Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 1

(‘Crouch End’ by Stephen King) Lesson 5

Class: HSC (Year 12) Standard Stage 6 Time: 60 minutes

Teacher: Objectives for self

To... teach students the effect intertextuality has on the complexity of written work

To... teach students that texts are not read in isolation, but meaning is active formed by
explicit and self-conscious relationships between texts.

To... guide students to evaluate the effect of intertextual references in a text and its additional
layers of meaning

Syllabus Outcomes for students

Preliminary/HSC... Outcome:

HSC Outcome 6: A student investigates and explains the relationships between texts

 understand and explain the purposes of intertextuality

 analyse and evaluate text structures and language features of literary texts and make
relevant thematic and intertextual connections with other texts

 explain and assess the ways in which particular texts are influenced by other texts and
various contexts

HSC Outcome 9: A student reflects on, assesses and monitors own learning and refines
individual and collaborative processes as an independent learner

 recognise that reading, viewing and listening are active and interactive processes in
which personal experiences and expectations influence understanding and
interpretation

Materials

Photocopy of Crouch End from King, S. (2017). Crouch End. In Nightmares and
Dreamscapes (657-695). New York: Scribner (from earlier lesson)

Scaffold and worksheet on Intertextuality

Computers—computer room

Procedures
Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 2

Time Organisation Teaching/learning activities

0 mins Whole class  Class is settled, copies of Crouch End retrieved, roll marked.
Previous lesson is briefly summarised, and the broad structure
of today’s research lesson is covered.
 Students are provided with a broad definition of intertextuality,
and asked to suggest instances they have experiences in texts
with which they are familiar.
 Students are asked to copy down the suggestions made, and
speculate on why such allusions may be use by writers, and if
such allusions are always intended or created by the reader.
10 mins Groups  Students asked to identify intertextual references in Crouch
End. In a think-pair-share exercise, students are provide an
example of an intertextual allusion made in the text, the extent
to which they understand it, and what meaning in might create.

15 mins Individual  Students research intertextual references they have identified,

/pairs specifically on the Lovecraftian allusions throughout, either
independently or in pairs. Students then annotate their copies
of Crouch End with notes they have amassed, to build a bigger
picture of the meaning and themes crafted in the short story.
 Students may work individually or in pairs, but each student
must have their own annotated work as this will be referred to
in the next lessons.
35 mins Individual  Students directed to complete a scaffold worksheet,
/pairs responding to the following questions:
o What specific intertextual references have you found in
Crouch End?
o What meaning do Lovecraftian intertextual references
add to the story (HP Lovecraft’s texts can be found at
http://www.hplovecraft.com/writings/texts/)?
o Do you think these intertextual references are
effective? Why/why not?
o Compared to your earlier naïve reading, how has your
interpretation of the text changed?
 Questions lead students to the purpose of intertextuality and
the effect it has on meaning within a text. Reference to their
previous interpretation will highlight their increasing
knowledge of the concept and the text, while reiterating the
effect an intertextual context can have on interpretation.
60 mins Whole class  Lesson concludes
Homework  Students are to finish the annotations not made during class
and consider a text (not limited to written prose) they are
familiar with, from which intertextual references could be
made.
Evaluation/Extension

Students suggestions in the opening discussion are informally evaluated, and students work
on the research and worksheet portion of the lesson is assessed individually as the lesson
progresses. Students having trouble completing their worksheets can be further guided by the
teacher, and websites recommended.
Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 3

Students who finish researching and annotating their copies of Crouch End can begin the
worksheet earlier. Those who are especially ahead can consider how they might implement
intertextual references into their own work (including consideration of effect and audience) in
preparation for the writing activity in the next lesson.

In retrospect

In retrospect, this lesson gives students and opportunity for self-directed, student-centred
learning that focuses on their own discovery and assessment of intertextuality in Crouch End,
while also engaging them actively in ICT literacy. The first hand research gathered here will
serve to underpin the strategies used for understanding and creating their own intertextual
references in the following lesson’s writing activing. Such an active involvement in meaning-
making with the text reiterates the complex, deliberate, and meaningful techniques writers
use in their craft, as well as the dynamic relationship between reading and writing that
ultimately creates meaning. Students are also able to compare their understanding to a more
naïve reading in the previous lesson to provide a measure of the growth of their knowledge as
the module progresses.
Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 4

(‘Crouch End’ by Stephen King) Lesson 6

Class: HSC (Year 12) Standard Stage 6 Time: 60 minutes

Teacher: Objectives for self

To... have students recognised intertextuality in their own texts, and texts visited in other
modules

To... reinforce that texts are not read in isolation, but meaning is active formed by explicit and
self-conscious relationships between texts.

To... help students experiment with and create intertextual references in their own work, and
assess this work and the work of their peers

Syllabus Outcomes for students

Preliminary/HSC... Outcome:

HSC Outcome 3: A student analyses and uses language forms, features and structures of
texts and justifies their appropriateness for purpose, audience and context and explains effects
on meaning

 understand and use language appropriately and effectively for particular purposes, for
example making connections…
 understand and appreciate how language features, text structures and stylistic choices
are effectively integrated in a range of quality literature and other texts and apply this
understanding to their own compositions

HSC Outcome 6: A student investigates and explains the relationships between texts

 understand and explain the purposes of intertextuality

 analyse and evaluate text structures and language features of literary texts and make
relevant thematic and intertextual connections with other texts
 compose imaginative texts that make thematic or stylistic connections with other texts
or refer to other texts for particular purposes

HSC Outcome 9: A student reflects on, assesses and monitors own learning and refines
individual and collaborative processes as an independent learner

 support the learning of others by objectively assessing their strengths and needs as
learners and offering constructive feedback as appropriate
Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 5

Materials

Photocopy of Crouch End from King, S. (2017). Crouch End. In Nightmares and
Dreamscapes (657-695). New York: Scribner (from earlier lesson)

Scaffold and worksheet on Intertextuality (from previous lesson)

Procedures

Time Organisation Teaching/learning activities

0 mins Whole class  Class is settled, text and worksheets retrieved, roll is marked.
Previous lesson summarised, and broad structure of today’s
lesson covered.
 Teacher delivers lecture concerning the nature of
intertextuality, its effect in Crouch End, and that no reader
approaches a text in isolation, but activing makes links and
associations to other texts.
7 mins Whole Class  Students are asked the same question from the think-pair-
share exercise at the beginning of the previous lesson—the
meaning and effect of a Lovecraftian reference they had
found—but this time as a point of class discussion during
which students are invited to refer to the worksheet,
annotated story, and any notes they made.
15 mins Individual/  Modelling from the prescribed text, students are asked to
groups appropriate a portion of Crouch End, specifically pages 686-7
in which Doris is walking through a deserted industrial district
and noticing signs with various intertextual references to
Lovecraftian lore, into their own paragraph with their own
intertextual references from any text.
 The intertextual references they make must cultivate a
desired meaning in a specified audience, and should not be
explicitly/directly explained.
 Students may work individually or sit in groups to share ideas
with each other, but must produce their own paragraph of
work. These paragraphs will be further refined, edited, and
expanded on throughout the module.
45 mins Whole class  Students share paragraphs with the class, and the class is
asked to make note and identify the intertextual references
and discuss the meaning it creates, with justification, to
better their own writing.
 Justification for their analysis of peer work is used to
reiterate that texts are not understood in isolation, and that
this has an effect on how meaning is interpreted.
60 min Whole class  Lesson concludes
Homework Students are asked to finish their paragraphs, if they were not
complete, and reflect on how well their paragraphs utilise intertextual
references and what could be improved/expanded upon (based on the
group discussion).
Evaluation/Extension
Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 6

Students’ work is evaluated by the teacher during the writing phase, as they consider their
ideas for intertextuality in their own paragraphs, and their individual paragraphs are
informally evaluated during the whole class share and discussion at the end, by the teacher as
well as students, and includes opportunity for self-reflection.

The lesson is demanding and the written piece will be refined progressively over the course
of the module, as new literary concepts, forms, and features are learnt and implemented.
However, students who finish their paragraphs early will have their work checked by the
teacher and be given direction to further refinement. Additionally, such students can also be
directed to more formally prepare a justification of their intertextual knowledge in
preparation for the discussion phase, with the idea that critically considering their own work
will lead to the creation of new ideas and/or further refinement.

In retrospect

Although broken into large chunks, the activities in this lesson plan are demanding and
justifiable for the implementation, of intertextual understanding into creative writing,
extending from the previous lesson. Rather than the typical front-loading technique of
amassing skills before writing, students equipped with the context and understanding of
intertextuality and its modelled effects in Crouch End in the lesson prior, are quickly given
the opportunity to demonstrate and experiment with that knowledge directly in a writing
activity. This also allows for refinement of written work much earlier in the module, and a
continual point of reference for students to examine their growth as they “strengthen
[their]...confidence as writers” (NESA, 2017c, p. 74).
Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 7

Evaluation of Crouch End by Stephen King for Year 12, Module C: The Craft of

Writing

With the introduction of the new NSW Stage 6 syllabus, it is important that

newly suggested texts meet the suitability requirements of the modules for which they

are prescribed. Module C: The Craft of Writing is a Year 12 module that seeks to

expand and strengthen students’ writing knowledge and capabilities, so any prescribed

text used as a model or stimulus must be “challenging” texts, “drawn from enduring,

quality texts of the past as well as from recognised contemporary work” that have the

ability to facilitate students’ writing (NESA, 2017c, p. 74). As noted in prescriptions

support document for Module C, Stephen King is a “prolific and bestselling American

author whose work spans multiple fiction genres” and has received a variety of

awards and formal recognitions (NESA, 2017a, p.7). Of his ample catalogue, King’s

short story, Crouch End, is a suitable prescribed text that creatively utilises various

literary techniques—including multiple genres, flashbacks, and intertextual references

—which make it a challenging text for Year 12 students to develop and improve their

knowledge and skills as writers, and therefore is perfectly suited for inclusion as a

prescribed text in Module C: The Craft of Writing.

A feature from Crouch End, significant to its suitability in Module C, is its use

of genre, specifically the blending of horror genre with components from crime

fiction. Such knowledge is important for developing the skills specified in Module C,

as understanding of genre supports students’ writing by providing “guidelines for

structure, identifiable features and ways to deviate from conventional approaches”

(English Textual Concepts, n.d.-b, para. 11). Crouch End’s suitability for genre study

to facilitate creative writing also offers an avenue for students’ to write for “authentic

[emphasis added] audiences and purposes” (NESA, 2017c), as the structure of genre
Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 8

can provide a sense of familiarity that makes a text more meaningful. Moreover, the

melding of horror and crime fiction elements in Crouch End allows students to

experience genre in its complexity, a specified requirement of texts in the syllabus

(NESA, 2017c), by examining a hybrid genre text.

Another significant feature from Crouch End for its suitability in Module C is

the use of multiple narrators and nonlinear story telling through use of flashbacks.

This complex structure to Crouch End reinforces is challenging nature, requisite to

prescribed texts in Module C (NESA, 2017c), and demonstrates a sophisticated use of

literary forms and features in their complexity, as multiple focalisers and narrators can

create more complex and intriguing meanings (English Textual Concepts, n.d.-c).

This, therefore, makes Crouch End a good model for the development of students own

writing especially when it comes to developing focalisers or establishing point of

view.

However, the most notable literary feature of Crouch End is its repeated use of

intertextual allusions and references to Lovecraftian lore. Here students can appraise,

engage, and reflect on the craft of writing, as outlined in the Module C description

(NESA, 2017c), while the text reinforces the challenging nature and complexity of

intertextuality when “another context, idea, story [is introduced] into the text at hand”

(English Textual Concepts, n.d.-b, para. 7). Moreover, the facilitated study of

intertextuality from Crouch End can also give purpose and direction to students as

they “appreciate, examine and analyse...texts from their own wide reading” (NESA,

2017c, p. 74), and form connections in meaning and representation between texts as

well as within them. Crouch End facilitating study of intertextuality in this module

also allows students to revisit past texts with new insights (English Textual Concepts,

n.d.-b), which is explicitly permitted in Module C to “enhance their experiences of

Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 9

quality writing” (NESA, 2017c, p. 74). For example, if students were to study the text,

All the Light We Cannot See by Anthony Doerr in the module, Text and Human

Experiences, which is common to all courses and must be undertaken before other

modules (NESA, 2017c), there would be an opportunity to explore the suggested

“challenging teaching and learning” skills, such as the intertextual religious allusions

therein (NESA, 2017b, p.10), in more detail in Module C in comparison to Crouch

End.

The above sequenced lesson plans demonstrate the suitability of Crouch End

for Module C, using intertextuality as the focus and the text as a model, to guide

students toward a piece of original writing. The first of the sequenced lessons

establishes the nature of intertextuality, linking directly to content points specific to

intertextuality in Outcome EN12-6, as part of the pre-writing phase of Module C

which encourages experimentation and speculation (NESA, 2017c). Then students

perform research specifically on the intertextual references with in Crouch End to get

a sense of the meaning created when alluding to H.P. Lovecraft. Such an activity also

fits within the content points of investigation and analysis in Outcome EN12-6, which

is also required for a “considered appraisal” necessary to appreciate texts specified in

the Module C description (NESA, 2017c, p. 74). The first of these sequenced lessons

also includes students making comparisons between their new interpretation of the

text and their original naïve reading in an earlier lesson, which is easily facilitated by

the unexplained intertextual references in Crouch End, and also allows for reflection

on the active process of reading to create meaning. This meets the content point

pertaining to personal experience in outcome EN12-9, and also increases their

confidence and aids in recognising the power of language as specified in the Module

C description (NESA, 2017c).

Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 10

The second lesson builds directly from the first, where the accumulation of

knowledge in the pre-writing phase of the module becomes the platform from which

students’ writing begins. Following Gannon’s advice, front-loading writing skills and

strategies in this part of the module are treated as an opportunity for students to begin

practicing their writing, and so quickly transitions to a writing activity by the second

lesson (Gannon, Howie, & Sawyer, 2009). The structure of this lesson is based on

Atwell’s (1987) writing mini-lesson, starting with brief presentations on a writing skill

that leads to experimentation with that skill and editing/refining. Students are told

beforehand, as part of the intro, homework and extension task, that they will be

incorporating intertextuality into a piece of their own writing. The ability of students

to choose their own reference for intertextuality facilitates their writing “for a range of

authentic audiences and purposes” and the “development of their own ideas” as they

get to decide this aspect for themselves (NESA, 2017c, p. 74). In this lesson, Crouch

End is the model they use for constructing meaning with their intertextuality, as

researched in the lesson previous, and the source they appropriate with their own

meaning to overcome the hesitancies of the blank page. Additionally, Utilising

Atwell’s (1987) advice that some students benefit from being able to discuss with

peers, students may work individually or sit in groups to share ideas with each other.

This peer collaboration is specified in the Module C description as an opportunity

extended to students, and the group sharing and peer assessment at the end of the

activity is the first of several such activities to get students to “reflect, refine and

strengthen their own skills” in creating quality texts (NESA, 2017c, p. 74), and also

meets assessment and reflection content points as part of EN12-9.

Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 11

References

Atwell, N. (1987). In the middle: Writing, reading and learning with adolescents.

Portsmouth, NH: Heinemann Educational Books

English Textual Concepts. (n.d.-a). Genre. Retrieved from

http://englishtextualconcepts.nsw.edu.au/content/genre

English Textual Concepts. (n.d.-b). Intertextuality. Retrieved from

http://englishtextualconcepts.nsw.edu.au/content/intertextuality

English Textual Concepts. (n.d.-c). Point of View. Retrieved from

http://englishtextualconcepts.nsw.edu.au/content/point-view

Gannon, S., Howie, M. and Sawyer, W. (Eds). (2009). Charged with meaning.

Phoenix Education

NESA. (2017a). English Stage 6 Module C: The Craft of Writing Support Document.

Retrieved from https://syllabus.nesa.nsw.edu.au/assets/global/files/english-

prescriptions-2019-2023-module-c-support-document.pdf

NESA. (2017b). English Stage 6: Annotations of selected texts prescribed for the

Higher School Certificate 2019–23. Retrieved from

https://syllabus.nesa.nsw.edu.au/assets/global/files/english-stage-6-

annotations-of-selected-texts-2019-2023.pdf

NESA. (2017c). English Standard Stage 6 Syllabus. Retrieved from

https://syllabus.nesa.nsw.edu.au/assets/english_standard/english-standard-

stage-6-syllabus-2017.pdf
Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 12

ENGLISH LESSON PLAN 1

Class: Year 8 (Stage 4) Time: 60 mins

Topic: Textual Concepts—connotation, imagery and symbol

What is being taught in this lesson?

What connotations are, how to identify and use them, and to apply them to
their own work.
Why am I teaching it?
Understanding symbols addresses two outcomes in EN4-1A to understand the
qualities of texts that show particular feelings and viewpoints, as well as
understanding and applying language forms and features in other texts and in
their own. Students also use language forms and features and consider the
information and ideas in texts, as part of outcome EN4-3B.
How am I teaching it?
First by showing a worked example and getting students to identify
connotations and denotations of selected words, before including their own.
Then have students see the effect of connotations in a creative work in a
DARTs activity and attempt to change its meaning through alternative word
choices that show a different perspective. Finally, give students freedom to
apply their learning to their own creative works.
How it relates to your reading in this unit?
The lesson plan uses the Gradual Release of Responsibility model (Boas &
Gazis, 2016), coupled with building the difficulty of learning on the stages of
Bloom’s Taxonomy (Soleimani & Kheiri, 2016), students will work on
increasingly complex applications of concepts that start with student directed
examples and information, move to group and individual tasks, and end with
student directed creation of creative works. DARTs activities were selected as
a means of analysing poems, which made up the bulk of the texts (Gannon,
Howie, & Sawyer, 2010).

Outcomes
EN4-1A: responds to and composes texts for understanding, interpretation, critical
analysis, imaginative expression and pleasure
 Engage personally with texts
o explore and appreciate the aesthetic qualities in their own and other
texts and the power of language to communicate information, ideas,
feelings and viewpoints
 Understand and apply knowledge of language forms and features
o use increasingly sophisticated verbal, aural, visual and/or written
techniques, eg imagery, figures of speech, selective choice of
vocabulary, rhythm, sound effects, colour and design, to compose
imaginative texts for pleasure
EN4-3B: uses and describes language forms, features and structures of texts
appropriate to a range of purposes, audiences and contexts
 Engage personally with texts
o identify, discuss and reflect on the ideas and information in a range of
texts
 Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 13

Materials

 PowerPoint slides, computer, projector

 Then and Now poem, one for each student

 Connotations Worksheet, one for each student

 Creative description sheet, one for each student

Procedures
Time Organisation Teaching/ learning activities
5 Sets up PowerPoint, Students are asked to look at the PowerPoint slide, copy the definitions
and opens to first of connotation and denotation to the back of their books on their
slide. ‘glossary page’, and consider the connotations and denotations of some
of the words on the screen while the roll is marked.
Settles the class and
marks the roll. After the roll is marked, the teacher will read out and explicitly explain
the difference between connotation and denotation as a modelled
example.
“The word heart can denote the organ that pumps blood around the
body, but it might connote a sense of love, romance, or passion.”
10 Student draw a table Students are asked to draw a table in their books with three columns,
in their books the first titled ‘Word’, the second titled ‘Connotes’ and the third titled
expressing the ‘Denotes’. Students should transcribe the words from the screen into
connotations and the Word column and then provided their connotations and denotations
denotations of words in the appropriate columns. Students are also asked to think up their
on the slide own word that might connote something negative or positive and list it
at the bottom of the table.

Students are then asked to share the connotation and denotation of one
of the words, none can have been previously mentioned. At least five
students should be asked to get examples of students’ own word
choices. If the suggested word is suitable, the teacher suggests that
other students to copy it down as well. If the suggest word is
unsuitable, the teacher attempts to modify the word into something that
is suitable.
20 DARTs activity: The teacher hands out a copy of ‘Then and Now’ poem by Oodgeroo
mins students are given a Noonuccal and the associated worksheet to each student, and asks
copy of ‘Then and students to circle words in the poem that have negative connotations
Now’ by Oodgeroo and underline words that have positive connotations.
Noonuccal and
associated worksheet. The students learn to select words with connotations, and identify the
kind of connotation, in the context of a creative text.

The teacher asks students to compare and discuss the words they have
identified as positive and negative with the peer next to them, and
together they respond to the ‘Then and Now’ worksheet questions.

Students peer assess each other’s work and consider alternative

 Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 14

viewpoints. Then, students collaborate in responding to questions

scaffolded to build an understanding of the reason words with such
connotations were employed. Students who wish to complete the
worksheet by themselves are allowed to, so long as this does not leave
someone else unpaired.

Some groups are selected to share their responses one of the questions,
with focus on question 3. Students who did not share their connotations
or denotations from the table, or who were seen to struggle, are
selected for (re)assessment.
10 Re-creation activity: Now that students have developed an understanding of the effect of
mins students rewrite the connotations in ‘Then and Now’, they are asked to rewrite the first
first stanza of Then stanza to communicate the opposite perspective.
and Now with
different connotations Students are asked to share one or two connotation changes they have
made. Again, the teacher focuses on students who have not contributed
or who need further assistance.

Students who do not complete this in class may finish it off as

homework
15 Composition activity: Students given a lined piece of paper and are asked to write a
mins Students employ paragraph describing a place, real or imagined, and communicate
connotations in a whether their view of the place is positive or negative only through the
written piece. use of appropriate word connotations.

Students are told that their works will be collected at the end, but will
not be formally marked and will be returned during the next lesson.
Homework Revisiting connotation and denotation definitions, finishing recreation
activity

Evaluation/ Extension
The evaluation of the success of the lesson is based on continued assessment of
student learning after each activity when they are asked to share their responses.
While engaged in group work, the teacher can support students who might be
struggling with one on one help, or provide more support of the whole class is
struggling. Students creative works aren’t formally marked, but their learning can be
assessed from their responses and support provided if needed.

References:
Then and Now (n.d.) Poetry Library. Retrieved from
https://www.poetrylibrary.edu.au/poets/noonuccal-oodgeroo/then-and-now-
0719066

Teaching English. (2003). Teaching Poetry Using Darts. Retrieved from

https://www.teachingenglish.org.uk/article/teaching-poetry-using-darts
Matthew Cooke, 17299158Craft of Writing Text Lesson Sequence 15
‘Then and Now’ by Oodgeroo Noonuccal

In my dreams I hear my tribe,

Laughing as they hunt and swim,
But dreams are shattered by rushing car,
By grinding tram and hissing train,
And I see no more my tribe of old
As I walk alone in the teeming town.

I have seen corroboree

Where that factory belches smoke;
Here where they have memorial park
One time lubras dug for yams;
One time our dark children played
There where the railway yards are now,
And where I remember the didgeridoo
Calling to us to dance and play,
Offices now, neon lights now,
Bank and shop and advertisement now,
Traffic and trade of the busy town.

No more woomera, no more boomerang,

No more playabout, no more the old ways.
Children of nature we were then,
No clocks hurrying crowds to toil.
Now I am civilized and work in the white way,
Now I have dress, now I have shoes:
'Isn't she lucky to have a good job!'
Better when I had only a dilly bag.
Better when I had nothing but happiness.
Connotations Worksheet

Name___________________________ Date__________

Text: ‘Then and Now’ by Oodgeroo Noonuccal

1. What words have negative connotations in the text?

_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________

2. What are those words used to describe?

_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________

3. Why did the poet choose those words in particular (what affect does the word
choice have on the theme of the text)?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Connotations—creative description

Name________________________ Date__________

_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
ENGLISH LESSON PLAN 2

Class: Year 8 (Stage 4) Time: 60 mins

Topic: Textual Concepts—connotation, imagery and symbol

What is being taught in this lesson?

What symbols are, how they relate to contemporary discourse in Australia,
how to identify and use them, and to apply them to their own work.
Why am I teaching it?
Understanding symbols addresses two outcomes in EN4-1A to understand the
qualities of texts that show particular feelings and viewpoints, as well as
understanding and applying language forms and features in other texts and in
their own. Students also use language forms and features and consider the
information and ideas in texts, as part of outcome EN4-3B.
How am I teaching it?
First by showing popular examples of symbols they may be familiar with.
Then have students see the effect of symbol choice in a contemporary
Australia and how interpretations of symbols (like connotations) can differ.
Symbol is then explored in text via a DARTs activity. Finally, give students
freedom to apply their learning to their own creative works.
How it relates to your reading in this unit?
The lesson plan uses the Gradual Release of Responsibility model (Boas &
Gazis, 2016), coupled with building the difficulty of learning on the stages of
Bloom’s Taxonomy (Soleimani & Kheiri, 2016), students will work on
increasingly complex applications of concepts that start with student directed
examples and information, move to group and individual tasks, and end with
student directed creation of creative works. DARTs activities were selected as
a means of analysing poems, which made up the bulk of the texts (Gannon,
Howie, & Sawyer, 2010)

Outcomes
EN4-1A: responds to and composes texts for understanding, interpretation, critical
analysis, imaginative expression and pleasure
 Engage personally with texts
o explore and appreciate the aesthetic qualities in their own and other
texts and the power of language to communicate information, ideas,
feelings and viewpoints
 Understand and apply knowledge of language forms and features
o use increasingly sophisticated verbal, aural, visual and/or written
techniques, eg imagery, figures of speech, selective choice of
vocabulary, rhythm, sound effects, colour and design, to compose
imaginative texts for pleasure
EN4-3B: uses and describes language forms, features and structures of texts
appropriate to a range of purposes, audiences and contexts
 Engage personally with texts
o identify, discuss and reflect on the ideas and information in a range of
texts
 Materials

 PowerPoint slides, projector, computer

 Pedestrian Source 1, enough for quarter of class (half of pairs)
 Pedestrian Source 2, enough for quarter of class (half of pairs)
 Pedestrian figure worksheet, one each
 Symbolism worksheet (Ozymandias), one each

Procedures
Time Organisation Teaching/ learning activities
5 Sets up PowerPoint, Students are asked to look at the ‘#’ symbol on slide one and write
mins and opens to first down what they think it means while the teacher marks the roll. Then
slide. the teachers goes through slides two and three, to add context about the
ways symbols change and are interpreted, and gets the students
Settles the class and thinking.
marks the roll.
10 Cues PowerPoint Students examine skeuomorphs as symbols they come in contact with as
mins slide four 21th Century consumers of tech. Students form groups of two and
discuss other skeuomorphs they have seen, why they are used, and
speculate on how people understand what they mean.

The teacher spends a few minutes asking groups to share their responses
with the class.
20 Joint analysis activity: Students examine the female pedestrian figure without context on slide
mins Teacher cues slides 5- 5 and write down their initial thoughts.
7 and hands out
worksheet and Then students form groups of two, as described on slide 6, and read a
alternating source source either in favour or critical of the new figure and complete what
sheets to pairs of they can of the worksheet. Students then break off and pair with
students someone who assessed the other source and share and discuss notes

Afterwards, students return to their desks and follow instructions on

slide 7, individually using the analysis to consider the symbols meaning.
Do they both represent the same thing?
Does either pedestrian figure imply something about gender/gender
roles?
Do you have a preference? Why?

Ask students to provide responses and ask for agreement and

counterarguments to generate debate
10 DARTs text analysis: But all these symbols are overt, visual, and of practical application.
mins students are handed How do symbols manifest themselves in texts?
and complete
Ozymandias The teacher hand out worksheets and asks students to respond to the
scaffolded questions below as they read the poem. Ask students to share
their responses with the class.
15 Refining composition Students consider how symbolism can be employed to represent abstract
mins piece: students revisit meaning and incorporate an example of symbol into their descriptive
their draft from last connotations piece, which they should underline. The positive or
lesson negative nature of the description should still be maintained, and the
original draft should not be discarded. Students should feel free to
expand upon their text or change it portions of it.

Students are told that their works will be collected at the end, but will
not be formally marked and will be returned during the next lesson.
Homework

Evaluation/ Extension
The evaluation of the success of the lesson is based on continued assessment of
student learning after each activity when they are asked to share their responses.
While engaged in group work, the teacher can support students who might be
struggling with one on one help, or provide more support of the whole class is
struggling. Students creative works aren’t formally marked, but their learning can be
assessed from their responses and support provided if needed.

References:
Gray, Y. (2017). Female traffic light signals to go up at pedestrian crossing as
Committee for Melbourne tackles 'unconscious bias'. ABC News. Retrieved
fromhttp://www.abc.net.au/news/2017-03-07/female-traffic-light-signals-
melbourne-pedestrian-crossing/8330560
Twitter [Image] (n.d.). Retrieved August 5, 2017, from
https://abs.twimg.com/icons/apple-touch-icon-192x192.png
No number symbol. [Image] (n.d.). Retrieved August 5, 2017, from
https://cdn1.iconfinder.com/data/icons/modern-latin-alphabet-lowercase-and-
uppercase-lett/154/keyboard-No-number-order-sign-512.png
Save symbol. [Image] (n.d.). Retrieved August 5, 2017, from
https://qph.ec.quoracdn.net/main-qimg-cca5435b779c8424e5bccf1acc8cb5db
Malcolm in the Middle [Image] (n.d.). Retrieved August 5, 2017, from
https://thechive.files.wordpress.com/2015/06/screen-shot-2015-06-04-at-3-14-
54-pm.png?w=600&h=687
green-female-crossing-signal [Image] (n.d.). Retrieved August 5, 2017, from
http://www.abc.net.au/news/2017-03-07/green-female-crossing-
signal/8331320
Teaching English. (2003). Teaching Poetry Using Darts. Retrieved from
https://www.teachingenglish.org.uk/article/teaching-poetry-using-darts
Pedestrian figure worksheet

Name___________________________ Date__________

What are your initial thoughts?

In pairs: what do they think of the female pedestrian figure in the article?

Source 1
_________________________________
_________________________________
_________________________________
_________________________________
_________________________________
Source 2
__________________________________
__________________________________
__________________________________
__________________________________
__________________________________

Why do they have that opinion?

Source 1
_________________________________
_________________________________
_________________________________
_________________________________
_________________________________
Source 2
__________________________________
__________________________________
__________________________________
__________________________________
__________________________________

NOW SPLIT UP AND FIND A PERSON WITH A DIFFERENT SOURCE TO

SHARE AND DISCUSS YOUR ANSWERS AND COMPLETE MISSING
INFORMATION ABOVE.

Individual:
Do both figures represent the same thing?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Does either pedestrian figure imply something about gender/gender roles?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Do you have a preference? Why?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
http://www.abc.net.au/news/2017-03-07/female-traffic-light-signals-
melbourne-pedestrian-crossing/8330560
Source 2: Female Pedestrian Figures

http://www.abc.net.au/news/2017-03-07/female-
traffic-light-signals-melbourne-pedestrian-
crossing/8330560

http://www.smh.com.au/lifestyle/
news-and-views/female-traffic-
lights-in-melbourne-receive-
mixed-response-20170307-
gusjp7.html
Symbolism worksheet

Name___________________________ Date__________

I met a traveller from an antique land

Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal these words appear:
“My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!”
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.”

Ozymandias
by Percy Bysshe Shelley

Consider what is being described between lines 2-8 and describe it below
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________

What sense do you get of Ozymandias from the inscription in lines 10-11?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
How does the inscription contrast to the lines 12-14 that follow?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
From your answers, what general idea do you think Ozymandias is symbolising in the
poem?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
ENGLISH LESSON PLAN 3

Class: Year 8 (Stage 4) Time: 60 mins

Topic: Textual Concepts—connotation, imagery and symbol

What is being taught in this lesson?

What metaphors are, their similarity to symbol and connotation, how to
identify and use them, and to apply them to their own work.
Why am I teaching it?
Understanding metaphors addresses two outcomes in EN4-1A to understand
the qualities of texts that show particular feelings and viewpoints, as well as
understanding and applying language forms and features in other texts and in
their own. Students also use language forms and features and consider the
information and ideas in texts, as part of outcome EN4-3B.
How am I teaching it?
First by showing examples of metaphors generally, and then in a poem in a
DARTs activity. Then have students work together creating their own new
metaphors for a different setting based on the poem, Finally, give students
freedom to apply their learning to their own creative works.
How it relates to your reading in this unit?
The lesson plan uses the Gradual Release of Responsibility model (Boas &
Gazis, 2016), coupled with building the difficulty of learning on the stages of
Bloom’s Taxonomy (Soleimani & Kheiri, 2016), students will work on
increasingly complex applications of concepts that start with student directed
examples and information, move to group and individual tasks, and end with
student directed creation of creative works. DARTs activities were selected as
a means of analysing poems, which made up the bulk of the texts (Gannon,
Howie, & Sawyer, 2010). Exit slips were also used to check students concerns
and understanding formally and privately (Boas & Gazis, 2016).

Outcomes
EN4-1A: responds to and composes texts for understanding, interpretation, critical
analysis, imaginative expression and pleasure
 Engage personally with texts
o explore and appreciate the aesthetic qualities in their own and other
texts and the power of language to communicate information, ideas,
feelings and viewpoints
 Understand and apply knowledge of language forms and features
o use increasingly sophisticated verbal, aural, visual and/or written
techniques, eg imagery, figures of speech, selective choice of
vocabulary, rhythm, sound effects, colour and design, to compose
imaginative texts for pleasure
EN4-3B: uses and describes language forms, features and structures of texts
appropriate to a range of purposes, audiences and contexts
 Engage personally with texts
o identify, discuss and reflect on the ideas and information in a range of
texts
 Materials
 four coloured pens, evenly spread to students
 butchers paper, enough for groups of four
 An Ocean of Memories, one each
 An Ocean of Memories worksheet, one each

Procedures
Time Organisation Teaching/ learning activities
5 The teacher makes Teacher recaps the last two lessons before exploring metaphor.
mins settles the class and
marks the roll. ‘Last lesson we saw how symbols can be real or imaginative things that
represent abstract meaning. This is similar to connotation, where words
or things can have implied meanings separate from their literal
(denoted) ones. How these symbols and connotations are received is a
matter of interpretation, so people’s personal and cultural beliefs and
knowledge come into play.’

Students are asked to consider what they know about metaphors while
the roll is marked
10 First slide is put on Students work separately, reading the poem An Ocean of Memories and
mins screen responding to the worksheet. Five or so students are chosen at a time to
DARTs analytical announce their descriptions of one character (last question) in turn, and
activity: the class considers the differences and similarities. The teacher
An Ocean Of questions the
Memories’ poem and
worksheet is handed
out and questions
responded to.
20 Mind Map/joint Students split into groups of four, supplied with different coloured pens
mins construction to and a piece of butchers paper, and are given the setting of a city. The
consider metaphors students are asked to brainstorm ideas for metaphors in their own colour
on a mind map on the paper, and then jointly reconstruct, still
maintaining their colour, the poem ‘An Ocean of Memories’ with their
new metaphors and setting. Students should write their name in the
same coloured pen on the sheet as well.
25 Editing and refining Students will take what they have learnt over the past three lessons
mins composition piece: about connotation, imagery, and symbolism—specifically the use of
students revisit their metaphor, to further edit and refine their text. The text should use
draft from last lesson describe the nature of a place, real or imaginary, through the use of
connotations and at least one metaphor.

Students are asked to share all or parts of their text, or the metaphor
they intend to employ. Students are invited to comment on how they
feel about the text and suggest whether it is positive or negative and/or
what symbolism is being used.
5 Students are Students are provided with an exit slip that has space for students to
mins provided with an exit include something they’ve learnt and/or something they’re not sure
slip about. The must complete it before they leave and reviewing their
responses will direct the nature of future classes
Homework

Evaluation/ Extension
The evaluation of the success of the lesson is based on continued assessment of
student learning after each activity when they are asked to share their responses.
While engaged in group work, the teacher can support students who might be
struggling with one on one help, or provide more support of the whole class is
struggling. Students will also receive feedback on their written words from their peers
and the teacher. Exit splits are used at this stage to address any problems students
might be having in a private and direct manner.

References:
An Ocean of Memories. (n.d.). Family friend poems. Retrieved from
https://www.familyfriendpoems.com/poem/an-ocean-of-memories

Teaching English. (2003). Teaching Poetry Using Darts. Retrieved from

https://www.teachingenglish.org.uk/article/teaching-poetry-using-darts
‘An Ocean Of Memories’ by Kimberly L. Briones

My family is the ocean around us.

My father is the hurricane,

knocking anything and everybody out of his path.

My mother is the sunshine after the storm (my father),

clearing and calming everything else.

My oldest brother is the sand,

kicked and blown away by my dad,

but warmed with care by my mom.

My oldest sister is the breeze in the wind,

cool, quiet, and there when you need her.

My other two brothers are the stingrays,

dangerous,

but also willing to fight anyone who comes along.

And I,

I am an old ship at the bottom of the sea,

lost, abandoned, but full of memories.

Metaphor worksheet An Ocean Of Memories’

Name___________________________ Date__________

What metaphors can you identify in the poem?

_____________________________________________________________________
_______________________________________________________________
_______________________________________________________________
____________

What connotations do the words used to describe the mum and dad have on your
conception of them?
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
__________________

Using the metaphors as a guide, write a sentence describing how you imaging each
person are like in real life. Be creative, but link it back to the metaphors.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
(notice how descriptive you have to be to match the metaphor)
 EXIT SLIP

Name___________________________ Date__________

I HAVE LEARNT:

_____________________________________________________________________
_______________________________________________________________
_______________________________________________________________
____________

QUESTIONS:

_____________________________________________________________________
_______________________________________________________________
_______________________________________________________________
____________
 English Lesson Plan Sequence Rationale

The lesson plan sequence is focused on the English textual concept of

connotation, imagery, and symbol. A range of poetic texts are employed, as well as

images that denote symbols, and two news media articles. The three sequenced lesson

plans are aimed at students in the year eight, stage five class. The lesson content

builds, linking connotation to symbol, and then to metaphor, with imagery implicit

through the use of descriptive languages that need to be conceptualised by the student.

Additionally, a short creative writing piece connects and is edited progressively to

incorporate the conceptual skills being learnt in the class.

Connotation, imagery, and symbol are important to student concepts that

promote students’ critical thought, and as aspects of figurative language, it also

influences students’ sense of the world (English Textual Concepts, n.d.). When

figurative language is employed in the through engagement with these conceptual

skills, students throughout the lesson will satisfy Syllabus Outcomes EN4-3B to

“identify, discuss, and reflect on the ideas and information in a range of texts”

(NESA, 2012, p. 120). Moreover, the definition, identification, implementation, and

analysis of connotation, symbol, and metaphor satisfied the outcome EN4-1A as the

applications used throughout become “increasingly sophisticated” as the activities

progress, and the nature of the skill is the applied “knowledge of language forms and

features” specified (NESA, 2012, p. 116). The content outcome EN4-1A under

“engage personally with texts” is lesson one as analysis of positive and negative

connotations includes the “power of language to communication…feelings” (NESA,

2012, p. 116). Similar application can be seen in the addition on metaphor and

symbols to “communicate information, ideas, feelings, and viewpoints” (NESA, 2012,

p. 116).
 The concepts were taught by first defining them in isolation and giving an

example from which students can work. Next, students recognise the use of textual

concepts in selected texts. In lesson two, a variety of texts were utilised. The

assessment of viewpoints from news articles about the representation of female

pedestrian lights in Melbourne provided students a contextual and relevant text, and

delves into the cultural studies model of teaching English (Gannon, Howie, & Sawyer,

2010) in capturing a extract of contemporary Australia’s view of gender politics. This

also echoes the sentiment on English Textual Concepts that “the ways we

conceptualise people, information and ideas” can be related to the notion of figuration

(n.d.). However, while conversation surrounding unconscious bias of masculine

representation may be significant, it is not an English specific practice. For teachers to

be effective, they must “shift the focus from studying a text to studying concepts

underpinning [English]” (Boas & Gazis, 2016, p. 19), so all texts are only used as a

means of addressing connotation, symbol, and metaphor and not the other way

around. As most of my texts were poems, directed activities related to texts (DARTs)

were utilised, as they were specified as an applied classroom resource for poetry

(Gannon, Howie, & Sawyer, 2010), and useful to make students critical readers

(Teaching English, 2003). Finally, the skills covered throughout the lesson were

scaffolded to support the inclusion of those skills in a written text, which would

expand and become more sophisticated as new skills were learnt and applied. For

example, in lesson plan one the re-creation activity was to change the perspective of a

poem while keeping its setting the same, which leads into the composition poem in

which now the setting and connotations are created.

The sequenced lesson plans are based on various teaching models and

strategies found in the literature. First, all lesson plans are roughly modelled on the
Gradual Release of Responsibility Model (GRRM), which slowly increases the

students’ independence over time (Boas & Gazis, 2016). For example of application,

lesson one starts with teacher-focused explanation and worked example of

connotation, then moves to students using supplied words, then to increasingly

complex group DARTs analysis and recreation activity, and eventually to complete

independence on creative composition. Additionally, the activities can be seen to

mirror the stages of Bloom’s Taxonomy of cognitive ability, starting from

remembering with the definitions at the beginning, and moving all the way to creating

with the attempt at a small written composition (Soleimani & Kheiri, 2016). This

aligns with the NSW Quality Teaching Framework elements for Deep knowledge and

Deep understanding of focused learning and meaningful understanding Moreover, as

the topic was connotations, symbol, and imagery, and since students learn by using

language, it was important to encourage their expression in a manner they find

comfortable and that supports their learning (Gannon, Howie, & Sawyer, 2010). For

this reason group work and presenting to the class happen frequently throughout each

lesson, and talking is always informal in nature. Additionally, group work also gave

means of consistent formative assessment. Formative assessment is important for

strategy for teachers to improve student learning as it happens (Boas & Gazis, 2016,

p. 19). Every activity in the lesson plan sequence allows the ability for the teacher to

collect data on the manner of the students learning and address students’ needs or

adapt lessons, allow students to quickly get back on track (Greenstein, 2010), and in

lesson plan one student selection was specified to select all students over a variety of

tasks to make sure every student is formatively assessed.

In conclusion, the present lesson plans are researched based lessons that

progressively build skills throughout lessons and are sequenced to construct students
an in depth understanding of the contextual concepts of connotation, symbol, and

imagery. Through employment of GRR modelling, DARTs activities, worked

examples, group work, and the building of a creative piece, the sequenced plans

enable students to textual concepts that will aid them throughout the English

discipline.
 References

Adams, N. E. (2015). Bloom's taxonomy of cognitive learning objectives. Journal Of

The Medical Library Association, 103(3), 152-153. doi:10.3163/1536-

5050.103.3.010

Boas, E & Gazis, S (Eds.). (2016) The Artful English Teacher. AATE: Australia

Gannon, S., Howie, M. and Sawyer, W. (Eds). (2009). Charged with meaning.

Phoenix Education

Greenstein, L. (2010). What teachers really need to know about formative assessment.

Retrieved from https://ebookcentral.proquest.com

Ladwig, J. G., & Gore, J. (2003). Quality teaching in NSW public schools: A

classroom practice guide. Sydney: NSW Department of Education and

Training/Professional Support and Curriculum Directorate.

NESA. (2012). English K-10 syllabus. Board of Studies NSW. Retrieved from

http://syllabus.nesa.nsw.edu.au/assets/englishk10/downloads/englishk10_full.p

df

Soleimani, H. & Kheiri, S. (2016). An Evaluation of TEFL Postgraduates' Testing

Classroom Activities and Assignments Based on Bloom's Revised Taxonomy,

Theory and Practice in Language Studies 6(4), 861-869. doi:

10.17507/tpls.0604.26

Teaching English. (2003). Teaching Poetry Using Darts. Retrieved from

https://www.teachingenglish.org.uk/article/teaching-poetry-using-darts