Hi. Oh no, lost again. Now who's that? Nope. Hi Lucas, could you put your camera on for me, please? Nope. I'd have somebody back. No. All hi levers. Could you put your camera on? Hi. Hi Lewis. I think everybody's having difficulty connecting. Okay, somebody else has been trying to sorry. Second, you are like new teacher. I'm I'm the teacher. Yes, I'm Helen. Okay, but I'm expecting three of the students and and nobody's joined us. Okay, I think everyone's having problems joining. Let me just start. Let me just check with the admin. Okay. Here' S Lucas. Hi Lucas. In that case maybe we won't send the message. Let's just wait and see whether people get to us. Aha, his cat and now things are working. This is good. Okay Lewis Lucas Kelly, could we have your cameras on please and we'll get started. I think one or two people have had problems. Hi Kelly. Hi Lucas. Okay, so excuse me, I'm just gonna write a few notes while we're doing so that I can give you feedback. Okay, so hi, I'm Helen, I'm gonna be your teacher for today and maybe if you join up with us maybe further on as well. Okay, so we're gonna have a look at the d level trail. I believe you're all year six which means that d is about the right level for you and we're going to look at writing narratives, structures of stories. Okay, so we always start with some objectives. So today we're going to work on showing an increasing understanding of how to shape texts for different purposes and audiences. Hey, is it William just jome? Oh Yeah. Hi, William. Good. We've we've only just got started. So we're going to construct texts that show an awareness of purpose and audience through deliberate choice of content, language and text form. Okay, we're going to look at the structure of stories. So we're going to organize our texts using a range of appropriate structures. We're going to organize and sequence ideas and information for a particular purpose or effect, and use a variety of sentence structures, beginnings and lengths for effect. That sounds like an awful lot of work to do in one lesson. We're only going to look at one little bit of it. Okay? And that's the structure of at story. So what is our narrative? Let me get somebody to read. Lewis, would you read the first paragraph and then Lucas, read the second paragraph, please? A narrative is often thought of a story with a beginning, middle and an end. As they get more complex, they have a little more than that. We'll have a look out in the next slide. Okay, good, Lucas. Most narratives are fictional, made up, but in the same way in that movies can be based on the story. Sometimes writers use narrative from form to tell stories such as memories or personal narratives. Thank you both of you. Okay, so yes, stories stories have beginnings, meddles, ends, okay, as they get more complex, particularly as they get longer, they get more complicated than that and we'll that's what we're gonna be looking at, okay? Most narratives are made up, okay, but some of them can be based on stories. Sometimes writers use the narrative form to tell a story, okay, but mostly they are made up fictional. Let's have a look at the next. Okay, so narrative structure. We need four parts to a narrative structure. I'm sure you have done this kind of work already. Okay, we're just going to recap on this and we're going to do some writing. So we start with the setup. You might have heard this just called beginning opening. Doesn't matter what you call it, this is a really important bit because you're going to introduce important information. You're going to introduce the main characters. Okay? We need to know who's in this story right from the beginning. There might be some others who join later, but we need to know the main characters. We need to know the relationships between them. Are they friends? Are they family? Do they not even know each other? Okay? But we need to know the relationships between them, okay? We need to know how they link, and we need to know the setting. We need to know where it is, remember settings, not just where it's when, it's the weather, it's the time of day, it's what's going on around, okay? That has a big influence on the characters and on how the story is going to move on. Okay? And now it's okay if what you introduce changes throughout the story, as I've just said, it might be we add some more characters, the setting might change, they might move to a different place. Okay, that's okay. But really at the beginning, we have no major plot developments, no major events, although some writers start with a major event and then go back to how they got to it in a flashback kind of way. You might have heard of flashbacks before, okay? But usually no major flolot things. We'll keep them for a bit later on. So that's our setup. Can you see the line? The line here is about kind of the drama level, okay? So can you see we've started fairly flat and then we've started to move uphill, increasing the drama, okay. So then we get the development. You might have heard this called build up, okay, because we are building up to the big event. So let me add, Kelly, would you read this paragraph for us please, so I can hear you read as well. Okay? Usually the second quarter of a narrative introduces a plot development where something good we're promising looking is happening. You also usually explain a bit more about the characters, but something is about to go wrong. Great. Thank you. Thanks for your reading there. You're all very fluent readers. This is fabulous. Okay. So yes, second quarter of a narrative introduces a plot development where something good or promising looking is happening. See, we've gone uphill. It's looking okay. Okay. Things are looking good. We get to know a bit more about the characters. We get to know a little bit more about what's going on. But ana butalways introduces the opposite. Something is about to go wrong. Okay? And that is the crisis. You might have heard this called crisis climax. If you use a mountain shape, it's the summit of the mountain. So, luof all, William, would you read this part for us about the crisis? At this point, something has gone terribly wrong, and your characters should be in a situation where is challenging for them in some way. Good. Okay, so something has gone terribly wrong. Thank you, William. You're also a very fluent reader. Terribly wrong. This is your big, bad major event, okay? And your characters should be in a situation which is challenging for them in some way, okay? That depending on the story, that could be, I don't know, that could be an explosion, that could be an avalanche, that could be an exam that the character has to go and do, okay? It's got to be something challenging. If it's not challenging and it's something that's very boring and tedious, it's going to be a boring and tedious story, okay? We need something challenging, whether that is physically challenging, mentally challenging, spiritually challenging, some sort of challenge, okay? Because that's what we want to read about. And then last of all, we come to the resolution, okay? You might have heard it just called ending, okay? So finish off your narrative in a positive way. There should be a solution to whatever went terribly rock. So the explosion, the avalanche, the exam, whatever it was that was the big climax, we get a solution to it. Okay? I don't know whether you've ever heard the saying what doesn't kill you and makes you stronger? There's a song that has that in the lyrics as well. It means that if you survive things, you usually learn from them. Okay? So often your solution might put your characters in a better position than they were at the beginning, okay? So for example, if you take the exam as an example of the climax, by the ending, maybe the character has learned that they don't need to be so nervous about exams. They can cope with this, they can do this. Okay? That's the kind of thing that might be a solution, okay? There are, of course, stories where there isn't a resolution because we leave a story. Does anybody know when we don't finish something off and we leave it in a really sort of, Oh, kind of moment? Does anybody know what we call that in English? Anybody know what we call that? Start with a sea. Let me grab a pen. I'll use White because itshow on here, anybody? Anybody know? No, you've not heard of this. You've not heard of a cliffhanger. A cleffhanger is a way that we describe leaving a story at the very most exciting climax bit and not having a resolution so that it leaves the reader wondering what might have happened next. As you can see, it comes from two words, Cliff and hanger. And it's as if you leave the character hanging from a Cliff. Okay? You know a Cliff like a mountain or on on the coastline, it's as if you leave them hanging there and nobody actually knows whether they survive or not. Okay, so a resolution can be a cliffhanger. It doesn't need to end properly. Okay, let's move on. So we're going to today, we're going to brainstorm and work on and plan and possibly even start to write. Although we were a little bit late starting, we might not get on the writing. We're going to think about a story based on the title and this picture. Okay, so our title is the red rock station. Well, I can certainly see a station there, and I can certainly see red rock. There's that rock around it. That is. What kind of station is that? Anybody think? If it's in rock, what kind of station is that? Anybody know? I think there are probably stations like this in China, certainly in Beijing, certainly there is in the uk, in London, where I live, and even actually in Liverpool, my nearest city there is, this is an underground station. There are railway lines in big cities, particularly where the stations are underground. The lines are running in tunnels underground. So can you see it looks like a tunnel, doesn't it? Tunneled through the red rock? So it's an underground station. I'm going to give you five minutes, okay? And I want you to start thinking about a story that you could write about this red rock station. Now all we've got at the moment is a setting. That's all we've got. We know it has to be at this station. We've got no characters. There isn't even anybody on the picture, is there? So you're gonna need to think about what characters are there. What kind of people do we have? We've got these questions here. Where do the trains go after they stop here? Where is this? Okay, are they normal trains or are they something a bit strange? And is that what your story y's going to be? If they're not normal, what's different about them? Okay, where is this? We've just said we know it's underground because it's in a tunnel in rock. Okay, where is this? Okay, I'm gonna to leave these words here for you as well. There's lots of interesting words and phrases. You might know some of them. You might not. If you, if you wanna use one of them and you're not sure what it means, ask me. I'm going to give you five minutes and I want you to start on a basic plan. Remember, you need, let me put it on here. You need setup. You need development. Make sure I spell these correctly. You need crisis where something big goes wrong and you need resolution. Resolution. Okay, at the moment all I want you to do is a very basic plan. So thinking about who is it, where are they? What does the bill, the development gonna to be? What's the crisis gonna to be? How 's it gonna to be solved? So you could do this in a few notes and I'm only gonna to give you five minutes but I want to start us thinking about how could we plan a story when we've been given the setting. Okay, now I have a timer here that I'm gonna to set for five minutes. There it is, it's already set for five minutes, okay? And I'm gonna get you with your paper and pen to start writing some ideas down for your plan. Okay, I will stay right here with you if you need any help, just say so. And this like is brains just like brains like like the like one that we like transport like the transportation. Yeah. Okay. So we know that our setting is a is an underground station. Yeah so you could think about where are those trains going to? As it says, are they normal trains or are this is there something strange about them? Okay, but that's all setting. Okay. Goomiss, what will you write it? For me, second, or where do we write it? You should have some paper and a pen with you. I felt like only without have like you can give us a board and stuff and you can just write write on like on on on this, but we'll be talking about it afterwards. You'll be telling me about it. You need to write it down on your paper first of all. Okay, what does that. So hopefully you've at least got a few notes now on what you would do with this story, okay? And we're going to now start looking at a little bit more detail about each part. Okay? So we're gonna to talk through the sections a bit more and as we do each one I want you to be looking at your version and thinking about is there anything that we could that I could improve on? Okay, so section one seup in this section it's your job to introduce the things the reader needs to know in order to get the most out of the story. Okay, an easy way to think about what you need to introduce is to plan to talk about the main characters, the relationships between them and the setting where the story takes place. So I want you to just look at your plan now and your part of the setup and I want you to look, have I introduced the characters? Do I know who they are, what the relationship is between them and where they are? We do all know where they are because we know what our setting is. Okay, but you might have added a bit more detail about that. Okay, so check off. Okay. And as it says, when you're writing this part of the story, you don't necessarily need to divulge. So tell everything to the reader, but it is helpful to think about the following questions for yourself. We'll look about in a moment. Okay, so when we're looking at this, we need to think, have I got my characters, how they relate to each other and where they are? Okay, so thinking about what kinds of personalities do my characters have? You may have thought of a name for them, but they need a personality. They need to be a real person, don't they? Okay. So you need to think about their personality, their strengths and their weaknesses and how that's going na fit into the story. You might also think about how it affects the way they interact with each other. Maybe they're really good friends, or maybe their enemies, okay, or something in between. So thinking about our characters is about thinking of them as being real people. When you write, you get to invent people, which is English, which is a superpower, okay? Because you, they are not real people, but you've invented them. You've created them. Okay? We need to think about what it's like to live or work or be in that setting. So we need to think about, if you were in that red rock station, would it be hot? Would it be cold? Would it be noisy? Would it smell a bit funny? All those kind of things, okay? Would you feel comfortable down there? Or would you possibly feel a little bit on edge, a little bit uncomfortable, a little bit frightened? And how might that setting affect how the story plays out? Okay. So I want you just if you've not already done it, I want you to just think about, have I included all those things? Do want I know who's in it, how they're linked and what the settings like. Okay, let me give you an example. Here's a story starter. That is, it's just an example. You don't need to use anything like this, but I'll read it to you. And I want us then to see if we can spot the things that we need. Okay? Olive had never needed to visit the red rock station before. And truthfully, shewondered, if it was really there, or was it just an urban myth? Now, things were different, and she needed to travel on the red rock line for the first time. Olive swallowed hard and pressed the lift button to take her deep down below the surface. Okay, I'm just going to grab my pen and I'm going to show you some things, okay? I know who my character is. It's a lady or girl and she's called olive. Okay? So I'm straight away know about olive, okay? I know a few more things about her. She doesn't believe everything that she hears because she's wondered if it's really or is it just an urban myth or is it just something that people make up? So she's the kind of person who questions things, okay? She doesn't just believe everybody, okay? We've been shown that. Remember, it's important to show what your character is like. We've been shown that by what she's wondering. Okay? Okay, we all, but we also know that she's a little bit uncomfortable, and I know that because she swallows hard, okay? When people are feeling uncomfortable, when they're feeling a bit nervous, you get a bit of a funny feeling in your throat and it makes you want to swallow, makes you want to kind da gulp. Okay, so we kind of go. You've probably seen on cartoon, they do it really, really obviously. Okay, so she's feeling a little bit uncomfortable. So although she's the kind of person who thinks for herself, she's not quite happy about this. Okay? She gets in the lift to go deep down below the surface. We said it was underground, okay? Now the other thing that we know is that she's got to do something. We don't know what yet that one's is going to be found out later. She needed to travel on it for the first time. So she's been given a job to do, task quest or something. Okay? So even from that little beginning, we've learned some things. We know who we know, where we know a little bit about her and we've been given a little bit of a clue about what's happening because she's been given a job today. Okay. Do you see how the author's done that? They have put all those things in by showing us about olive and where she is and what she's doing, okay? And that's the way that we write stories. We don't just we don't just say olive had to go and do a job and she had to go to the red rock station. That's boring. We show our readers. Okay, so now let's think about the development. Okay? So we know that Oliver's got this job. Then in that case, the development is what's the job? Where's she going? Okay, who's sent to there? Okay, so in this section, you'll spend your time padding out the world of your story a little more. This is a good place to get to your reader to like the characters by making them funny or lovable, or even someone your reader will feel sorry for, okay? Conversely, if you have characters who are villains, Oh, the baddies, this is the place in the story to make your reader loathe, okay? So in the development, we learn a bit more about our characters. Do we like them? Do we not like them? Okay. This is also the part of the story where things should be going along well for our characters. Perhaps they're on a pleasant holiday or they've made a new friend. Things be things being extra good here will make section three, the crisis much more exciting because it's such a contrast. So if we try to keep the development good, then when something goes wrong, it seems like it's even more wrong. Okay. So thinking about your plans then, these kind of questions, how would your characters interact? Now we're getting to know a little bit more about them. How do they interact if there's a goodie and a body? Dy, okay, maybe they don't interact very well at all. Okay. What's going well for my characters here? So perhaps, like our character, olive, the journey, ney's going well. Actually, she doesn't really need to feel uncomfortable because it's all nice. She's got herself a seat on the train and she's traveling along nicely. Okay, so things should be going well. But then we also think about what might be going well now that could go wrong later. Okay, so something's going to go wrong on olie's journey maybe. So I want you to just spend a couple of moments now again, looking at your plan and thinking about how I developed. Okay? Have I done that development stage? Have a look at it yourself and think, have I done that? Have I carried on introducmy character, carried on building up my characters? Have I got everything going well there? Okay. So there's just a picture of the red rock station. Okay, next we're going to look at the crisis. So this is the classic, Oh no, a section of your narrative. This is where something goes wrong. It's your job here to bring the story to its lowest point by putting your character in crisis. If your story has good guys and bad guys, this is where the bad guys are winning. Okay? They won't in the end, but this is where they are. So the reader will be most invested in this if they really like the character that found themselves in a sticky situation, because that character will be easy to cheer for. But remember, you'll need to dig them out of the hole later. So leave a bit of wiggle room. Don't get them into a situation where they can't possibly get out of it. Okay, leave them a possible get out, because that will be your resolution. So again, I want you to look at your section now, okay? And think about what's my crisis? Okay, what's gone terribly wrong, but thinking about how will I get them out of it? Let's have a look at the questions here. Oh, no, hang up. Sorry, hang up. Let me just go back. So have a look at your plan. Think about the crisis. Is it a big enough crisis for us to go? Oh, okay. And what will you do to get them back out of it? Okay. And then last of all, as I just clicked onto our resolution, it's time to dig your characters out of the deep hole they found themselves in before. Whatever terrible thing that happened now needs to be resolved so that your hero main character is back to feeling pretty good about things. Okay? There are many ways to resolve a crisis. Some are listed in the next slide, or you might have your own ideas about how your characters will get out to the sticky situation. So let me click on and I'll show you some of the ways of resolving. Okay, so three ways here, but you might have your own way as well. So we could have what's called character agency. By agency, we just mean helping themselves. So the character uses their own cleverness, strength or other strength traits to overcome the situation. So they solve it themselves because they're clever or because they're strong, or because they had already worked out what was going wrong and had worked out a solution. Okay, so so that's themselves. There could be a rescue. There could be another character who saves the day. Some writers like to have the rescue will be a person introduced earlier in the story. Whothen gone away for a while. So they could have been in the story at the beginning. Then they've gone away. And just at the last minute, they come randing back in and go, I'll save you. I'll rescue you. Okay. So we've got themselves, we've got another character, or we could just have a look. Coincidental circumstances mean the crisis is no longer a crisis. For example, a well timed lottery win might mean a money crisis is no longer a problem. Okay? So it could just be that, look, something luckily comes out. So I want you to now to look at your last section, your resolution and decide, okay, am I gonna to use one of these or have I thought of a resolution of my own? Okay, now then let me just click again. Okay come to that we'll to that in a moment as a okay we have got enough time even though we started a little bit late we have got enough time for you to start writing this story we've got about ten minutes maybe a little bit longer than that okay so now you have planned your story I would like you to start writing it okay again I'm gonna to put a timer on if you need anything if you need to ask about any words or any spellings then say so okay I will stay right here with you but I want you to now see if if the plan that you have made you can start turning into a written story okay if you want to you can send them to me afterwards okay you don't have to what if you want to you can okay so let me put a ten minute timer on as you know we can have slightly longer than that because we started at five past let me give us twelve minutes twelve minutes is good okay so like I said you start writing I will stay right here with you so ask. Any questions that you need. And we just like writing this until like then, of course, well, we've got all we've got is a bit of a finish up cleanery kind of thing to do. But yes, that will take us nearly till the end of class. Yes. When we finished, I am going to ask you to read me your first sentence to see if it's a really good sentence to start a story. Okay, so really think about a really good one that hooks me in. Okay. We're nearly out of time. So if you finish the sentence you're on and put your full stop and we'll talk about your first sentences, I'd like you to read for me. I four, three, two, one. Okay, good. Let me see. Now I tell you, rather than me choosing, there's a there's a random picker here that we like using. Okay, so it has all of your names in and it will choose who's going first. Okay? And that's you, Kelly. Okay, Oh, Williams just left the classroom, hopefully comes back. Kelly, could you read me your first sentence? And I want to see if I really want to Carry on reading. Okay, under the desert dry heat red rock station poses at the magnetic moral momton arrives. Just say that one for me. I like that under the desert dry heat. Wow. Fabulous beginning there. Kelly. Just tell me the next bit under the desert stried heat. Say you can. Could you read? Come on, Kelly. Read it again for me. Okay under. The desert, dry heat, red rock station buses, as the magnetic moron, I search that word, but I don't actually like know I see Trump for that word. Okay. I don't like we know the like, okay, that's like I just finish reading and then I will help you with that as the magnetic word. Moor real okay mom. As the magnetic magnetic monrail. What was the next beright? Okay, we would want arrived. Past tense stories are usually past tense. Okay. A monorail, Kelly is a kind of train that just uses one rail. Okay? Mono means one, okay. Yes, I don't the meaning but I don't but I'm not sure for the pronunciation. You know, that's absolutely fine yet monorail that Kelly, that is fabulous. Okay, because you've already in that first sentence you've told me where we are I've got some sound there you've included sound that's fabulous buzzing okay I know that what's sort of above that I know it's hot I know that there is a there is a train has just arrived. Okay, really great beginning there Kelly. Well John, really good. Thank you. Let's see who's gonna to tell us next that is leis leis tell me your first sentence. Hot desert wind blows and and into red rock station station is in a big rock wall. It is the only way to get from the hot dry desert to Aurora cool Green city underground. Okay. So it's the only way to get good. And you again started with a hot, what was it? A hot desert wind. Yeah lose sand into again. So again, you've given me lots of detail about that setting. I know how hot it is. I know what's happening, and I know that you say it's the only way to get there. So I now know that this is actually quite isolated. Okay? It's the only choice. Good. Which might be part of your story, you might ghtn't tell. It's the only way to get somewhere. Okay? Lucas, it looks like your let next doesn't look like williamcoming back to us. Okay? Could you read me yours? The red rock station didn't appear on any public map. And the trains that saw there weren't mean for passengers. They were for cargo. Now you've got some mystery going on there. It doesn't appear on any map. And the trains were not for passengers. They were for cargo. Oh, now you say now for a different reason. I'm intrigued, Lucas, because now I want to know why it's not on the map and why what's so secret about this place? Good. Okay, excellent. So all three of you, in your different ways, have set up that story to make me want to Carry on. Excellent. Well done. Great work. Let's just have a look at our little plenary then. So things to think about. A good narrative needs a crisis. Okay, do we agree or do we disagree? I think I would say yes, but the crisis doesn't need to be anything massive. It just needs to be some sort of issue, some sort of problem. So as I said, you know that could be a spelling test or an exam or not being able to tie up your shoelaces. It doesn't need to be a huge crisis, like an explosion or an avalanche. Okay? And then it says, it's been said that there are only two narrative stories. A person goes on a journey or a stranger comes to town. Bearing in mind that these concepts are figurative, meaning, they can be expanded to encompass many non literal situations. For example, the journey mentioned can be a character becoming a better it person or discovering new things about themselves. Think back to the last few stories you've read or seen and decide whether either of these concepts apply to them. So let's just before we go, let's have a little think. Can you think of a book that you have read or a story? It could be a film because they're also stories. Can you think of a story that is person going on journey? And like I said, that could just be developing themselves, or stranger comes to town, that person arrives that we don't know. Can anybody think of any stories that fit those? If you know any of the ancient Greek and ancient Roman legends and myths, all of them are both those going on journeys or coming to town. Okay. Harry Potter, Harry Potter is definitely going on a journey, doesn't say all the way through being at Hogwarts, okay? So Yeah, they these often art the way that we think about stories, okay? So a person does something, whether that's real or figurative or somebody comes to town and everybody has to do, has to go with them. Okay, good. So now let's continue. So so you've now got a few more ideas about how narratives work. And from what you've just read to me, even in your first sentence, I can see that you have got a good idea about how narratives work and can use that storytelling. Okay? So if you wish to, you might have a think about books or movies you've read recently to identify the four sections of the story. You should always be able to find those four sections, okay? You might find those four sections lots of times over. In Harry Potter books, there's almost one of those happens in every single chapter, okay? So you can quite often find it repeated, okay? But it's always that structure of setup, development, crisis resolution, okay? And we just keep repeating it. Good. Okay. We have gone a little bit over our time. I do apologize. Well done. You've worked really hard. Okay, and I hope to see you again soon. If you if you sign up for classes, it might be me teaching you. I hope it is. You've all worked really well. I would be really pleased to teach you. Okay, I'll put some feedback on the chat for you in a moment. Okay, good work. Bye bye Luwis. Bye Lucas. Bye Kelly. Bye William. Who went before.