English Language - Pearson Schools and FE Colleges
Transcripción
English Language - Pearson Schools and FE Colleges
New for 2015 Edexcel GCSE (9-1) English Language Resources Guide mes , t he y we re th e fo ot p s t n i r of a ic t an g gi ! d n u ho u o h Why choose our Edexcel GCSE (9–1) English Language teaching and learning service? c i t n a g gi Building confidence in English Welcome to our brand new teaching and learning service, designed specifically for the Edexcel GCSE (9-1) English Language specification. ny g F ea lu chin s fr e n e o n li A LW AY S L E A R N I N G n first or 2015 de iti o Brand new Revision Guide and Workbook, written specifically to support your students with their GCSE mocks and final exam preparation. See page 20. e ey fo ot p Co un t' s F e wo l v es he F n d s a s th ma . T an g iti o g ed th e we re mes , t he y the backs of h i s h 19/02/2015 09:36 Resources and PD Revision Guide and Workbook ed f o a s t n i r y had seeme d the ra th er d an , ht ig el no ti ce d and One annual subscription gives you full access to our interactive front-of-class teaching, planning and assessment service: a wealth of resources to support every extract in the Anthology. See pages 8–19. Professional Development: events and in-school Gain a deeper understanding of the Grammar for Writing and the Let’s Think in English pedagogies and how best to embed them into your teaching. See page 21. , t h e y ha d , es th e I ALW AY S L E A R N I NG kn ee s 781447 982043 hi s I S B N 978-1-4479-8204-3 9 on T 0845 630 33 33 F 0845 630 77 77 !” und ho w e r e fo o t p s rd wa to A LW AY S L E A R N I N G ISBN: 9781447987895 Edexcel GCSE English Language Text Anthology-Cover.indd 1 la y d foike lo r chin a of ic nt ga gi y I ea t 2 th e A LW AY S L E A R N I N G www.pearsonschools.co.uk [email protected] first or 2015 Inc * These resources have now been endorsed by Edexcel. To find out more about the new Edexcel GCSE (9–1) English Language specification, visit www.edexcel.com/englishfor2015 as e s nt ri of n e o n li ing howl ley the val Next steps ....................................................................................... 24 e th Summary grid matching resource features to the new GCSE ...................................................22–23 in chin Series consultant: Debra Myhill wh il e ea s fr e a H first or 2015 de lu Professional Development ......................................................... 21 it he rt o fo r Revision Guide and Revision Workbook t Revision ........................................................................................... 20 Text Anthology w lo Text Anthology ActiveBook An online version of this Text Anthology for students to access outside of lessons. ISBN: 9781447994886 e d own b Our online ActiveLearn Digital Service, powered by ActiveTeach provides a wealth of teaching, planning and assessment support. This includes presentations, worksheets, interactive activities and lesson plans to accompany the extracts in this Text Anthology. ISBN: 9781447982029 ActiveLearn Digital Service English Language m Also available ActiveLearn Digital Service t ActiveLearn Digital Service ................................................... 8–19 Edexcel GCSE (9-1) One student book packed with texts – providing the context for the resources on the ActiveLearn Digital Service. Also available as an ActiveBook See pages 6–7. ISBN: 9781447988083 Text Anthology .............................................................................6–7 Series consultant: Debra Myhill • Provides an extensive bank of engaging extracts, including many from 19th century fiction and 20th/21st century non-fiction texts. • Extensive support for all extracts provided by our online ActiveLearn Digital Service (see below) – helping you to bring the Grammar for Writing and Let’s Think in English approaches into your teaching. • Assessment pages provide questions in the style of the new exams. si le nt English Language d an e it wh We w ere bot h Edexcel GCSE (9-1) Text Anthology Inc Let’s Think in English pedagogy ................................................... 5 FOR WRITING Text Anthology Grammar for Writing pedagogy .................................................. 4 Text Anthology GRAMMAR Edexcel GCSE (9-1) English Language Contents Our resources are organised into six differentiated tiers – complementing the Pearson Progression Scale and helping you to match your teaching to suit the ability profile of your classes. Exam-style assessment materials mapped to the progression scale are provided to help you monitor that progress. See page 8. in • Learn how to use the Grammar for Writing and Let’s Think in English pedagogies to full effect. Supporting differentiation and progression for all your students d an • Develop student confidence and resilience when responding to challenging unseen texts with the Let’s Think in English pedagogy. Shares the same Grammar for Writing methodology used in our KS3 Skills for Writing course. The Let’s Think in English pedagogy is underpinned by research and focuses on developing inference, deduction and analysis skills to build students’ confidence when tackling unseen texts in exam conditions. See page 5. , • Improve your students’ writing skills with an evidence-based approach so that they can write in a sustained, technically accurate and effective way. Building confidence with unseen texts through Let’s Think in English ned, I heard as if f r o iste I l • Monitor your students’ progress and predict success simply and effectively with our ActiveLearn Digital Service, so you can check they are on track. Debra Myhill’s Grammar for Writing pedagogy has been trialled and shown to significantly increase the rate of progress in reading and writing. Students explore and analyse the choices writers make and then experiment with those choices in their own writing. See page 4. as • Fully prepare all of your students for the new style of assessments. Improving writing through Grammar for Writing t Bu Our resources will help you and your students to get the very best out of the new English curriculum, and help you to teach the new specification* with confidence from September 2015. Our new resources have been developed in exclusive partnership with experts from the University of Exeter and King’s College London. The course components incorporate both the Grammar for Writing and the Let’s Think in English pedagogies – specifically designed to help with improving writing, and building confidence with unseen texts. 3 u o h c i t n a g gi Building confidence with unseen texts: Let’s Think in English Let’s Think in English is a teaching programme created by Laurie Smith and Michael Walsh for King’s College London to help students develop the response and analysis skills necessary for success in English. The programme has been trialled by 100+ schools over five years and proven to work with students of all abilities. A positive impact on reading and writing More recently, Professor Myhill and her team carried out a new study at KS4 to see if it had the same significant effect. Again, the intervention had a statistically significant positive impact on students’ reading as well as writing, specifically with language analysis, sentence structure, punctuation and spelling. Read more in the separate leaflet The Grammar for Writing Pedagogy at KS4. The seven Grammar for Writing pedagogical principles 1. Make a link between the grammar being introduced and how it works in the writing being taught. 2. Explain the grammar through examples, not lengthy explanations. a s t n i r GCSE change for 2015 brings about a new set of expectations and challenges for students, most notably with the emphasis on 100% examination, literary heritage texts, writing skills and technical accuracy. f o Grammar for Writing at KS4 Our new teaching and learning service for Edexcel GCSE (9–1) English Language includes six exclusive LTE lessons, with the planning, guidance and resources you need to teach them. The Witch the snow, great while over I have walked a nor strong. And I am not tall h are set, teet my and My clothes are wet, hard and long. And the way was h, over the fruitful eart I have wandered here before. the door! But I never came d, and let me in at shol thre the Oh, lift me over is a cruel foe. The cutting wind in the blast. I dare not stand a groan, e, and my voice ston are ds han My death is past. And the worst of en still, I am but a little maid are sore. r! My little white feet me in at the doo threshold, and let Oh, lift me over the 3. Build in high-quality discussion about grammar and its effects. 4. Use ‘creative imitation’ to offer model patterns for students to play with and then use in their own writing. 5. Use authentic examples from authentic texts to link writers to the broader community of writers. 6. Select activities which support students in making choices and being designers of writing. 7. Include language play, experimentation, risk-taking and games. 4 We strongly believe the Grammar for Writing pedagogy provides an exciting, evidencebased approach to improving writing and reading progress at KS3 and KS4 through contextualised grammar teaching – that’s why it underpins our brand-new teaching and learning service to help you tackle this critical need. Texts studied are in the Text Anthology and supported by LTE worksheets, and powerpoints on our ActiveLearn Digital Service. These guide you through the structure of the LTE lessons. © Pearson Educa tion Ltd 2015. Copyi ng permitted for purchasing institu tion only. This mater ial is not copyright free. 1 , t h e y In 2012, Professor Myhill and her team at the University of Exeter published the findings of a three-year study into the impact of contextualised grammar teaching – a pedagogy developed at the University of Exeter and now called Grammar for Writing. In the study, KS3 students exposed to this pedagogy made almost double the rate of progress in writing. Let’s Think in English (LTE) consists of lessons designed to be used fortnightly, all using high-interest texts. The lessons are largely oral, based on reading, open-ended questioning and structured group discussion. They systematically develop students’ skills of inference, deduction and analysis, increasing their confidence, understanding and ability to express their ideas. This can lead to higher results in written examinations as well as in speaking and listening. Read more in the separate leaflet The Let’s Think in English Pedagogy. th e “These resources draw on research conducted in the Centre for Research in Writing at the University of Exeter over many years and set out to de-mystify the writing process through being explicit about how writing is shaped and crafted.” Professor Debra Myhill, Exeter University w e r e Research strongly suggests that poor writing skills are one of the fundamental reasons why more learners do not go on to realise their potential. fo o t p Improving writing through Grammar for Writing 5 u o h The Text Anthology is available as a printed book. It is included on the ActiveLearn Digital Service for front-of-class use, complete with annotation tools. It is also available as an ActiveBook (via ActiveLearn) for indpendent student access anywhere, anytime. This course is organised into 42 Topics. Each Topic offers a set of resources based on a pair of extracts in the Text Anthology. Each extract pairing centres around a particular theme (e.g. Animal Welfare in this sample topic, 2.1). a This extract is from an article published in The Guardian newspaper the day before the 2014 Grand National steeplechase1 at Liverpool’s Aintree racecourse, one of the toughest horse races in the world because of the very high fences. If you saw your neighbour whipping a dog, you’d be on the phone to the police immediately, right? Of course, anyone with a shred of decency condemns hurting animals. Yet, inexplicably, some still turn a blind eye to the cruelty to horses during the Grand National, in which riders are required to carry a whip. Nearly every year, racehorses sustain injuries. Many have paid with their lives. When 40 skittish horses are jammed onto a treacherous obstacle course, viciously whipped, and forced into jumping, breakdowns are inevitable. Last year, only 17 – fewer than half – finished the Grand National, and while the race organisers were quick to highlight an absence of fatalities after last year’s main event, they conveniently failed to mention that two horses died at the same course earlier in the week. According to research by Animal Aid in 2012, Aintree was the most lethal of all of Britain’s racecourses, claiming the lives of six horses in just eight days of racing. Treated like wind-up toys – their fragile limbs pushed to and sometimes beyond breaking point – many horses sustain fractured legs or necks or severed tendons, while others have heart attacks. Every year, hundreds of horses die on British racetracks. More are turned into dog food when they stop winning. f o Perhaps the most exciting discovery I made in this multicoloured Lilliput1 to which I had access was an earwig’s nest. I had long wanted to find one and had searched everywhere without success, so the joy of stumbling upon one unexpectedly was overwhelming, like suddenly being given a wonderful present. I moved a piece of bark and there beneath it was the nursery, a small hollow in the earth that the insect must have burrowed out for herself. She squatted in the middle of it, shielding underneath her a few white eggs. She crouched over them like a hen, and did not move when the flood of sunlight struck her as I lifted the bark. I could not count the eggs, but there did not seem to be many, so I presumed that she had not yet laid her full complement. Tenderly I replaced her lid of bark. From that moment I guarded the nest jealously. I erected a protecting wall of rocks round it, and as an additional precaution I wrote out a notice in red ink and stuck it on a pole nearby as a warning to the family. The notice read: ‘BEWAR – EARWIG NEST – QUIAT PLESE.’ It was only remarkable in that the two correctly spelt words were biological ones. Every hour or so I would subject the mother earwig to ten minutes’ close scrutiny. I did not dare examine her more often for fear she might desert her nest. Eventually the pile of eggs beneath her grew, and she seemed to have become accustomed to my lifting off her bark roof. I even decided that she had begun to recognise me, from the friendly way she waggled her antennae. To my acute disappointment, after all my efforts and constant sentry duty, the babies hatched out during the night. I felt that, after all I had done, the female might have held up the hatching until I was there to witness it. However, there they were, a fine brood of young earwigs, minute, frail, looking as though they had been carved out of ivory. They moved gently under their mother’s body, walking between her legs, the more venturesome even climbing on to her pincers. It was a heart-warming sight. The next day the nursery was empty: my wonderful family had scattered over the garden. I saw one of the babies some time later: he was bigger, of course, browner and stronger, but I recognized him immediately. He was curled up in a maze of rose-petals, having a sleep, and when I disturbed him he merely raised his pincers irritably over his back. I would have liked to think that it was a salute, a cheerful greeting, but honesty compelled me to admit that it was nothing more than an earwig’s warning to a potential enemy. Still, I excused him. After all, he had been very young when I last saw him. Care about horses? Then you should boycott the Grand National s t n i r Contextual information is provided to help students access each extract. Author Gerald Durrell (1925–95) was one of the world’s most highly respected naturalists and conservationists, founding the Durrell Wildlife Conservation Trust, based at his zoo on Jersey in the Channel Islands, in 1963. This extract is taken from Durrell’s first book, My Family and Other Animals, an autobiographical account of the five years he spent living on the Greek island of Corfu between the ages of 10 and 15. The mindset that horses are little more than tools to be used, abused and discarded is entrenched1 in the racing industry. Ruby Walsh’s comment that horses are ‘replaceable’ is deeply offensive. Horses are not unfeeling – they experience joy, anxiety, fear and affection. They are also clever and perceptive, as anyone who has seen a horse figure out how to open stable-door latches will tell you. However, Walsh’s comments were prophetic2: the very next day, two more horses died on the Cheltenham track. Horses are sometimes drugged to mask pain and keep them running when they should be resting or receiving treatment. Raced too young and too hard, when their bones are not up to the pounding and stress, horses used in racing endure injuries, lameness and exhaustion. Last year, Godolphin trainer Mahmood al Zarooni was banned from racing for eight years after being found guilty of doping offences. People who care about horses should turn their backs on the Grand National and every other race in which horses are being run to death. This cruelty will end only when the public realises that there is no such thing as a ‘harmless flutter3’ when it comes to funding the cruel and exploitative horse-racing industry. Glossary 1 Lilliput: the fictional island inhabited by tiny people in Jonathan Swift’s satirical novel Gulliver’s Travels (1726) inexplicably: for reasons difficult to explain 2 skittish: jumpy, moving unpredictably 3 entrenched: long-lasting and difficult to change 4 full complement: the final number expected 2 prophetic: an accurate prediction 5 sentry duty: keeping guard 3 exploitative: benefiting unjustly from an activity 6 venturesome: adventurous 4 Sample pages from the Text Anthology 6 Extracts are usually from texts typical of those that students will encounter in their GCSE English Language exams. Challenging words are supported by definitions in the glossary box. steeplechase: horse race in which the horses jump over fences 1 Glossary 18 21st century non-fiction 20th century non-fiction My Family and Other Animals Animal welfare 19 The Text Anthology also includes … , t h e y Animal welfare fo o t p 2.1 w e r e c i t n a g gi A fantastic bank of engaging fiction and non-fiction extracts. th e Text Anthology • Assessment pages to give students experience of exam-style questions. (More assessment resources are provided on our ActiveLearn Digital Service.) • Extracts for the Let’s Think in English lessons (provided on our ActiveLearn Digital Service) to build the confidence and resilience of students when responding to unseen texts. 7 u o h Introducing our ActiveLearn Digital Service – powered by ActiveTeach 1 4th-6th 1.1 1.2 1.3 1.4 1.5 1.6 1.7 5-6 2 5th-7th 2.1 2.2 2.3 2.4 2.5 2.6 2.7 6-7 3 6th-8th 3.1 3.2 3.3 3.4 3.5 3.6 3.7 6-8 4 7th-9th 4.1 4.2 4.3 4.4 4.5 4.6 4.7 7-8 5 8th-10th 5.1 5.2 5.3 5.4 5.5 5.6 5.7 N/A 6 9th-12th 6.1 6.2 6.3 6.4 6.5 6.6 6.7 N/A c i t n a g gi Tier of resources Steps on the Progression Scale… Indicative old NC Levels… Tier 1 4 –6 5–6 Tier 2 5 –7 6–7 Tier 3 th 6 –8 6–8 Tier 4 7th–9th 7–8 Tier 5 8th–10th N/A Tier 6 9th–12th N/A th th th The structure supports a cumulative approach to developing skills. Start with whichever Tier you think is most appropriate for your students. Subsequent Tiers will revisit many of the skills but in a more sophisticated manner – providing consolidation and extension. 8 th th To find out more about the Pearson Progression Scale for English, go to: www.pearsonschools.co.uk/progression See separate booklet for Topic 3.4 samples, aimed at the 6th to 8th steps of the progression scale. Whole text and structure skills Topic 1 Indicative NC Level Topics 1-7 for each Tier s t n i r f o a Steps on the Progression Scale Sentence level and vocabulary skills See separate booklet for Topic 6.5 samples, aimed at the 9th to 12th steps of the progression scale. Comparison skills Topic 7 The Topics within each Tier work through the reading and writing skills that students will need for their GCSE. , t h e y Our ActiveLearn Digital Service is organised into six Tiers based on those progression steps. The table below indicates which ability profile (i.e. which ‘steps’) each tier is most appropriate for. Tier w e r e That’s why we’ve developed a new progression scale for English. Our series of progression maps represents our view of how learners progress in reading and writing. The progression maps are divided into twelve ‘steps’ of increasing demand to create the Pearson Progression Scale. Expected progress for a student is one step per year from 11-16. Samples from Topic 2.1 are included on pages 12-17 of this booklet. See separate booklet for Topic 1.1 samples, aimed at the 4th to 6th steps of the progression scale. th e We know that it’s important for you to understand and monitor the progress of your students, so you can make sure they are on track to achieve their potential in their GCSE. With the removal of national curriculum levels, a new grading structure at GCSE (9-1 replacing A*-G) and the emphasis on measuring progress from 11-16 through Progress 8, this has become even more critical. Each tier consists of seven Topics – giving you a total of 42 to select from across the whole course. Each Topic offers a range of activities, presentations and worksheets to help you get the best from the extracts. You can explore sample Topics from across the tiers – see the separate sample material booklets, or find them online. fo o t p Our ActiveLearn Digital Service is structured to support different abilities and to help you track progress. See page 10 for more details about what each Topic offers. 9 u o h our ActiveLearn Digital Service – powered by Introducing our by ActiveTeach ActiveTeach c i t n a g gi What’s in a Topic? Two extracts, linked by a theme, are provided for every Topic – see pages 6-7 for example. These extracts are in the Text Anthology and on printable worksheets on the ActiveLearn Digital Service. For each of the 42 Topics there is then a wealth of resources to support the extracts: Reading for meaning Writer’s Workshops Worksheets rehearsing a range of reading skills are provided for every extract. Each extract has a Writer’s Workshop presentation exploring how language and structure choices can influence a reader’s response. One annual subscription gives you full access to a wealth of resources to support every extract in the Text Anthology. What’s included in our ActiveLearn Digital Service? •The Text Anthology on screen for front of class use, with annotation tools to support discussion. •The Teacher Guide to explain the resources provided for each Topic and to help you plan and deliver engaging lessons. • Twelve assessment papers in the style of the new exams, and accompanying mark schemes to help you to monitor the progress your students are making. a • Six exclusive Let’s Think in English lessons that will help you build the confidence and resilience of students when responding to unseen texts. f o • Full support including FREE initial training. s t n i r Students apply skills learned from the Workshops in an extended piece of writing, thematically linked to the extracts in that Topic. The diagram below illustrates how the elements of each Topic slot together. You can either work through all the elements provided for a Topic or just dip in and use those resources that best match your needs and the time available. The diagram also shows where the new Assessment Objectives are most often tackled. 2.1 Animal welfare My Family and Other Animals (lesson 1) Second extract (lesson 2) Independent Writing (lesson 3) 10 AO1 Reading for meaning 1 prepares students for... e.g. comprehend, infer, summarise reinforced and developed with.... Reading for meaning 2 AO1 e.g comprehend, infer, summarise Writer’s Workshop 1 Teacher Guide e.g. analyse and experiment with the writer’s choices reinforced and developed with.... prepares students for... AO2 AO5 Writer’s Workshop 2 AO2 AO5 e.g. analyse and experiment with the writer’s choices feeds into students’ own writing Writing task AO5 AO6 Planning and writing a text of their own explored and expressed in.... fo o t p How do these elements link together? First extract Grammar for Writing workshops and worksheets Reading for meaning worksheets Critical writing Animal welfare Care about horses? Then you should boycott the Grand National This extract is taken from Gerald Durrell’s autobiographical account of the five years he spent living on the Greek island of Corfu, aged 10 to 15. The article below was published in The Guardian newspaper the day before the 2014 Grand National horse race. Perhaps the most exciting discovery I made in this multicoloured Lilliput* to which I had access was an earwig’s nest. I had long wanted to find one and had searched everywhere without success, so the joy of stumbling upon one unexpectedly was overwhelming, like suddenly being given a wonderful present. I moved a piece of bark and there beneath it was the nursery, a small hollow in the earth that the insect must have burrowed out for herself. She squatted in the middle of it, shielding underneath her a few white eggs. She crouched over them like a hen, and did not move when the flood of sunlight struck her as I lifted the bark. I could not count the eggs, but there did not seem to be many, so I presumed that she had not yet laid her full complement. Tenderly I replaced her lid of bark. From that moment I guarded the nest jealously. I erected a protecting wall of rocks round it, and as an additional precaution I wrote out a notice in red ink and stuck it on a pole nearby as a warning to the family. The notice read: ‘BEWAR – EARWIG NEST – QUIAT PLESE.’ It was only remarkable in that the two correctly spelt words were biological If you saw your neighbour whipping a dog, you’d be on the phone to the police immediately, right? Of course, anyone with a shred of decency condemns hurting animals. Yet, inexplicably, some still turn a blind eye to the cruelty to horses during the Grand National, in which riders are required to carry a whip. Nearly every year, racehorses sustain injuries. Many have paid with their lives. When 40 skittish horses are jammed onto a treacherous obstacle course, viciously whipped, and forced into jumping, breakdowns are inevitable. Last year, only 17 – fewer than half – finished the Grand National, and while the race organisers were quick to highlight an absence of fatalities after last year’s main event, they conveniently failed to mention that two horses died at the same course earlier in the week. According to research by Animal Aid in 2012, Aintree was the most lethal of all of Britain’s racecourses, claiming the lives of six horses in just eight days of racing. Treated like wind-up toys – their fragile limbs pushed to and sometimes beyond breaking point – many horses sustain fractured legs or necks or severed tendons, while others have heart attacks. Every year, hundreds of horses die on British race tracks. More are turned into dog food when they stop winning. The mindset that horses are little more than tools to be used, abused and discarded is entrenched* in the racing industry. Ruby Walsh’s comment that horses are “replaceable” is deeply offensive. Horses are not unfeeling – they experience joy, anxiety, fear and affection. They are also clever and perceptive, as anyone who has seen a horse figure out how to open stable-door latches will tell you. However, Walsh’s comments were prophetic*: the very next day, two more horses died on the Cheltenham track. Horses are sometimes drugged to mask pain and keep them running when they should be resting or receiving treatment. Raced too young and too hard, when their bones are not up to the pounding and stress, horses used in racing endure injuries, lameness and exhaustion. Last year, Godolphin trainer Mahmood al-Zarooni was banned from racing for eight years after being found guilty of doping offences. People who care about horses should turn their backs on the Grand National and every other race in which horses are being run to death. This cruelty will end only when the public realises that there is no such thing as a “harmless flutter” when it comes to funding the cruel and exploitative horse-racing industry. ones. Every hour or so I would subject the mother earwig to ten minutes’ close scrutiny. I did not dare examine her more often for fear she might desert her nest. Eventually the pile of eggs beneath her grew, and she seemed to have become accustomed to my lifting off her bark roof. I even decided that she had begun to recognise me, from the friendly way she waggled her antennae. To my acute disappointment, after all my efforts and constant sentry duty, the babies hatched out during the night. I felt that, after all I had done, the female might have held up the hatching until I was there to witness it. However, there they were, a fine brood of young earwigs, minute, frail, looking as though they had been carved out of ivory. They moved gently under their mother’s body, walking between her legs, the more venturesome even climbing on to her pincers. It was a heart-warming sight. The next day the nursery was empty: my wonderful family had scattered over the garden. I saw one of the babies some time later: he was bigger, of course, browner and stronger, but I recognized him immediately. He was curled up in a maze of rose-petals, having a sleep, and when I disturbed him he merely raised his pincers irritably over his back. I would have liked to think that it was a salute, a cheerful greeting, but honesty compelled me to admit that it was nothing more than an earwig’s warning to a potential enemy. Still, I excused him. After all, he had been very young when I last saw him. AO2 AO3 AO4 Critical Writing e.g. analyse or evaluate the text, or compare two texts Glossary Lilliput: A reference to the fictional island from the novel Gulliver’s Travels, which is inhabited by tiny people. Glossary Let’s Think in English lessons Writing tasks entrenched: long-lasting and difficult to change prophetic: an accurate prediction 2 3 Progress Checks Sample from the ActiveLearn Digital Service showing the Text Anthology on screen , t h e y Worksheets to develop skills writing about the texts. These may focus on analysis, evaluation or comparison. • Differentiated resources for each of the 42 Topics, to support students across the ability spectrum and to consolidate skills as they move to the next Tier. Includes workshops, presentations, worksheets and interactive activities. w e r e Writing task th e Critical writing Assessment papers and mark schemes See pages 12-18 for sample material from Topic 2.1 Animal Welfare on our ActiveLearn Digital Service 11 u o h Non-fiction • Written by Gerald Durrell • An extract from Durrell’s autobiographical account of his family’s life on the Greek island of Corfu from 1935–1939, written in 1956. Text 2 • Newspaper article – writing to argue 21st Century • Care about horses? Then you should boycott the Grand National Non-fiction • Written by Mimi Bekhechi • An article appearing in The Guardian, 4th April 2014, the day before the Grand National was run, encouraging readers to consider the treatment of race horses. Summary of lessons and coverage – see full plans for details Lesson Learning objectives 1 Be able to identify key ideas and events in an autobiography extract and how they support the writer’s intention Understand how the selection of key ideas and events supports the writer’s intention 2 Be able to identify key arguments in a persuasive article and how they support the writer’s intention Understand how the selection of key ideas and events supports the writer’s argument Be able to comment on the writer’s possible intention and develop a personal response to it 3 Understand how the selection of key ideas supports the writer’s argument Be able to sequence ideas logically when writing a persuasive article Understand the importance of reviewing tense, viewpoint and register decisions when writing a persuasive article ● Use Hook presentation to introduce the topic. ● Students read Text 1 (from My Family and Other Animals) in the Anthology or 2.1 Text 1. ● Complete reading for meaning activities on Reading for meaning worksheet 1. A Reading for meaning 1 interactive provides extra optional support if time allows. ● Work through Writer’s Workshop 1 presentation to explore how the writer has selected ideas and events to support his intention. This is also supported by an optional Writer’s workshop 1 progress check presentation and Short writing task worksheet if time allows. ● Use video links in Introduction presentation to start lesson. ● Students read Text 2 (Care about horses?) in the Anthology or 2.1 Text 2. ● Complete the reading for meaning activities on the Reading for meaning worksheet 2. A Reading for meaning 2 interactive is also available to support this. ● Work through Writer’s workshop 2 presentation to explore how the writer uses key ideas to support her argument. This is also supported by a Writer’s workshop 2 progress check presentation and a Sequencing paragraphs worksheet. ● The Critical writing worksheet provides an opportunity for students to plan and write a response about the extract. The Critical writing: evaluation presentation gives sample answers and supports students in evaluating these. ● Introduce the task on the Writing task worksheet. ● Students complete the writing task. This task is also supported by the Writing design presentation, a Writing interactive and a Writing modelling presentation. ● At some point (before, during or after students do their own writing), the sample answer on the worksheet can be used. ● The worksheet and presentations offer additional guidance to help students consider tense, viewpoint and register decisions. © Pearson Education Ltd 2015. Copying permitted for purchasing institution only. This material is not copyright free. 12 Snappy Hook presentations at the start of each new topic help you to engage students with the Topic theme. Summary The Teacher Guide is included as part of our ActiveLearn Digital Service and provides overviews and plans to accompany all the resources. s t n i r My Family and Other Animals f o Autobiography – writing to describe • a • 20th Century Reading for meaning Reading for meaning worksheets deepen understanding of each text and rehearse a range of reading strategies that students will need for their assessments. 1 Includes six exclusive lesson plans to support the Let’s Think in English teaching resources on our ActiveLearn Digital Service, to build the confidence and resilience of students when tackling unseen texts. Printable versions of the extracts are also provided so students can annotate their own versions of the text. , t h e y Text 1 w e r e The texts th e 2.1 Topic overview sheet: Animal Welfare Hooks fo o t p Teacher Guide c i t n a g gi ActiveLearn Digital Service – sample material from Topic 2.1 Animal Welfare 13 u o h ActiveLearn Digital Service – sample material from Topic 2.1 Animal Welfare f o a s t n i r Many of the worksheets on the ActiveLearn Digital Service can be used for homework activities. Frequent Progress Checks and practice activities help you to monitor how well students have grasped each particular teaching point. , t h e y Progress Checks w e r e As well as tackling AO2 (analysis) head on, the Workshops lay valuable groundwork for AO4 (evaluation), e.g. by asking students to evaluate how different authoring choices could have impacted on the text. The workshops help you to embed the core principles of Debra Myhill’s Grammar for Writing pedagogy into your teaching and encourage students to explore the choices writers make. 14 Supporting worksheets and other activities allow students to try out skills from the Grammar for Writing Workshops in their own writing (AO5). th e Each Topic has a particular skills focus. For example, the first Topic of Tier 2 (Topic 2.1) explores how the writers have selected and sequenced ideas. There are then Topics in higher tiers using different extracts with a similar but more sophisticated focus. Practice activities and worksheets fo o t p Developed in partnership with the University of Exeter, Writer’s Workshop presentations are available for every Topic extract in the Text Anthology. These dig deeper into the text and explore how the writer has used particular structural, literary or linguistic features. c i t n a g gi Grammar for Writing workshops 15 u o h 16 s t n i r f o a , t h e y Sample answers are provided along with presentations which indicate their strengths and weaknesses and help students understand how their own critical responses could be improved. w e r e Three differentiated versions of each worksheet are provided, each with a varying degree of scaffolding. Every Topic ends with a writing task based on the theme of the two extracts, just like the exam. Sample responses encourage evaluation and reflection about the task. th e Critical writing worksheets enable students to practice responding to the texts they have read – developing the analytical (AO2), comparison (AO3) and evaluative (AO4) skills they will need in their exams. Writing tasks fo o t p Critical Writing c i t n a g gi ActiveLearn Digital Service – sample material from Topic 2.1 Animal Welfare Every writing task is accompanied by presentations supporting and modelling the writing process. 17 u o h ActiveLearn Digital Service ur to say what a short story. Lord Arth ne), but has refused This is an extract from hand (to tell his fortu ed at Lord Arthur’s Mr Podgers has look Oscar Wilde 5 a 10 f o 15 Paper 1: Fiction and Imaginative Writ Paper 1: Fic (i) tion andingIm aginative Writin 20 g (i) 25 Section B: Imagin ative Writing Answer ONE que stion. You should spend about 45 minutes on this EITHER section. *5 30 Write about a time when you, or som eone you know, met was particularly inter a person who esting at a party or social event. Your response coul d be real or imagined . *Your response will be marked for the accurate and appr vocabulary, spelling, opriate use of punctuation and gram mar. (Total for Quest ion OR *6 121 Look at the images 19/02/2015 13:08 2043_ASS.indd M08_Engl_SB_GCSE_ s t n i r Crime’: Arthur he started, . When he saw Lord ers entered the room colour. The two Suddenly Mr Podg of greenish–yellow sort a me beca face and his coarse, fat e was silence. for a moment ther asked me men’s eyes met, and , Lord Arthur, and has one of her gloves here “The Duchess has left ly. final ers Podg Mr to bring it to her,” said sofa! Good evening.” d answer to a “Ah, I see it on the g me a straightforwar t insist on your givin “Mr Podgers, I mus g to put to you.” afraid I must go.” am I us. anxio question I am goin is ess Arthur, but the Duch “Another time, Lord y.” Duchess is in no hurr Mr. Podgers, with his said “You shall not go. The ur,” Arth Lord be kept waiting, “Ladies should not tient.” sex is apt to be impa The poor sickly smile. “The fair in petulant disdain. He walked chiselled lips curved e at that moment. Lord Arthur’s finely of very little importanc him to his hand out. ed held seem Duchess was standing , and ers Podg Mr. re whe I must know it. I am across the room to “Tell me the truth. saw there,” he said. “Tell me what you ed tacles, and he mov not a child.” gold–rimmed spec ously with a blinked behind his Mr Podgers’s eyes his fingers played nerv to the other, while foot one from uneasily Lord Arthur, more flash watch-chain. hing in your hand, think that I saw anyt “What makes you ” will pay you. I will than I told you? g me what it was. I I insist on your tellin “I know you did, and hundred pounds.” a for ue again. cheq dull a give you then became ed for a moment, and The green eyes flash low voice. Podgers at last, in a ?” Mr club said ?” your is t neas “Gui orrow. Wha you a cheque tom is ___________, but “Certainly. I will send present. My address is to say, not just at edged pasteboard giltof bit “I have no club. That a g ucin my card;” and prod bow to Lord allow me to give you handed it, with a low pocket, Mr Podgers from his waistcoat it, on read who S ur, GER Arth Mr. SEPTIMUS R. POD ntist1 Professional Cheiroma t 103a West Moon Stree ‘Lord Arthur Savile’s Mark 0 1-‐2 Level Level 1 5 = 40 marks) provided. Level 2 121 Level 3 Write about ‘one day in the future’. Your response coul d be real or imagined . You may wish to response on one base your of the images. *Your response will be marked for the accurate and appr vocabulary, spelling, opriate use of punctuation and gram mar. The Text Anthology includes exam-style extracts and questions. These can be used either for assessment or to facilitate class discussion about the new assessments. (Total for Quest ion 6 = 40 marks) 124 M08_Engl_SB_GCSE _2043_ASS.indd Range of reference is correct but not d. lope deve ed NB The mark award d the cannot progress beyon top of Level 1 if only ture has truc s R O uage lang been considered. Step 3, 4, 5, 6 n of • Some explanatio how both language and structure are used to achieve effects and influence readers, including use of vocabulary and . sentence structure are • The quotations nd appropriate a s supports the point being made. Steps 7 -‐ 12 nd a uage Lang • structure are analysed and candidates comment on how this has influenced the reader. Their de nclu i ts men com use of vocabulary, sentence structure and other language features. • The use of quotations are well selected and illustrate the point being made. • 124 19/02/2015 13:08 3-‐4 5-‐6 Mark schemes will help you to track your students’ progress. Marks will also map to steps on the progression scale to help you to see how to intervene most effectively. , t h e y g Section A: Readin stions 1–4. . ow and answer Que r, Mr Podgers, at a party Read the text bel has met a fortune telle he can see. Assessment papers with questions and tasks in the style of the new assessments, help to prepare students for their exams. w e r e utes Time: 1 hour 45 min 3. In lines 17 -‐36, how does the write r use language and both Mr Podgers’ structure to show and Lord Arthur’s the change in moods? Support your view s with reference to the text. (6) ……………………………… ……………………………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… …… …… ……………………………… ……………………………… …… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… …… ………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… …… …… …… ……………………………… ……………………………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… …… ………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… …… …… …… …… ……………………………… ……………………………… ……………………………… ……………………………… ………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… …… ………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… …… …… …… ……………………………… ……………………………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… …… ………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… …… …… …… …… ……………………………… ……………………………… ……………………………… ……………………………… ………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… ……………………………… ……………………………… ……………………………… ……………………………… ……………… of steps ……………………………… Indic ……ative ………… ……………………………… ……………………………… (A02 descriptor) …… …… …… ………… ……………………………… ………… ed ………… ……………………………… Nothing to be credit Step 1 & 2 ……………………………………………… …………………… on ……………………………… ……………………………… • Some comment …… ……………………………… ……………………………… …… ……………………………… the ……………………………… ……………………………… ……………………………… language/structure ……………… ……………………………… ……………………………… ……………………………… ……………………………… used to achieve ……………… ……………………………… ……………………………… ……………………………… effects and ……………………………… ……………… ……………………………… influence readers, ……………………………… ……………………………… …………………….. (Tot f o …… se u ………… ding al for Question 3 = inclu 6 marks) vocabulary. th e g (i) Imaginative Writin fo o t p Paper 1: Fiction and c i t n a g gi Assessment and progression tracking Twelve practice papers and mark schemes are included on the service in total. 18 19 u o h r first Fo 2015 ea t E A R N I NG A LW AY S L g F l ne chin A LW AY S L E A R N I NG Revision Guide Revision Workbook • Designed for hassle-free classroom and independent study with one-topic-perpage format. • Exam-style worked examples support the new specification whilst practice questions help students test their understanding of a topic. • Spelling and grammar support is provided in a dedicated skills page and integrated throughout the book. • Level indicator shows students exactly what level they are working at. • One-to-one page match with the Revision Guide enables students to find the practice they need quickly and easily. • Provides loads of practice questions in the style of the new exams, with their own set of accompanying texts. • Guided support and hints provide additional scaffolding to help students. • Includes a full set of practice papers written to support the new specification. Texts Reading Statistics & Probability Problem-solv ing TEXT 3 This is an extract from a novel. It is the beginning of the second chapter of the novel. This is the first time the reader encounters any of the characters in the novel. TA R G ET ET G pa le Dra ft s am ple p mp sa Dr aft Had a look Nearly there Nailed it! 20 Look at the examstyle question below 25 and read the extrac ts from two stude nts’ answers. TA R This text is from the opening of a 30 novel. How has the writer structured the text to interest you as a reader? You could write about : • what the writer focuses your attent ion on at the beginn 35 ing • how and why the writer changes this focus as the extract develo ps • any other structu ral features that interes t you. (8 marks) 40 For a question like this you should: Spend about 15 minutes on your answer. Explain and analys e the writer’s use of struc effect of the tural devices. Use direct quote s to support and prove your points. Use subject termin ology e.g., noun phrase, present partic juxtaposition, narrat iple verb, ive tension. Use the Glossary on p. xx to help you with these! le In the first parag raph, an old man is described in a lot of detail, and really close up. We are told he was once a naval officer. You wonder who he is along the road. The and why he is walking second paragraph more detail. He gives is in the middle of nowhere, on his own, with a long way to go, ‘the long, laborious road’. You begin to wonder, where is he going to? It is a xx bit mysterious because it says that he is on an empty heath. This is descr ibed as a ‘vast dark surface’. This sound s a bit scary. ✗ Largely describes structural features. ✓ Includes two relevant quotations, mp sa aft At the start, the reade a carefully constructe r is presented with d close up of an man walking along old a path. The focus includes his ‘silver headed walking stick… dotting the groun . d with its point at every few inches interv al.’ The minutiae of the detail sets up intere st in the reader. Who is the old man? Is he going to be a main character? The secon d attention to his journe paragraph shifts y. The fronted adverbial phrase, ‘Before him’ emph asizes Dr 7 15 T redding* - a dye made from red ochre used to mark livestock to show ownership Acknowledgement: Return of the Native, Thomas Hardy, Oxford World Classics, 2008 10 GE Not long after this a faint cry sounded from the interior. The reddlemen hastened to the back, looked in, and came away again. ‘You have a child there, my man?’ ‘No, sir, I have a woman.’ ed ve some sophisticat Writers can achie out for: structure. Look results through or phrases • a ‘field’ of words same idea emphasising the or phrases • repetition of words n ast and juxtapositio • deliberate contr s. chain nce • refere Scan this QR code for a video of this questio being solved! n R T ‘Somebody who wants looking after?’ ‘Yes.’ d a faint cry sounde Not long after this from the interior. TA GE and ongoing problems Writers will build are sometimes very dilemmas (these on. r wants to read small) so the reade be used. tive hooks might narra erate Delib ally, n can build up gradu Narrative tensio ate ly, or even fluctu happen unexpected suspense. between calm and 5 ET The old officer, by degrees, came up alongside his fellow-wayfarer, and wished him good evening. The reddleman turned his head, and replied in sad and occupied tones. He was young, and his face, if not exactly handsome, approached near to handsome. His eye, which glared so strangely through his stain, was in itself attractive – keen as that of a bird of prey, and blue as autumn mist. His lips were thin, and though, as it seemed, compressed by thought, there was a pleasant twitch at their corners now and then. He was clothed throughout in a tight fitting suit of corduroy, excellent in quality, not much worn, and well-chosen for its purpose; but deprived of its original colour by his trade. A certain well to do air about the man suggested that he was not poor for his degree. The natural query of an observer would have been, why should such a promising being as this have hidden his prepossessing exterior by adopting that singular occupation? After replying to the old man’s greeting he showed no inclination to continue in talk, although they still walked side by side, for the elder traveller seemed to desire company. There were no sounds but that of the booming wind, the crackling wheels, the tread of the men, and the footsteps of the two shaggy ponies which drew the van. Now, as they thus pursued their way, the reddleman occasionally left his companion’s side, and stepping behind the van, looking into its interior through a small window. The look was always anxious. When he returned from his fifth time of looking in the old man said, ‘ You have something inside there besides your load?’ ‘Yes.’ TA R G ET ET age G Words and phrases e. At length he had yet to travers over the tract that proved be a vehicle, and it eyes ahead to gaze ntly stretched his which appeared to of life that the scene The old man freque him, a moving spot, was the single atom and distance in front of f was journeying. It advance was slow, of he discerned, a long himsel rate he Its t. which in way ess more eviden to be going the same the general lonelin render to served only contained, and it upon it sensibly. the old man gained G e in front of ed, a long distanc At length he discern be a vehicle which appeared to him, a moving spot, ET nt images of The writer will prese like shots in g, character and settin le, the writer could a film. For examp in turn, use close cter show each chara thing large to some ups, move from or move from inside something small, de. to outsi TA R R Before him stretched the long, laborious road, dry, empty and white. It was quite open to the heath on each side, and bisected that vast dark surface like the parting-line on a head of black hair, diminishing and bending away on the furthest horizon. The old man frequently stretched his eyes ahead to gaze over the tract that he had yet to traverse. At length he discerned, a long distance in front of him, a moving spot, which appeared to be a vehicle, and it proved to be going the same way in which he himself was journeying. It was the single atom of life that the scene contained, and it only served to render the general loneliness more evident. Its rate of advance was slow, and the old man gained upon it sensibly. When he was nearer he perceived it to be a spring van, ordinary in shape, but singular in colour, this being a lurid red. The driver walked beside it; and, like his van, he was completely red. One dye of that tincture covered his clothes, the cap upon his head, his boots, his face, and his hands. He not temporarily overlaid with the colour: it permeated him. The old man knew the meaning of this. The traveller with the car was a reddleman – a person whose vocation it was to supply farmers with redding* for their sheep. ined • Are ideas susta nces • How do sente deliberate Later ’. through link? e.g. ‘This, repetition of words • Are connectives or phrases? uce s used to introd • Do reference chain ? n. contrast / tensio emphasise key ideas e.g ‘But, Suddenly, Without warning’. nce sente • Does the type or length ture? impact on the struc Structural features G es time can be a How the writer manag ture. Time can be: key feature of struc • slowed down rd • put on fast forwa en the past, • switched betwe future. present or even ET • How are ideas from carried through one paragraph to the next? TA R G • What is each ? paragraph about oped • How is it devel and linked to the previous paragraph? ET How does the text: • move forward? • build up narrative tension? • present character and setting? • manage shifts between different points of view? G Sentences ET ET Paragraphs G G about the of a text tells you ised. The structure e how a text is organ , developed and built up. You need to analys is linked text, and how it ure to sequence of the struct use rs Write a journey take the reader on of the from the beginning text to the end. The whole text TA R Along the road walked an old man. He was white headed as a mountain, bowed in the shoulders, and faded in general aspect. In his hand was a silver headed walking stick, perseveringly dotting the ground with its point at every Tfew A R inches interval. One would have said that he had been, in TA R TA R his day, a naval officer of some sort or other. TA R TA pa ge TA R ge Return of the Native – Thomas Hardy ET Nearly there G Had a look uses these to make comments. and ✗ The comment ‘This sounds a •the pedagogies – Grammar for Writing and Let’s Think in English ✓ Focuses on how the words on the page create a moving, visual story. ✓ Analyses the effects of the of structure. writer’s use ✓ Has picked up well on narrat ive hooks and their key role in sustaining reade r engagement and interest. ✓ Selects a good range of quota tions and uses these as a spring board for comments and explan ation. ning and 9 View samples and find out more at www.pearsonschools.co.uk/edgcseenglang2015. Professional Development events to help you understand and apply the Grammar for Writing and Let’s Think in English principles into your teaching. We are working in exclusive partnership with experts from the University of Exeter and King’s College London on training to help you make sure your students are prepared for the challenges of the new GCSEs. Training developed and delivered by Debra Myhill’s Grammar for Writing team at the University of Exeter will support you in embedding this approach in your teaching. bit scary’ is not precise. ✗ No specific subject terminology used. ✓ Works through the text pickin g up on features of struc ture, but this is uneven, with some aspects missed. Complete the impro ved analysing how structu sample answer above. Write at least two more paragraphs re is used. explai 20 • how to use the resources to teach English effectively – embed the pedagogies, measure progress and offer differentiated work to all students •the service – how these resources can best be used with your learners in your school. Geometry & Measures Nailed it! Our half-day courses aim to enable all members of the department to gain an overview and understanding of: s t n i r Writing There is a huge amount of content in our ActiveLearn Digital Service and we know that it can be time-consuming to familiarise yourself with the components and work out how you want to use them. We’d like to support you with this by sending one of our trainers into your school to help you and your department get the most out of the service. f o iti o n g ed achin f r e e o n li The team at King’s College London will provide training on the Let’s Think in English approach, which aims to improve confidence and resilience when tackling unseen extracts. Register your interest at www.pearsonschools.co.uk/sfwcgpd15. , t h e y te es w e r e Inc ud In-school PD to support you in using your resources and our pedagogies to teach Edexcel GCSE (9-1) English Language effectively. th e 2015 c i t n a g gi first or fo o t p Help your students get ahead with our market-leading resources for GCSE Revision. Professional Development a Revision support 21 u o h Where addressed How addressed The assessment of the new GCSE (9–1) is by 100% terminal examination. ActiveLearn Digital Service • Cumulative approach to learning: consolidating and building on what has been previously taught. • Assessment materials: six sets of assessment papers with questions in the style of the new exams. • Writing tasks: allow students to practise imaginative and transactional writing. c i t n a g gi Features of the specification A LW AY g iti o n achin s f r e e o n li N S LEAR Th s as ha nd mes, the y w er e c de ed F In lu te 19/02/2015 09:36 d an In the reading section of the exams, students will be required to analyse (AO2) and evaluate (AO4) how the writer creates effects, including comparison of unseen non-fiction extracts. Students are required to write creative and transactional pieces in the exams, loosely linked to the reading texts. first or 2015 ne I NG r first Fo 2015 A LW AY S LEAR N chin I NG g t ea Text Anthology • Extracts: resources provided for all abilities that are mostly based on extracts from texts typical of those students will encounter in their exams. ActiveLearn Digital Service • Hooks: engaging starter resources grab the interest of students, tuning them in to the themes of the extracts. • Reading for meaning worksheets: to develop key reading and comprehension skills. • Let’s Think in English: lessons from King’s College to boost confidence and resilience when tackling unseen extracts. Text Anthology • Extracts: rich bank of extracts, including many nineteenth-century ones. Carefully chosen to engage students and help them to build confidence. New accountability measures underline the importance of securing progress for all students across the ability spectrum. f o a • Six differentiated Tiers of resources: each supporting a different ability profile (linked to the Pearson Progression Scale); pitched to develop the skills needed by students of each ability. • Teacher training: courses on the Let’s Think in English approach, to improve students’ confidence, resilience and thinking skills when tackling unseen extracts. s t n i r of ey es Co un t' s t, fo ot pr in ts , e d an th e t had seemed r at ey he th r wh i F g F g iti o n on ed la y 1 22 y his s rd kne wa es to in t he ked foi lo rel ig I h er.indd gy-Cov Text Antholo he s 3 33 630 33 T 0845 77 630 77 F 0845 ActiveLearn Digital Service ActiveLearn Digital Service • Critical writing: differentiated worksheets focusing on the skill of writing critical responses to texts – covering comment and analysis (AO2), evaluation (AO4) and comparison (AO3). • Sample answers: every critical writing activity has linked sample answers with commentary. • Let’s Think in English: Lessons build the skills necessary to understand and analyse writers’ techniques and discuss them insightfully. • Grammar for Writing: Writer’s Workshops embed this approach throughout the resources, helping students to understand and articulate how writers use language for effect. • Reviewed: all the main Topic resources reviewed by Debra Myhill’s team at the University of Exeter – offering an ideal progression from our KS3 course called Skills for Writing. Text Anthology • Assessment pages: provide practice reading questions in the style of the new exams. Professional Development • Teacher training: courses from the University of Exeter and King’s College to help embed the pedagogies ActiveLearn Digital Service • Writing tasks: every Topic ends with a writing task, linked to the extracts in that Topic. • Grammar for Writing: students develop their literary, structural and language skills in the Writer’s Workshops and are then guided to go on to practise and apply these skills in their own writing. • Sample answers: accompany the writing tasks for students to evaluate and learn from. Text Anthology • Assessment pages: provide reading and writing practice in the style of the new exams. Professional Development • Teacher training: courses from the University of Exeter to help you to embed the Grammar for Writing approach in your own teaching at KS4. ActiveLearn Digital Service • Assessment materials: six sets of assessment papers and accompanying mark schemes to support you in monitoring the progress your students are making, with links to the Pearson Progression Scale. • Checking progress: regular ‘Progress Check’ resources, included with every Topic, provide opportunities to evaluate the extent to which students have mastered the skills being taught. Teacher Guide (on ActiveLearn Digital Service) , t h e y fr I heard as if ned, ste li -8204 -3 04 7 982 I 78144 as 9 a ” d! un ho ic nt ga gi • Revision Guide: summary notes in short, memorable chunks; progress check boxes; practice questions. • Revision Workbooks: guided exam questions and practice papers. Professional Development Myhill f ma ny s. wolve I h ad not ice d th is N I NG e backs of h S LEAR ALW AY o Language 44798789 Debra g GCSE English 5 I NG in wl e ho y th lle va k .co.u sonschools m www.pear pearson.co myorders@ Edexcel -4479 I S B N 978-1 achin N S LEAR a A LW AY ISBN: 9781 3 44798808 tant: consul anhe td a ne I NG in c N S LEAR H te achin s f r e e o n li ogy In te de it he rt o first or 2015 first or 2015 lu Series wh il e, hol Text Ant a ch provides Service by ActiveTea presentations, n Digital powered al Service, This includes arn Digit extracts in t support. ActiveLe assessmen mpany the ur online plans to acco planning and teaching, and lesson wealth of activities 9 interactive 44798202 worksheets, . ISBN: 9781 ology ns. this Text Anth de of lesso access outsi eBook students to ology Activ ology for Text Anth this Text Anth version of An online 6 44799488 ISBN: 9781 book ion Work and Revis e Guid Revision ActiveLear A LW AY w lo ge le so availab ISBN: 9781 ogy thol Text An h Langua Englis y from ding man extracts, inclu ice of engaging Digital Serv nsive bank s. lish iveLearn vides an exte ury non-fiction text online Act Think in Eng cent and Let’s ided by our 20th/21st extracts prov Grammar for Writing ort for all ensive supp ing you to bring the s. help e below) – the new exam teaching. of your style into s in the proaches ide question pages prov ssessment ge Langua h Englis be ury fiction 19th cent (9-1) l GCSE Edexce d o wn An consul Series Myhill om y tholog Debra tant: (9-1) l GCSE ge Langua Edexce el glish ut FOR 1) GCSE (9- sil ent for MMA R GRAWRIT ING B We wer e bo th d an te Revision resources w e r e Students will need to understand challenging unseen texts in the exams, including 19th century fiction. • Assessment pages: provide practice questions in the style of the new exams. th e The new GCSE is untiered so all students will tackle the same unseen extracts and tasks. Text Anthology fo o t p Use this grid to see at-a-glance how we can support you with the changes at GCSE • Lesson plans: fully differentiated plans pitched at different ability profiles, identifying and focusing on the skills that students of different abilities need in order to progress. 23 Course components ActiveLearn Digital Service The UK annual subscription includes: • Front-of-class teaching resources • Assessment materials • Teacher planning support Edexcel GCSE (9-1) English Language ActiveLearn Digital Service 978 1 447982 02 9 • £800.00 (+VAT) *Medium UK annual subscription (750-2000 students). Other school sizes and buying options available y had seeme d the ra th er ma ny ey e wo l v es backs of h i s . T h and Edexcel GCSE (9-1) English Language Text Anthology (printed book) 978 1 447982 04 3 • £12.00 19/02/2015 09:36 English Learning Services in-school PD 978 1 447999 95 9 • £450 Edexcel GCSE (9-1) English Language Text Anthology ActiveBook – Medium UK subscription* 978 1 447994 88 6 • £150.00 (+VAT) *Medium UK annual subscription (750-2000 students). Other school sizes and buying options available ! d n Early bird discount!hou ic Please note that the 35% discount offer does t SAVE 35% not apply to this training. anusing g i g promoacode 35ENG15 On all orders f of £800 or over until o Your next steps s 31st August 2015. tAvailable to UK educational establishments only. n Go online Offer doesn’t apply to English Learning Services Training ri In-school training for your department in using your resources to teach Edexcel GCSE (9-1) English Language effectively. fo ot p Visit our website www.pearsonschools.co.uk/edgcseenglang2015 to place an order and to view additional sample material. th e Post Call us we re Place a firm order using the order form included in your Evaluation Pack. If you’re ready to place your order or discuss your needs further, call our Customer Services team on 0845 630 33 3333. We’re open Monday – Friday 8.00am – 5.00pm. Pearson Ltd is committed to reducing its impact on the environment by using responsibly sourced and recycled paper. U567 mes , t he y F Co un t' s fo ot p the he F n th e no ti ce d we re ha d d s a s th d an I ALW AY S L E A R N I NG an 781447 982043 mes , t he y g iti o ed g I S B N 978-1-4479-8204-3 9 !” und ho , es y s rd wa to T 0845 630 33 33 F 0845 630 77 77 CSE English Language Text Anthology-Cover.indd 1 hi s chin on d foike lo r ea la y I th e first or 2015 A LW AY S L E A R N I N G ISBN: 9781447987895 kn ee s as in , ht ig el d an e s nt ri ic nt ga gi a of of n e o n li t chin L E A R N I NG ing howl ley the val t ea s fr e [email protected] , e th first or 2015 BN: 9781447988083 ww.pearsonschools.co.uk fo r in H it he rt o Series consultant: Debra Myhill wh il e vision Guide and Revision Workbook a Text Anthology w lo xt Anthology ActiveBook online version of this Text Anthology for students to access outside of lessons. BN: 9781447994886 ned, I heard as if f r o iste I l English Language Text Anthology r online ActiveLearn Digital Service, powered by ActiveTeach provides a alth of teaching, planning and assessment support. This includes presentations, rksheets, interactive activities and lesson plans to accompany the extracts in s Text Anthology. ISBN: 9781447982029 Edexcel GCSE (9-1) e d own b so available ctiveLearn Digital Service Book si le nt Series consultant: Debra Myhill Provides an extensive bank of engaging extracts, including many from 19th century fiction and 20th/21st century non-fiction texts. Extensive support for all extracts provided by our online ActiveLearn Digital Service (see below) – helping you to bring the Grammar for Writing and Let’s Think in English approaches into your teaching. Assessment pages provide questions in the style of the new exams. m Edexcel GCSE (9-1) English Language ext Anthology d an as dexcel GCSE (9-1) English Language e it wh t Bu FOR WRITING We w ere bot h GRAMMAR