader’s curiosity to provide narrative tension

Explain to the students that this lesson will study a number of ways in which a writer keeps
readers’ interest and engagement. Divide the class into nine groups (three or four students
each). Give each group a chapter to which they must agree a title that would indicate its
place in the plot structure so far from Chapters 1 to 9, e.g. ‘Testing the River’, or ‘Old
Friends’. Students have one minute to decide on their title and record it on a large card. Ask
volunteers to put the cards in the correct order as a way of recapping the plot structure. The
cards can then be placed on the display board.
Alternatively, use Generic Starter 6 on atmosphere and settings (see page 40). You could
use this to examine the tension in Chapter 9, or an extract of your choice.
As a link to the hot-seating of Jess, draw attention to the fourth paragraph on page 50
(Chapter 8): ‘She said nothing about the river boy...’

Briefly, recap on the question prompts for the reading homework. Ask groups of four to
compare the questions they prepared for Jess. Each group should select their best question.
Suggest, where necessary, how groups can select and adapt their questions. Write these
onto card to add to the display board after the lesson.
Choose one student to play the role of Jess and then ask groups to hot-seat Jess. Where
her answers relate to information in the text, these should be checked. Prompt
supplementary questions and answers, if necessary. The purpose is to recap what Jess is
experiencing and to speculate on the nature of the river boy.

Read up to page 67 of Chapter 10 with the class: ‘… straightened her swimsuit, and ran
away’. Then ask them to predict what will happen next.
• Will Jess find the river boy?
• Will he speak to her?
• Will Grandpa manage without her?
Ask students to read to the end of Chapter 10, either individually or in groups. They should
focus on the following and use Worksheet 6a to record key points.
1 New information about the river boy – selecting some short key quotations
2 How far the chapter follows the course they expected
3 The narrative hooks in this chapter – what creates the narrative tension?
20
Select a small group of students for guided work who would profit from further support in
selecting quotations, or identifying points of high tension. A fuller version of this plan is
provided as CD6.1.
Teaching objective(s): To develop skills in identifying key quotations and moments of

high tension in a narrative
Text Chapter 10 pages 67–77
Introduction to text: Confirm the focus on a) information about the river boy, b)
identifying tension. Recap by repeating the questions that
prompted predictions.
Independent reading Remind students of Worksheet 6a, which they will use to record
and related task: what Jess discovers (three key quotations) and how far events
meet their expectations.
Return to text: Encourage students to read alone, but individuals can be

supported as they work. An individual could be asked to read
aloud briefly, and respond to questioning.
Review: Ask each group member to share his or her points with a
partner, before sharing one point from each student. Check the
text for each point. Clarify any misunderstandings and develop
ideas.
Draw out key learning, checking students’ appreciation of key

quotations and points of tension. If there is time, ask students to
consider why Tim Bowler introduces the comic episode in
Chapter 10.
Plenary (5 minutes)
Conduct a feedback session to gather new information about the river boy (pages 68–69). If
some students have not finished the reading, set questions 2 and 3 above as an additional
task for homework.
Briefly introduce the purpose of a tension graph for plotting the highs and lows of a narrative.
Then ask students to use Worksheet 7a to mark the points of high tension (the narrative
hooks) in Chapter 10, ahead of the next lesson.
21
LESSON 7
Lesson objectives Yr 8: R5, R10, SpL10 Yr 9: R12, SpL10

AF3, AF4 AF3, AF4
Focus: Chapters 11–13 – the river boy as narrative tension
Learning outcomes
1 Identify how a writer structures a narrative to maintain a reader’s interest
2 Explore a complex issue through talk

Collect the written assignment from the Lesson 4 homework. When these are marked,
selected examples can be displayed.
Recap the idea of composing a graph to show tension in a story. Take feedback on the
homework task – plotting the narrative tension in Chapter 10. If necessary, explain narrative
tension again using the analogy of the tense music used in a film, which makes you think
something is about to happen and therefore ‘hooks’ the viewer.
Pairs should compare graphs with another pair, before sharing and recording ideas as a
whole class using Worksheet 7a. This will enable you to monitor their understanding of the
tension graph. Explain that they will use this technique again with another part of the text at a
later stage. Reinforce the importance of narrative tension in engaging the reader.

Invite pairs to discuss quickly why they think Tim Bowler turns the crisis in Chapter 10
(Grandpa hiding in the ‘coffin’) into a joke. Elicit from pairs how:
• this false crisis injects necessary humour into a story that could have been solidly
sombre
• it draws the reader into the character of Grandpa and defies reader expectations –
making for a better story
• it enables the reader to cope with the more serious chapters that follow.
Read Chapters 11–13 either with the whole class or in groups. As they read, direct students
to think through explanations for the appearance of the river boy. These are short chapters
but raise important questions.

When the reading is complete, ask groups to use Worksheets 7b and 7c to continue
speculation about and discussion of the river boy. Emphasize that it is not so important
whether their ideas are ‘right’ or ‘wrong’ – the discussion, listening and negotiating meaning
are more important at this stage.
Work with groups that will need focusing, but do not guide them too closely – prompt and
question where necessary only. Inform groups they will be asked to say something about a
key point in their discussion during the plenary – some groups may need guidance on what
to select.
22
Extension Task
A few minutes before discussion time ends, distribute Writer’s Craft 7.1, which is an extract
from the first draft of Chapter 13. (Writer’s Craft 7.2 is the original handwritten draft from the
author’s notebook. Both can be found in the WC section of the CD.) Ask students to decide
whether this extract alters their views in any way as they finalize their points for feeding back
to the whole class. The draft is much more explicit in the presentation of the boy. Ask
students to consider why Tim Bowler chose to reduce the amount of information he gives
about the river boy in the final version.

Take some feedback, bearing in mind that the value of the discussion is not in its
conclusions, but in its process.
Draw attention to the final words in Chapter 13: ‘I want to be his hands’. What do students
think will happen in the next chapter?
Stress the importance of the mystery of the river boy in driving the narrative on. Ask students
to look at chapter endings – how many times does Bowler use a ‘cliffhanger’ about the river
boy to end a chapter? What other topics form cliffhangers?
Select three good readers in the class who will read ‘parts’ in the next lesson. Ask them to
prepare a reading of Chapter 14: one will play Grandpa, one Jess and the other the narrator.
Ask students to complete Worksheet 7d for homework, which asks for chapter titles, chapter
endings and topics. (A sample completed sheet can be found on CD7.1.) Students should
complete the chart up to Chapter 13 now.
Students can also be invited to draft a tension graph in their journals to represent the ups
and downs in the novel up to the end of Chapter 13, attaching their chapter headings to the
rises and falls as appropriate.
This activity is designed to promote reflection, not perfection at this stage – it will feed into
later activities. Student can refer back to their completed version of Worksheet 7a.
Remind students of the awards for the best-kept journals. Suggest they add further
notes/images/thoughts.
23
LESSON 8
Lesson objectives Yr 8: R5, SpL15 Yr 9: R12, SpL12, Wr17

AF5 AF5
Focus: Chapters 14 and 15 – language to create empathy
Learning outcome
1 Identify how a writer creates empathy for characters through language choices

Invite two or three students to share their work on the tension graphs, spotting common
patterns and explaining that you will return to these later. Take in Worksheet 7d to mark
(CD7.1 offers sample answers).
Explain that the focus of this lesson is the completion of Grandpa’s painting, and how Bowler
uses techniques to create empathy.
Refer students to pages 10–11 of the Reading Guide, which consider Grandpa’s painting by
drawing together what has already been said about it, and stimulate students’ curiosity to
develop their sense of its importance.
Ask students what they thought the painting looked like. Does the image in the Reading
Guide match their imagined painting?

Read Chapter 14 as a drama script with three students reading the roles of Jess, Grandpa
and the narrator – as briefed in the previous lesson. As they listen, ask students to focus on
how this episode makes them feel. What is the author’s aim?

Ask for a volunteer to be sculpted as Grandpa and another to sculpt him at the beginning of
the chapter where Jess says: ‘You’re painting today. So you’d better get some breakfast
inside you’. The class can advise on or adjust his position.
Ask another student to sculpt Grandpa as he or she sees him at that moment. Again, the rest
of the class can advise.
Ask for another volunteer to be sculpted as Jess. Go through the same procedure as with
Grandpa. Ask the two students to ‘freeze’ in this position.
Invite students to suggest what Grandpa is thinking, by standing beside him and speaking
his thoughts. Other students may wish to suggest different ideas. Repeat the process with
Jess.
Encourage other students to re-sculpt the characters for the moment Jess starts to help
Grandpa paint on page 99. Again, students ‘freeze’ in their sculpted positions. Ask the class
where they would place Tim Bowler in relation to these two characters at this point. Where
do his sympathies lie?
Finally, discuss where the reader’s sympathies lie. Use responses to teach the concept of
empathy (students should suggest they ‘become’ Jess or Grandpa as they read).
24
Invite students to pick out words used in Chapter 14 (focusing on page 99) that make them
feel empathy. For example, verbs show us how difficult the task is: ‘the brush was slipping
from his grasp’, ‘her arms were aching’; adverbs show her tenderness: ‘she… gently raised
the arm’, and adjectives show his desperation: ‘the desperate intent of a drowning man’;
nouns and noun phrases suggest resolve: ‘intent’, ‘hope of rescue’, ‘trickle of energy’;
dialogue is minimal – suggesting concentration. Short sentences suggest movement; longer
sentences describe feelings.
Finally, sculpt the two characters at the end of Chapter 14. What is each thinking when
Grandpa says, ‘It’s finished’?

Writer’s Craft 8.1 is an extract from the first draft of Chapter 14. (Writer’s Craft 8.2 is the
original handwritten draft from the author’s notebook. It matches pages 97–98 from ‘She sat
next to him on the put-up chair…’ to ‘He caught her eye and nodded towards the picture’.
Read the draft with the students. Then ask pairs to compare it with the final version. Students
should decide:
• one change made by the writer that strengthens the reader’s empathy with either of the
characters
• what this teaches them about the writer’s craft in redrafting – what has been gained?
Draw students’ attention to the developed section at the end of the chapter.
Return to pages 10–11 of the Reading Guide and ask the class which quotation from
Chapter 14 they might select as an additional ‘picture’ in the gallery.
If time allows, sample Tim Bowler’s response to a question about Grandpa’s painting in his
video interview (Writer’s Craft 3.1).
Encourage students to reflect on how Bowler encourages readers to empathize with both
Jess and Grandpa on pages 97–100. Worksheet 8a supports this task (the sheet is
available for differentiation on CD8.1). Ask students to complete this work for Lesson 10.
Also ask students to read Chapter 15 before the next lesson – focusing on how the end of
this chapter makes them feel. How would they draw a tension graph for Chapters 14 and 15?
25
LESSON 9
Lesson objectives Yr 8: R5, W11 Yr 9: R7, R9, R14 (in a novel)

AF4, AF5 AF4, AF5
Focus: Chapters 16 and 17 – structural metaphor
Learning outcomes
1 Analyse a writer’s use of patterns of language over a whole text, focusing on extended
metaphor
2 Identify the crisis point in a novel and how to see this in relation to preceding events

Tell students that in this lesson they will be thinking about Tim Bowler’s use of the river in his
narrative, and doing some work on story structure.
Refresh students’ memory of Chapter 14 and 15. Encourage them to assess how Jess and
Grandpa are each feeling at this point. Then choose one of these tasks:
1 Secure language analysis

Using examples of features discussed in previous lessons, ask students to do the card sort
activity on Worksheet 9a or the drag and drop in WB9.1, based on Chapter 15 pages 104–
105. By matching the examples with named language features, they will secure the skills in
language analysis practised in the homework task. Abler students can be asked to provide
two more examples of the writer’s use of language for effect in Chapter 15.
2 Introduce ideas about narrative structure

Use Generic Starter 8 on narrative structure and sequencing, on page 42 of this pack. Ahead
of the lesson, prepare sets of the cards and then ask pairs to choose a selection that apply
to an agreed familiar story. Students can then be asked to repeat the activity with the more
complex events of the novel so far.

Distribute Worksheet 9b, which focuses on the river as metaphor. Allow students sufficient
time to consider how rivers are used metaphorically in everyday speech. Then encourage
them to consider how the river is used in River Boy. Students may mention religious or
spiritual ideas that can be explored, e.g. a journey from a source to a natural end, linked to
the journey from birth to death.
You may like to show students Tim Bowler’s response about the nature of the river from the
video interview (Writer’s Craft 3.1).
Extension Task
With Year 9 or more able students, you may wish to pause and introduce the ways other
writers use rivers as images – for example, Joseph Conrad in Heart of Darkness, Charles
Dickens in Our Mutual Friend, Sharon Creech in Ruby Holler, ‘River Swimming’ by Owen
Sheers, ‘Surgeon’ by Jane Draycott. Extracts from these can be found as part of CD9.1,
along with sample annotations to support the comparative analysis.
26

Share the reading of Chapter 16, pausing to draw out student responses to language,
focusing on the metaphor of the river (especially on pages 108–109) and how the writer uses
language to create tension.
Based on students’ responses to the reading, use the different levels of questions suggested
on CD9.2 to extend students’ skills in using the different reading strategies.
After reading Chapter 16, choose one student to play the role of Jess. Divide the class into
two. One half must give Jess reasons why she should go with the river boy; the other half
give reasons why she should not. This needs to be brief but will feed into students’ sense of
structure.
Ask the student playing Jess to say what her decision would be based on the reasons she
has been given. Then read Chapter 17 with the class. Ask what students now understand
about Grandpa’s picture and the river boy. How do they think Jess will feel now?
Students should now grasp why Alfred is an important character. Ask them what his function
is in the novel (to make explicit the link between Grandpa and the river boy).

Remind students of the classic structure of a narrative by displaying OHT9c, which students
can copy into journals. Alternatively, work through WB9.2 and WB9.3, which test students’
understanding of stages in narrative structure. Ask them where they would place the moment
they have just read in Chapter 17 within this structure, and what stage is still to follow. Model
for students how to use the structure diagram to mark in details of plot, quotations and their
own chapter titles and endings.
Students should complete the structure diagram, filling in chapter headings (their own
choices) and page references for key moments. Distribute A4 paper for neat copies of their
structure plans and explain that these diagrams will be displayed when complete.
For more able or Year 9 students, you may also wish to set a written comparative task as
outlined in CD9.1.
27
LESSON 10
Lesson objectives Yr 8: R10 Yr 9: R12

AF4, AF6 AF4, AF6
Focus: Chapters 18 and 19 – the climax
Learning outcome
1 Identify how a writer creates, maintains and releases narrative tension in the climactic
sections of a narrative to engage a reader in a character’s actions and achievements

Take in the written task from the homework for Lesson 8.
Distribute the Reading Guide and refer students to pages 12–13. Read with the whole class
the initial information about long-distance swimming (to the end of ‘Jess’s big challenge’)
before tackling the emotional climax of the novel. Let this information sink in so that students
realize the difficulty of the task Jess is undertaking.
Ask students to identify their own feelings about undertaking such a challenge. Recap the
way Tim Bowler creates empathy for his central character (remind students of their work on
this in Lesson 8). But also pose the questions: Why is Jess undertaking this swim? Is it a
world record she is after? How does her swim differ from those presented in the Reading
Guide?
Students may mention that the swim is as important symbolically as it is in reality – she
doesn’t want to let the river boy down as much as she wants to reach Braymouth to see
Grandpa in hospital. You may wish to prompt this thought before reading Chapter 18, if it is
not raised by the class.
Introduction (10–15 minutes)

Start by asking students what they think is going to happen in Chapter 18. Prior to the
reading, distribute Worksheet 10a (an A4 landscape page, ending with the estuary on which
they will chart Jess’s progress as a timeline). Do not prompt them to record any particular
points – they can record times or draw features on their ‘maps’. Tell them they will have time
to check this over afterwards but they should record what they can as you read, even putting
in bends where called for. Read Chapter 18 with the class.
When the reading is complete, ask students to compare their river timeline with a partner’s.
Neatness does not matter as this is a focusing exercise.
Development (15–20 minutes)

Spend five minutes exploring the detail of Chapter 18 briefly through this question: How does
Tim Bowler keep the reader engaged in Jess’s challenge?
The river timelines should have shown students how Tim Bowler keeps the reader focused
through the sense of pace over distance and time – giving time checks and offering details
about the changing landscape.
Then read Chapter 19, asking students what they notice about the use of tension across
these two chapters. Focus them on the slackening of pace. What effect does this have on
the reader? Allow 5–10 minutes for this discussion.
28
Return to the Reading Guide, reading through the ‘Job at the BBC?’ activity on page 13.
Pairs should then begin this activity, which involves writing a 250-word website article on
Jess’s swim to Braymouth.
Plenary (10–15 minutes)

Ask students to continue the paired writing task, forewarning them that this will be completed
for homework.
Finally, take a few minutes to prompt students to consider the symbolic significance of Jess’s
swim – the challenge for Jess is really to accept her Grandpa will die. Her mammoth swim is
her way of achieving this very difficult adjustment.
You may like to show students Tim Bowler’s response on the topic of loss and bereavement
(Writer’s Craft 3.1) or read them the section from his letter on page 3 of the Reading Guide.
Ask students to complete their 250-word ‘Job at the BBC’ articles individually for the next
lesson, and finish filling in chapter headings/endings on their copies of Worksheet 7d.
Print off reviews of River Boy from several sources for the display board, in anticipation of
Lessons 11 and 12, which reflect on the whole novel.
29
LESSON 11
Lesson objectives Yr 8: R10 Yr 9: R14 (in a novel), R10

AF4, AF6 AF4, AF6
Focus: Chapter 20 – the ending
Learning outcomes
1 Evaluate the writer’s craft, especially in relation to the ending of a novel
2 Explain the difference between narrative in a news report and a novel
3 Decide what they have achieved during the course of their study

Briefly, reconsider students’ structure diagrams of the novel. Point out that this lesson tackles
story endings. Ask students what they expect of an ending to a novel – take some brief
comments.
Distribute cards from Worksheet 11a or use WB11.1 for the ‘Diamond nine’ activity on story
endings. Ask students to rank the possible features of endings suggested, placing their most
preferred story ending features at the top of the diamond. If they wish they can identify
another type of ending, write the words on a blank card and reject one of the nine options
given.
Then encourage students to decide which features they expect to find in the final chapter of
River Boy, and why.

Explain to students that before they can read on, the BBC website editor wants their finished
report on Jess’s swim. Then tell them that the editor is now insisting on a lower word limit of
150 words.
Tell students that they must cut down their article to 150 words, making careful decisions as
to what must be kept.
Ask students to identify one distinct difference between their edited article and Bowler’s
treatment of the same topic. Ensure you elicit the following responses in the feedback
session: the difference in narrative viewpoint and Bowler’s depiction of personal crisis; the
tension; the sense of time and effort.
Briefly, look back at the questions on page 8 of the Reading Guide:

• What most worries each of the characters at the beginning of the novel?
• What does each most want or need to achieve at this point in his or her life?
Ask students to suggest who has achieved the most. Who do they now feel is the central
character?

Share the reading of the final chapter. Ask students to use sticky notes to mark particular
points they notice as you read. Do not interrupt the flow of the reading but suggest that
students focus on:
30
• which features of story endings Tim Bowler employs

• the effect on the reader of Tim Bowler’s use of language and the resulting tone in these
last pages. Students should by now be alert to the way the language appeals to the
senses, how the metaphor of the river is working, how pace and rhythm contribute to
mood and atmosphere, how the writer stimulates empathy for Jess.
Ask pairs to share their best points before inviting students to comment on the ending.
As a class, look back at the opening words of the novel. How well does this opening prepare
the reader for the novel?
Revisit the covers on pages 4–5 of the Reading Guide or on the wall display. Which cover do
students now think is the most appropriate, and why?

Ask students to work in groups of four or five, using the review extracts on pages 14–15 of
the Reading Guide and items from Writer’s Craft 11.1, 11.2 and 11.3 to begin to consider a
range of views on River Boy and to complete some initial evaluative thinking.
You may wish to use the magazine article on Tim Bowler in Writer’s Craft 11.4 to extent
students’ reviewing skills and their wider reading (see also Pathways, page 34). You could
also suggest that they access Tom Bowler’s website (www.timbowler.co.uk), where there are
a number of additional resources to support evaluation of River Boy.
Before the next lesson, ask students to consider other novels and stories they have read that
have similar or comparable themes (prompt students to identify some possible themes such
as old age, close relationships with grandparents, death of a member of the family, a difficult
challenge achieved, accepting time and change, growing up). Ask them to bring titles/ideas
to the next lesson.
Ask students to complete their 150-word ‘Job at the BBC’ article for the BBC website, adding
their best idea for a picture to accompany the article.
Remind students of the impending award for the three best reading journals.
31
LESSON 12
Lesson objectives Yr 8: R13, R16, W18 Yr 9: R5, R16, R18

AF5, AF6 AF5, AF6
Focus: Reviewing the whole novel
Learning outcomes
1 Improve their skills through writing a review
2 Decide what they have achieved during the course of their study

You may wish to have access to the Internet for this lesson, to support students’ reviewing.
Explain to students that this is their final lesson on River Boy but that they have some writing
tasks to complete during the following week:
• a review of the novel
• completion of their reading journal
• a self-evaluation sheet.
Collect students’ ideas on similar books. Look at ‘Pathways… to Another Good Read’ on
page 16 of the Reading Guide. With Year 9 or more able students you may wish to refer to
the texts on CD9.1 or to the resources listed in the Pathways section of this pack on page
34, which suggest ways of extending class and independent reading that builds on students’
reading of River Boy.
Ask students to consider different ways of interpreting River Boy, using the views expressed
on Worksheet 12a to stimulate thinking, and Tim Bowler’s comments in his acceptance
speech for the Carnegie Medal – Writer’s Craft 12.1. Students may comment on the fact
that the text does not always reflect contemporary culture – this is not a dysfunctional family,
religious beliefs are implicit, etc. This would also be a good opportunity to view the video
interview with Tim Bowler (Writer’s Craft 3.1) in its entirety.

This session presents writing activity choices to suit different needs/abilities, depending on
how familiar students are with writing reviews.
A quick option
Display Worksheet 12b, a review of Goodnight Mr Tom from the website
www.readingmatters.co.uk. Share the reading of this review and then use the writing frame
on Worksheet 12c to guide students in writing their own review of River Boy.
A more thorough option

Analyse the features of the Goodnight Mr Tom review on Worksheet 12b and model how to
begin to write a similarly detailed review of River Boy.
For the practised reviewer

Ask students to write a review of River Boy for their journals and/or for the wall display,
recommending the novel to other students. The word limit is 250 words. Model a possible
opening for a River Boy review on an OHT version of Worksheet 12c, highlighting the
techniques you are using from the four panels on the sheet.
32

Ask students begin their first draft of a review. In addition to using Worksheet 12c to guide
the style and content of their review, they can refer to pages 14–15 of the Reading Guide.
Any students who need specific additional help with writing a review could be selected for
guided writing.
You may decide to select a group certain to have excellent ideas that could be developed
through close discussion. For example, the most able group could be asked to consider the
cultural context of River Boy. Or you may wish to sample individual reading journals in
preparation for assessments over the whole unit.

Read out some of the best parts of the draft reviews, or share evaluative comments, or
reading journal successes. Let students know that their finished reviews will be placed on the
River Boy display board.
Conclude the work on River Boy by distributing Worksheet 12d and explaining the self-
evaluation activity. You may wish to make some summary comments on student
achievement over the whole unit. Individual summary assessments will later be completed
on each student’s self-evaluation sheet.
Give students a deadline for compiling complete reading journals (they will need some of
their display items to include in the finished product). Remind them of the award for the three
best journals.
Ask students to complete the reviews – to be handed in the following week. Ask them also to
complete Worksheet 12d, which should be stored in journals.
Students will have completed the following reading assessment tasks during the
study of River Boy:
1 Character analysis of Jess (AF2 and AF3)
2 Dialogue between Mum and Dad (AF3)
3 Language analysis of two passages/option of comparative analysis (AF5)
4 Comprehension task (AF2 and AF3)
5 Theme mindmaps (AF3 and AF6)
6 Structural diagram and chapter headings/endings (AF4)
7 Website report (AF6)
8 Review (AF6)
9 Reading journal (AF6)
10 Self-evaluation.
33
OXFORD ROLLERCOASTERS River Boy Pathways
PATHWAYS
Books to compare with River Boy Ruby Holler has the advantage of also being
First, you will want to recommend other partly set on a river, but the river poses very
novels by Tim Bowler. Show students what different challenges for the characters.
is revealed on Tim Bowler’s website,
www.timbowler.co.uk/books.html about his The Edge by Alan Gibbons (Published by
writing, and other titles. There are full Orion, ISBN 0-7528-6140-9)
explanatory notes on each title. Here is the The family in this novel are initially
first entry on Starseeker: dysfunctional in comparison to Jess’s in
River Boy. But in The Edge grandparents
‘Good hands, Luke. Special hands. Strong and play a key role in enabling the central
sensitive. You can do anything you want with character to cope with a crisis.
hands like these. So don’t ever put them to bad
use.’ Memory by Margaret Mahy (Published by
Dad was right. Luke does have good hands. Collins Flamingo, ISBN 0-0071-2337-X)
Good for playing the piano, like Dad himself used Jonny in Memory and Jess in River Boy
to do, and good for climbing trees – to find some would make an interesting comparison –
peace and get away from all the troubles at they both learn to value an older person
home. Now Skin and the gang want him to do whose memories play an important role.
some climbing, too. They want him to break into
Mrs Little’s house and steal the jewellery box. Carnegie judges
They want him to prove that he’s got what it takes As an alternative or in addition to the written
– that he’s part of the gang. But Luke is seeking review process for River Boy, you might like
more than just a jewellery box. He’s seeking to use Writer’s Craft 11.4 as a springboard
answers to a mystery that has been growing for a mock panel meeting for the Carnegie
deeper and more disturbing by the day, a mystery shortlist. Students could be asked to read
that is threatening to overwhelm him. two or more of the alternative titles
What he finds is something so unexpected it shortlisted alongside River Boy for the
will change his life forever. Carnegie Medal. They could then discuss
the texts, with their well-argued views
Many of Tim Bowler’s novels explore how forming the basis of a decision.
young people cope with challenges and
even disasters. Higher Ground, tells stories Pre-1914 texts
of the courage and hope of children who For some students you may wish to offer the
survived the December 2004 tsunami. challenge of exploring some classic texts
that look at family relationships or
A series of ghost stories set in Bowler’s relationships between young and old.
home town, Totnes in Devon, offer
protagonists different types of challenges. Our Mutual Friend by Charles Dickens
For example, in Tales from the Dark Side: (Published by OUP, ISBN 0-1928-3523-8)
Blood on Snow, 14-year-old Will terrifyingly The river is a villain in Our Mutual Friend. It
experiences a voice from the past when swallows up stories as easily as it swallows
visiting the remains of Totnes Castle. up the bodies of the drowned.
Contemporary texts Silas Marner by George Eliot (Published

You may wish to offer students other by OUP, ISBN 0-1928-3458-4)
contemporary titles that tackle similar Silas the weaver is reduced to a solitary
themes, such as the relationship between a existence. His only pleasure is in hoarding
child or teenager and a much older adult. gold. While the village celebrates Christmas
See the Reading Guide for descriptions. and New Year, Silas’s hoards of gold are
stolen and are miraculously replaced by a
Ruby Holler by Sharon Creech (Published small child with golden curls.
by Bloomsbury, ISBN 0-7475-6029-3)
34

River Boy TP Part 1

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

River Boy TP Part 1

Hochgeladen von

Copyright:

Verfügbare Formate

RIVER BOY

Overview for Scheme of Work 3

Worksheet 10a: Q2A

Focus on assessment of reading

Support for lesson planning in the Teacher’s Pack

Oxford Rollercoasters provides first-class teaching resources for first-class contemporary

OVERVIEW FOR SCHEME OF WORK

Lesson Learning outcome Reading AFs and Framework Activities/outcomes Rollercoasters

Lesson Learning outcome Reading AFs and Framework Activities/outcomes Rollercoasters

Chapter Plot outline Key character references Themes Language Structure

Chapter Plot outline Key character references Themes Language Structure

Chapter Plot outline Key character references Themes Language Structure

Lesson objectives Yr 8: R4 Yr 9: R13

Focus: Chapter 1 – expectations, initial character analysis

Starter (15 minutes)

Introduction (15 minutes)

Development (15 minutes)

Remind students that they are:

Plenary (10 minutes)

Lesson objectives Yr 8: R4 Yr 9: R13, SpL12

Focus: Chapter 2 – setting

Starter (10 minutes)

Introduction (20 minutes)

Development (15 minutes)

Plenary (10 minutes)

Lesson objectives Yr 8: R5, W11 Yr 9: R12

Focus: Chapter 3 – imagery

Starter (10 minutes)

Introduction (20 minutes)

Development (15 minutes)

Plenary (10 minutes)

Lesson objectives Yr 8: R5 Yr 9: R18, R5, S4

Focus: Chapters 4–6 – family relationships

Introduction (20 minutes)

Development (20 minutes)

Guided group reading plan

Review: Draw out key learning, checking students’ understanding of the

If there is time, ask students to read Chapter 6 and consider

Plenary (10 minutes)

Lesson objectives Yr 8: R5, S2, W11 Yr 9: R12

Focus: Chapters 7–9 – language to create mood and atmosphere

Starter (10 minutes)

Introduction (20 minutes)

Development (20 minutes)

Guided group reading plan

Teaching objective(s): To explain a writer’s language choices

Review: If there is time, students could prepare OHT versions of their

Lesson objectives Yr 8: R10, SpL15 Yr 9: R14 (in a novel), S4, SpL12

Focus: Chapter 10 – empathy and narrative tension

Starter (10 minutes)

Introduction (15 minutes)

Development (25 minutes)

Guided group reading plan

Teaching objective(s): To develop skills in identifying key quotations and moments of

Return to text: Encourage students to read alone, but individuals can be

Draw out key learning, checking students’ appreciation of key

Lesson objectives Yr 8: R5, R10, SpL10 Yr 9: R12, SpL10

Focus: Chapters 11–13 – the river boy as narrative tension

Starter (10 minutes)

Introduction (20 minutes)

Development (15 minutes)

Plenary (10 minutes)

Lesson objectives Yr 8: R5, SpL15 Yr 9: R12, SpL12, Wr17