Lockyer’s Pyramid Training Day

1. Lockyer’s Pyramid Training Day Improving Writing through Quality First Teaching Welcome!

2. Programme • 9.00am Introduction • 9.15 – 10.40am The Big Picture of Reading • 10.40 – 11.10am Coffee • 11.10 – 1.15pm Building a Bridge Between Reading and Writing • 1.15 – 2.15pm Lunch • 2.15 – 3.15pm Planning • 3.15 – 3.30pm Plenary

3. Think, pair, share • What are the greatest challenges you face in supporting the teaching of reading? • What skills, knowledge or experience do you already have that will help you to meet at least some of these challenges?

4. The Big Picture of Reading

5. Teaching sequence for writing Familiarisation with the genre Capturing ideas Teacher demonstration Teacher scribing Guided writing Independent writing Independent writing across the curriculum

6. Familiarisation with the text: we want children to: • Enjoy and explore a text • Develop comprehension skills • Identify elements that may support later writing • Develop success criteria for writing

7. Shared Reading – the role of the teacher • Immersion • Navigating the text • Interacting with the text: text marking, highlighting, annotation • Effective questioning leading to inference, deduction, evaluation, prediction, visualisation, personal response • Planned opportunities for pupil interaction: talking partners, whiteboards • Planned opportunities for drama • Leading exploration of key features to develop top tips

8. Understand, interpret Understand organisation Identify main events Summarise Grammatical features Writer’s perspective Audience and purpose Writer’s use of structure Infer and deduce Compare Navigate Skim, scan Locate and retrieve evidence Engage with and respond to texts Justify preferences Empathise Interrogate texts Respond imaginatively Learning to:

10. Progression in Reading

11. The Reading Assessment Focuses • AF1: use a range of strategies to read for meaning • AF2: understand, describe, select or retrieve information, events or ideas from texts and use quotation and reference to the text • AF3: deduce, infer or interpret information, events or ideas from texts • AF4: identify and comment on the structure and organisation of texts, including grammar and presentation • AF5: explain and comment on writers’ use of language (word and sentence level) • AF6: identify and comment on writers’ purposes and viewpoints and the overall effect of the text on the reader.

12. Early Reading Development • Listening and responding • Playing with sounds • Kinaesthetic activities • Re-enactments of stories • Prediction

13. Phonics – Reception and Year 1 • Blends and segments CVC words (AF1) L1c/b; • Decodes CVC, CCVC, CVCC. CCVCC words (AF) ; • Reads and identifies vowel digraphs (AF1) 1a ; • Uses contextual and grammatical cues (AF1) 1a; • Uses expression when reading (AF) 1a.

14. Key Stage 1 • Recalls main ideas (AF2) L2c; • Can explain the difference between fiction and non-fiction (AF4) L2c; • Enjoys and identifies word play (AF5) L2c; • Can make and discuss preferences(AF6) L2c; • Reads almost all HF words (AF1) L2b; • Can make predictions(AF3) L2b; • Can identify other books by author (AF7) L2b. • Can describe a character’s feelings (AF3) L2a; • Can explain organisation and layout(AF4) L2a;

15. Key Stage 2 • Uses full range of phonics cues (AF1) L3c; • Able to use knowledge of text type and layout to locate information(AF2) L3b; • Increased ability to explain characters’ feelings and motivations and able to explain point of view(AF3) L3b; • Understands purpose of layout (AF4) L3a;

16. Key Stage 2 - continued • Able to say why words and phrases are effective (AF5) L3a; • Able to explain author’s point of view simply (AF6) L4c; • Able to explain why an author has used a language device (AF5) L4b; • Able to explain author’s point of view with explicit textual reference(AF6) L4a; • Begins to sample more authors, genres and cultures and is able to discuss and compare these (AF7) L4a;

17. Progression Y6-7(Taken from Revised Primary Framework) • Word reading skills and strategies: Work out meaning of unknown words: Distinguish between everyday words and their subject specific uses. • Understanding and interpreting texts: Locate resources for a specific task; read between the lines and find evidence; identify how print, images and sounds combine to make meaning; identify the way that writers of non-fiction match language and organisation to their intentions.

18. Progression Y6-7 (Cont’d) • Engaging and responding to texts: Read a range of fiction texts independently as the basis for developing critical reflection and personal response; Explore the notion of literary heritages and understand why some texts have been particularly influential or significant; Write reflectively about a text, distinguishing between the attitudes and assumptions of characters and those of the author and taking account of others who might read it.

19. Level 5: AF1:Confidence tackling unfamiliar and challenging language; AF2: Can use substantial evidence from the text; AF3: Can read between the lines and can explain reasons for inferences and deductions; KS3

20. Level 5 (Cont’d) • AF4: Can understand a range of possible layouts and text structures in fiction and non-fiction; • AF5: Can explain the use of figurative language; • AF6: Able to explain where author’s viewpoint may be concealed; • AF7: Can relate texts to other written/visual/ICT from other times/cultures.

21. Key Stage 3: Level 6 • AF2: relevant points clearly identified; commentary incorporates apt textual reference; • AF3: Identify different layers of meaning; comments consider wider implications or significance of information; • AF4: Detailed exploration of how structural choices support the writer’s purpose; • AF5: Some detailed explanation of how language is used; • AF6: Evidence for identifying main purpose at word/sentence level; viewpoint and effect on the reader clearly identified.

22. Strategies to develop reading comprehension • Activating prior knowledge • Prediction • Constructing images • Questioning • Text structure analysis • Sequencing • Summarising • Semantic strategies • Interpretive strategies • Enabling children to monitor their own understanding

23. Building the Bridge Between Reading and Writing Reading as a Writer

24. Features of effective teaching • Make the ‘private’ and ‘silent’ parts of the writing/reading process ‘public’ and ‘audible’; • Set up investigational work so that pupils explore and discuss the features of texts; • Model the planning and writing process; • Teach, discuss and allow reflection; • Let pupils work collaboratively as they develop as readers and writers; • Use drama techniques that promote discussion;

25. Interactive shared reading Interactive shared reading The Wreck of the Zephyr

26. Reading as A Writer • He walked for a long time and was surprised that he didn’t recognise the shoreline. He climbed a hill, expecting to see something familiar, but what he saw instead was a strange and unbelievable sight. Before him were two boats, sailing high above the water. Astonished, he watched them glide by. Then a third sailed past, towing the Zephyr. The boats entered a bay that was bordered by a large village. There they left the Zephyr.

27. An approach to whole texts Who is it for? Text Audience Purpose Style What is it for? What effect does it have on the reader? How has the writer achieved that effect?

28. Using Talk and Drama Activities to Improve Literacy

29. Improving Literacy Through Talk “Most learning does not happen suddenly. We do not one moment fail to understand something and the next moment grasp it entirely.”

30. The boats entered a bay that was bordered by a large village……

31. Conscience Corridor But the boy could not sleep. He knew he could fly his boat if he had another chance. He waited until the sailor and his wife were asleep, then he quietly dressed and went to the harbour. What advice would you give the boy at this point in the story?

32. Role on the Wall What are the main points that we learn from the man’s tale? What questions would you ask the man about his tale?

33. Still Images and Spoken Thoughts Aloud • In pairs, create the final image of the story. • Choose one line from the final paragraphs as a caption to your freeze frame. • What are the characters thinking? Speak their thoughts aloud.

34. Forum Theatre “Of course no one believe his story about flying boats. It was easier for them to believe that he was lost in the storm and thrown up here by the waves.” In threes or fours, improvise a scene where the boy is telling family or friends about this experience. Choose one of the scenes and the rest of the group directs the action and dialogue to capture both explicit and implicit themes in the narrative.

35. Drama Strategies • Guided tour • Role on the wall • Sculpting the characters • Still images • Describing the space • Placing the text in the drama • Teacher in role • Placing the reader, writer, audience

36. Captions Class Books Wall stories Instructions Lists Signs Stories Character profiles Questions Non-chronological reports Legal documents Questionnaires Recounts Graffiti Different story, same setting Dialogue Notes/journals Letters Rules Messages Newspapers reports Explanations Petitions Drama strategies as a context for writing

37. Assessment Focuses for writing • AF1: write imaginative, interesting and thoughtful texts (C &E) • AF2:produce texts which are appropriate to task, reader and purpose (C&E) • AF3: organise and present whole texts effectively, sequencing and structuring information, ideas and events (TSO) • AF4: construct paragraphs and use some cohesion within and between linked paragraphs (TSO) • AF5: vary sentences for clarity, purpose and effect (SSP) • AF6: write with technical accuracy of syntax in phrases, clauses and sentences (SSP) • AF7: select appropriate and effective vocabulary (V&S) • AF8: spell most simple and common polysyllabic words accurately (V&S)

38. Direct teaching of writing Teacher demonstration (modelling) Teacher scribing Supported composition Guided writing Independent writing

39. Examples of Effective Practice • Shared writing • Writing partners • Drama • Response partners

40. Shared writing – the role of the teacher • To model being a writer • Apply the learning from the analysis • Scaffold composition • Introduce meta-language • Rehearse, re-read, revise • Make explicit the links between reading and writing • Exemplify the whole writing process • Close focus on target areas • Planned opportunities for pupil interaction: talking partners, whiteboards

41. Teacher demonstration Modelling narrative writing

42. Guided Writing

43. Guided Writing • Providing a bridge • Teacher modelling, scaffolding • Workshop approach • Target groups – ability/need • Plan for: • Tailored approach to meet needs • A teaching and learning focus on next steps • Speaking and listening • A range of working partnerships • Modelling strategies for improvement • Ongoing assessment

44. Guided writing can take place at any point in the writing process • Before writing – to support note-making, planning, drafting • At the point of writing – to support and develop skills of composition • After writing – feedback sessions during which self, peer and teacher evaluation takes place

45. Guided Writing – the role of the teacher • Direct teaching – modelling • Individual support • Model oral rehearsal before writing • Model the role of response partner • Act as scribe, or filter • Monitor and assess understanding • Opportunity to set and review writing targets

46. Independent Writing

47. Independent Writing • Explicitly linked to shared work; part of a staged learning sequence • Sufficient opportunities • Sufficient time • Range of working partnerships • Opportunities for oral, written rehearsal • Choice about the form in which to record, respond • Clarity about what success looks like • Successful drafting strategies • Strategies for independence