Write_Ways_----_(Chapter_14_Narratives)

NARRATIVES
14
PURPOSE, STRUCTURE AND FEATURES
The purpose of imaginative or fictional narratives is to tell or narrate a sequence of
events involving the problems, conflicts, situations and actions of certain characters in
specific times and places. Written narratives, including retellings of traditional tales that
were oral in origin, can be presented in a range of paper-based, digital and multimodal
formats. They can be e-versions (ebooks and others) or paper-based books of short
stories, novels, graphic novels, picture story books, comics and so on.
Most narratives are written either in the first or third person and can include, for
example, mysteries, adventure stories, historical fiction, science fiction, fantasy, interactive
narratives, romance, ghost and horror stories.
While most written narratives have a common text structure and include common
language features, there are often variations according to the specific purpose, context,
Copyright © 2015. Oxford University Press. All rights reserved.
format and audience. For example, some writers might add to, emphasise, alter, include
or omit some of the aspects mentioned below; some narratives might be factual in origin;
some might be part of a larger text (blended or multigenre); some might be in poetry
form, multimodal and so on.
STRUCTURE
The following linear structure (time order) is the most commonly used by primary and
secondary students. There are other structures that students might encounter in their
reading and which some students might employ; for example, circular structure, f lashback
or flash forward structure, parallel storyline structure or narratives with multiple subplots
and points of view. For further information, see Gleeson, 2014.
» Orientation (introduction) in which the characters, setting and time of the story are
established. Usually the answers to who, when and where are provided in this part of
the narrative.
Wing, Jan, Lesley. Write Ways, Oxford University Press, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ecu/detail.action?docID=5306374.
Created from ecu on 2023-10-12 16:29:11.
CHAPTER 14 NARRATIVES 267
» Complication and series of events (middle) in which the situations, activities and events
involving the main character are expanded upon. These events are written in a
fluent and cohesive sequence.
» Resolution (ending) in which the complication is resolved satisfactorily but not
necessarily happily.
» Some narratives may include a reorientation or coda in which either the characters
or their lives are described after the complication is resolved or the events of the
narrative are drawn together and a moral or message may be included.
LANGUAGE
» descriptive language to create vivid images through:
– rich noun groups (choice of adjectives and adjectivals built around the noun and
to provide extra information about it)
– powerful verbs and verb groups (choice of appropriate verbs, adverbs and
adverbials to provide extra information about or circumstances surrounding the
verb or verb group)
– literary devices (choice of figurative language etc. to bring description alive)
(See Table 3.11 for further information).
» first- or third-person voice
» dialogue
» tense
TABLE 14.1 AT A GLANCE—POSSIBLE GRAMMAR FOCUSES FOR NARRATIVES
SENTENCE Sentences
AND Types, work and punctuation of different types of sentences
CLAUSE
LEVEL » statements, questions, exclamations, commands

GRAMMAR » how sentences are used to create mood, to build description, to determine pace, to
emphasise, to build relationships within the story and so on
Simple sentences
Independent clauses. Happening (verb or verb group), subject (who or what it is
about) and circumstances (information about the happening)
Varying detail/length of simple sentences
Subject and the predicate in sentences. Subject (tells who or what it is about),
predicate (tells what happened, will happen or is happening and any circumstances:
consists of verb and verb group and all that follows)
Compound sentences
Combining two or more independent clauses using coordinating conjunctions
Complex sentences
Independent/main and subordinate clauses. Use of subordinating conjunctions
(continued)
268 PART 3 IMAGINATIVE TEXTS
TABLE 14.1 AT A GLANCE—POSSIBLE GRAMMAR FOCUSES FOR NARRATIVES (CONTINUED)
Subordinate clauses—types and work

Embedded clauses to enhance description (adjectival clauses) within a larger clause
» Groups of words that include a verb and add extra information (tell how, when,
where or why something happens) to the happening/verb/verb group in the main
clause. For example, Hansel and Gretel hid so that they were safe. They hid where
the thick bushes grew
» Groups of words that include a verb (clauses) and are used to add extra
information about nouns. For example, Hansel and Gretel were following their
stepmother who gave them a sly smile. The birds ate the breadcrumbs that were
thrown on the ground
» Embedded (inserted/implanted/put in) clauses used to add extra information
within a main clause. Inserted into a clause to create a more interesting sentence.
For example, The diner ordered what the chef was cooking. The dog, which was
pacing behind the fence, barked at the intruders
Noun groups
The words or groups of words used to build a better description of and to provide
extra information about a noun
How noun groups contribute to description—characterisation and setting
Addition of words that tell: which one (e.g. a, the, an, this, our); how many (e.g. six,
1000); what the noun is like—factual and opinion (e.g. large, awful, circular, mean);
what type—classification (e.g. helium balloon, outdoor furniture)
Words and groups of words after the noun that provide further information about the
noun. For example, embedded clauses; prepositional phrases; clauses beginning
with: who, that, which; a group of adjectives (the cat, soft and furry …); or a noun in
apposition (Mr Little, her teacher …)
Preposition phrases
How preposition phrases/adverbial phrases contribute to the description in
narratives. How these add extra information about the happenings (verb and verb
groups) in sentences. Groups of words that add information about the verb or verb
group. Used to tell how, when, where or why something happens. For example,
Before nightfall, Hansel and Gretel ran like scared rabbits out of the house
How groups of words without a verb (adjectival phrases/preposition phrases) can
contribute to descriptions in narratives. How these add extra information about a
noun. For example,
Hansel and Gretel stared at the cottage with the gingerbread roof. The adjectival
phrase adds extra information about the cottage
WORD Verbs
LEVEL Tense—variety of tenses. In dialogue—comparison with tense of entire text
FOCUSES
How verb and verb group choice can contribute to description. Selection of
appropriate action, saying, sensing, feeling etc. verbs. Modality/intensity of verbs
to create mood. For example, alternative words for said according to intensity
(whispered, murmured, yelled, shouted, bellowed)
Modal verbs to build mood and tense. Combined with other verbs to express
degree of certainty, permission, ability and so on. For example,
The children could/should/might/will go home.
Adjectives
The types and work of adjectives. How they can be used to describe characters,
settings and things. Selection of appropriate adjectives
Modal adjectives to build description. Used to express intensity. For example,

A happy ending is the possible/probable/definite outcome for the characters.
Adverbs
The types and work of adverbs. How they can be used to describe happenings.
Selection of appropriate adverbs to build description.
Modal adverbs to build accurate description about the verb (degree of frequency,
intensity etc. of the verb or verb group). For example,
The children rarely/occasionally/regularly go to the movies during the holidays.
Nouns
The types and works of nouns. How pronouns are used to refer to nouns throughout
a text
Punctuation of proper nouns, titles and so on
Modal nouns to indicate the degree of possibility, certainty or obligation and thus
contribute to accurate description. For example,
The possibility/probability is that the main character will win the race.
Conjunctions
Words to join words and phrases. Words and groups of words that join clauses—
coordinating and subordinating conjunctions
Provide a variety
Interjections in sentences of paper-based
Words often used in dialogue usually to express a strong feeling. For example, and multimedia
Oh! Ouch! Wow, what a great idea.
narratives.
TEACHING FOCUSES FOR NARRATIVES

PURPOSE AND AUDIENCE
» Model oral storytelling to the students. For example:
– Instead of always reading to the students rehearse your storytelling skills and
then present some stories orally.

– Employ the services of professional storytellers to entertain as well as
demonstrate the art of storytelling to the students.
– Ask parents, colleagues, members of the community and so on to visit and
participate in storytelling sessions.
» Provide plenty of opportunities for the students to practise their oral storytelling
skills. For example:
– Conduct a regular time for storytelling by the students.
– Set up a story ‘buddy’ system with the older students in the school in which the
older students prepare for and conduct oral storytelling with younger students
(a cross-age tutoring activity).
» Discuss the purposes for storytelling.
STRUCTURE
Read as many forms of narrative as possible to the students and discuss the structure
of these when appropriate, but never to the detriment of the students’ enjoyment of the
story.
» Conduct a retell procedure (see p. 135 for further details) to help students develop
an understanding of the structure and language features of narratives.
» Help the students identify the orientation, complication and series of events and
resolution by conducting a story grammar activity (see p. 275), in which they
record the information related to each part of the narrative.
PLOT
Focus on the plot development by helping students create story maps (see p. 278 for
details) after reading narratives or as part of their planning for writing. These maps
should include all the significant events in the story and indicate where and when the
initial problem arose.
CHARACTERISATION
Help students to understand how authors build character descriptions.
» Provide extracts of texts that include character descriptions (for example, the
description of The Hobbit by J.R.R. Tolkien and the description of Miss Trunchbull
in Matilda by Roald Dahl) and ask the students to identify the words and phrases
that describe the character.
» Conduct a character description activity in which students select appropriate words
and groups of words to describe real or their imagined characters or characters
from texts they have read. They can suggest words and phrases that describe
physical characteristics, personality, temperament and other characteristics.

» Introduce the students to the term ‘characteristics’ and help them identify these in
familiar people and characters within their reading. The students must justify their
choice of characteristic by selecting an action to support their opinions. These can
be recorded on data charts (see Table 14.2).
TABLE 14.2 DATA CHART FOR CHARACTERS IN GEORGE’S MARVELLOUS MEDICINE BY ROALD DAHL
CHARACTER CHARACTERISTIC EVIDENCE TO SUPPORT THIS
George Creative Because he thinks of lots of different

ways to change his grandmother
Grandmother Bad tempered Because she always growls at George
Mr Kranky Impatient Because he wanted to use George’s

medicine straight away
SETTING
» Discuss the role of visual text in picture books in helping readers to establish the
setting.
» Locate texts that contain descriptions of the settings. For example, Playing Beatie
Bow by Ruth Park and Charlotte’s Web by E.B. White include excellent descriptions
of setting.
» List words that could be used to describe setting, real or imagined. Have students
use their senses and describe the setting in terms of what they see, hear, smell, feel
(emotions), feel (touch), taste and so on. Organise these under the headings related
to the senses.
» Practise writing brief, rich descriptions of places.
» Discuss the importance of the setting in relation to the character’s actions and the
complication.
» Conduct a What’s the setting? activity (see p. 276 for details) to help students
develop their observation and descriptive writing skills.
DESCRIPTION
» Talk about the importance of creating word pictures to enable readers to
form visual images of the story as they read. Discuss the difference between
telling something and building up a description that will create pictures in the
reader’s mind.
» Brainstorm all the aspects of characters and setting that could be described (for
example, shape, size, colour, feelings, appearance, attitudes, behaviour, actions,
mood, sounds, smells, taste and touch). Make charts on which words related to each
aspect can be listed (see Figure 14.1).
FIGURE 14.1 CHARTS
Appearance Personality
tall neat handsome ugly happy
short muscular thin sad miserabl
e gloomy
stooped athletic strong h onest truth
ful dish onest
thin blue-eyed dark-haired sneaky sly
fat tiny mean genero
us
large huge skinny k ind interested
keen selfish
hairy nasty kind-h
earted energ
untidy pretty etic
POINT OF VIEW
» Help the students develop an understanding of how stories are narrated. Discuss
how they can be told as if from the point of view of one of the characters as in
first-person narratives, whereas in third-person narratives the narrator tells the
Use strategic whole story but leaves the reader to make connections about the point of view of
questioning to help the characters and the narrator or writer.
students extend their
» Conduct writing from another point of view activity (see p. 276 for details) to help
existing knowledge
about and responses
students explore point of view.
to their reading of » Read and compare books written in either first or third person. Discuss the
fictional narratives. advantages and disadvantages of each of these for both the reader and the writer.
WRITING PROCESS
» Provide the students with strategies to plan for narrative writing. For example,
before the students start writing they can:
– prepare a story map (pictorial representation) to plot the actions and settings of
each event in the story
– make a story outline (written form) that lists and describes the events and
settings of the story
– make a cartoon strip to sequence the events in the story
– draw up a character profile on which they add appropriate descriptors for each
of the characters in their story
– tell their planned story to a partner to help them clarify their ideas.
» Help the students plan for their writing of narratives by posing questions that will
focus on structure, plot, setting or characterisation.
» Write the above questions on a class chart and use these as prompts for future
writing and conferencing.
» The use of planning templates or proformas that provide a framework or scaffold

for their writing can be helpful for some students. Other students may require a
list of guiding questions or content prompts to help them organise their writing
(see Figure 14.2), while others may only need to refer to an example of a good
narrative or to recall the modelled teaching focuses to enable them to organise their
text content.
FIGURE 14.2 SAMPLE QUESTIONS TO GUIDE PLANNING FOR WRITING A NARRATIVE
Questions to help you organise your information

What is the story about? What is the problem or complication that the character has to
resolve?
Where does the story or parts of the story take place? What is the setting? What is it like?
What are the characters like? What do they look like? How do they act? What sort of
personality do they have?
What happens first, next etc.? What does the character do?
How will the story end?
What else will you need to include?
» Use published texts to demonstrate different visual and written text layouts and
features. For example:
– the type and layout of text
– the use of borders (e.g., C.J. Dennis’s Hist illustrated by P. J. Gouldthorpe,
Cameron Miller’s Woodlore illustrated by Dominique Falla)
– illustrative techniques (look at the work of Jan Pienkowski, Jeannie Baker,
Quentin Blake, Roland Harvey, Janet Ahlberg, Chris Van Allsburg, Robert
Ingpen, Quentin Blake, Anthony Browne, Julie Vivas and Dominique Falla).
ICT: Consider
» Publish some of the jointly constructed narratives so that they can be revisited and publishing in
shared by others. Use paper-based or digital formats. multimodal formats.
» Discuss the publishing decisions that need to be made after the text has been
written. For example, the format (paper-based, digital or multimodal), the
layout—placement of text and images, the design (of whole and parts of the text)
and so on.
DIALOGUE
» Introduce students to direct and indirect or reported speech. Discuss the differences
between each. Note that indirect/reported speech often uses the word ‘that’ to tell
the reader what the speaker has said. For example, The wolf said that he would huff
and puff and blow the house down. Direct speech records exactly what the speaker
says. For example, The wolf said, ‘I’ll huff and I’ll puff and blow your house down’.
» Distribute example texts that include direct and indirect/reported speech. Ask the
students to work in small groups to compare and contrast these and form their own
generalisations about the punctuation and use of speech in the texts.
» Conduct activities in which students change direct speech to indirect/reported
speech and vice versa.

» Focus on the context and use of dialogue. Collerson (1997, p. 87) suggests students
will be assisted to focus on the purpose and features of dialogue by asking the
following questions when sharing an extract of a text that includes dialogue:
– Who is talking?
– When do they stop?
– When does the next speaker start?
– What kind of talk is going on?
– What else is going on while they are talking?
– How do you know these things?
» Focus on the punctuation of direct speech. Discuss the use of quotation marks
(inverted commas) to enclose the speech at either end of the conversation.
Distribute copies of a narrative that includes plenty of dialogue, and help students
to identify the way it is used. Emphasise that direct speech is written in present
tense while the remainder of the story may be in past tense. The students can make
a chart about what they discovered about the use of dialogue.
» Focus on the layout of dialogue. Generally, each time a character talks, the
dialogue is set out on a new line and is often indented.
» Conduct a Readers’ Theatre activity to help students identify and use dialogue (see
p. 277 for details).
» Provide opportunities for the students to experiment with the use of dialogue in
narratives. For example:
– Describe a situation and ask the students to write, in dialogue form, what each
of the characters would say in this situation.
– Provide photos, drawings and illustrations from magazines that show two or
more people in a situation. The students add the dialogue that they think is
appropriate to the picture.
GENERAL ACTIVITIES FOR NARRATIVES

The following activities are designed to further integrate and develop the students’
understanding of reading, viewing and writing narratives. Teachers can alter each
activity to suit their class and program needs. Some of the activities can be adapted for
oral, written or reading contexts, for use with digital technology and altered for use by
small groups, individuals or the whole class. See Chapter 13 for further activities.
THINKING ABOUT WRITERS AND STORIES

Conduct a written or oral questionnaire in which students reflect on what they think
and know about writing and writers. Depending on the age and abilities of the students
and the teacher’s purposes, the following questions based on Brennan Jenkins (1996,
p.100) can be used at the beginning or end of a unit on narrative writing as part of the
assessment cycle.
» What makes a good story?
» What is the most important thing an author needs to do in order to write a good
story?
» What is the next most important thing an author needs to do in order to write a
good story?
» What does an author need to do to create an interesting character?
» What does an author need to do to create pictures of the setting, characters or
actions in the reader’s mind?
» Why do authors write stories?
» What is the easiest part of writing a story of your own?
» What is the hardest part of writing a story of your own?
» What do you think of yourself as a writer?
STORY GRAMMAR
Provide the headings for each part of the narrative (orientation, complication, a series of
events, resolution and reorientation). As the students read the story they add the details
under the appropriate headings.
STORY STARTERS
A series of cards is made for each of the following story elements: character, setting and
situation. The students are arranged in groups of three. The group selects one card from
each category and jointly composes a narrative that includes the information on their
cards (see Figure 14.3).
FIGURE 14.3 STORY STARTER CARDS

PICTURE WRITING
The students use an image or a series of images related to the same event as the
springboard for writing a narrative.
WRITING A PARODY
The students rewrite a familiar story with changes to some or all of the story elements
(for example, changes to the characters, setting, complication or resolution).
FINISH THE STORY

The teacher begins an original or well-known narrative and the students complete it
either orally or in a written form.
‘ADD A BIT’ STORIES

An original or familiar story is begun and the students take turns to add to it. This can
be an oral or written activity.
POINT OF VIEW
The students retell a familiar story from a character’s point of view. For example, they
can retell Red Riding Hood from the wolf ’s, Red Riding Hood’s, or the grandmother’s
point of view.Alternatively, a real-life issue can be explored from a variety of perspectives.
WHAT’S THE SETTING?

Students write a description of a setting known to all students (e.g. classroom, playground,
library, principal’s office, canteen) without naming it. After sharing the description, the
class tries to identify the subject of the description.
BUILD THE SETTING

The students create a concept map on which they write descriptive words and phrases
they associate with the setting. These can be included in a rich written description
(see Figure 14.4).
FIGURE 14.4 BUILDING THE SETTING—A CONCEPT MAP
wide large
streets draughty
town hall weathered
quiet
sheds old
small
towns
needing
not busy repair
few shops
scraggly
country
blue
trees
hedge-
hills low lined tall
distant roads bumpy
narrow
windy
paddocks fences unmade
cosy
grazing
farms
dairy dozing
isolated animals animals
contented
gazing
BUILDING DESCRIPTION—SURPRISE WRITING

Students select a familiar event or action (an item at a school concert, a football match,
a graduation ceremony, a visit to the library) and describe it in such a way that the last
sentence is the only one that actually mentions the subject.
PATTERN WRITING
Read a story that has repetitive language or a strong pattern to the language. The
students write their own text using the pattern (e.g. some folk tales provide good
structures for pattern writing or innovation on text).
ANTONYM SUBSTITUTION
The students rewrite a known story and substitute antonyms for one or all of the
following—the adjectives, the adverbs or the verbs. For example, replace the words in
italics with their antonyms.The prince was a tall, dark, handsome man. His smile was warm
and friendly.
SYNONYM SUBSTITUTION
This is conducted as above except that the students substitute synonyms.
BUILD A CHARACTER
These activities help the students develop better characterisation for their narratives. For
example:
» The students draw original characters and then write detailed descriptions of them.
» A character from a familiar story is chosen and a detailed description is formed.
» Before the students add characters to their own stories, they draw and note the
features of the character they wish to include in their descriptions.
READERS’ THEATRE
Provide the students with copies of a narrative that includes a lot of dialogue between
several characters.They create a script in which they highlight each character’s dialogue
and select a narrator to read the other parts. The students read the script aloud with
expression and fluency, endeavouring to convey the mood without the use of props.
ADD THE COMPLICATION

The students are given the characters and setting for a story and they think of the
complication that could involve these characters and the setting.
CHANGE THE FORM

Write the narrative in a different form, ensuring that the appropriate devices are
included, for example as a multimodal text, audio, puppet or stage play script and so on.
STORY MAPS
Students draw a map to show, in sequence, the important places and events mentioned in
a story they have read or heard. They show all the details mentioned about each place.
Provide a story map based on an original or familiar story and ask the students to
provide an accompanying oral or written narrative.
As part of their planning for writing, students draw a story map on which they record
the main events that will be included in their narrative.
CHARACTER PROFILES
During or after reading, create a character profile on which a description of the character
can be recorded. It can be a list of words or phrases from the text, or information gained
from the visual text that describes the character. It can also include inferences made by
the reader because of the character’s actions within the narrative.
WHAT’S THE RESOLUTION?

The teacher and students jointly create characters and a complication or problem to be
used in an original story. The students, working in groups, write a suitable resolution or
ending for the story. They share the different resolutions they created.
NARRATIVE SORT
Distribute sections of a narrative to a group of students. Each student reads aloud their
section and the group then sequences pieces to make their particular narrative.
READERS’ CIRCLE
The students bring to the circle a fictional text they have read and wish to talk about.
They identify the things they liked, disliked and noticed. Sharing texts they have read
helps students build their knowledge of texts and the writer’s craft.
AUTHORS’ CIRCLE
The students bring to the circle any narratives they have written and wish to share with
Focus on how the group members. They seek and consider peer feedback.
people and events
are represented RETELL PROCEDURE
in the story and
This can be conducted in a variety of ways. For example:
how authors
communicate their » The teacher reads a story to the students and they retell it orally.
interpretation of
» As above, but the students write a retelling.
people, places,
events and » The students read a story and orally retell it.
situations. » As above, but the students write a retelling.
EXPLORING NARRATIVES—A SAMPLE UNIT

Texts: See details in unit and resources list
It is assumed that the students have read, responded to and discussed aspects of fictional
narratives in shared, guided and independent contexts. They will also have talked about
and experimented with the various text structures and language features of narratives and
through enjoyable experiences developed an understanding of contexts, purposes, audiences
and the work of writers. This unit focuses on ways of teaching some aspects of narrative
writing and is based on the work of Gleeson (2014).
SEQUENCE 1: DESCRIPTION—CHARACTERS
» Read with the students a range of narratives of any type. After each reading draw on the
students’ knowledge of the purpose, type, audience, structure and language features.
They discuss and justify what they liked and disliked about each narrative.
» Draw the students’ attention to the main characters and discuss what the author tells
about the character (the words to describe the character) and what the author shows
about the character (through the character’s actions). Talk about how the author built
the description through both approaches. Use the terms ‘characteristics’, ‘physical
appearance’, ‘personality’, ‘attitudes’, ‘behaviour’, ‘habits’, ‘mannerisms’, ‘actions’
(saying, doing, making) and so on.
» Share extracts from texts (picture story books—PSBs—and novels) that demonstrate
descriptions of characters, and identify and discuss how characters were described. For
ICT: Scan text, create
example:
a PDF file and use
– Matilda by Roald Dahl—description of Miss Trunchbull, Chapter 8. this to annotate or
– The Hobbit by J.R.R. Tolkien—description of Hobbits, Chapter 1. mark up the text
– Hating Alison Ashley by Robin Klein—description of Miss Belmont, Chapter 1. with the students.
SEQUENCE 2: DESCRIPTION—CHARACTERS
» Review the learning from the previous session/s. Revisit one of the model texts and focus
on how the writer built description. Depending on the students’ prior knowledge focus on
sentence and word level grammar, vocabulary and any literary devices.
» Model or jointly construct with the students, the planning and writing of a description of
a known character (animated or human) from a still or moving image. Focus on physical
description and then actions. Seek and build on the students’ understanding of ways to
build description.
» Students can select another known character or person and create a short description.
They share and discuss these with their peers noting how the writer made the
description come alive for the reader.
SEQUENCE 3: DESCRIPTION—PLACES AND THINGS

» Provide a model of a place description; for example, the description of the barn in E.B.
White’s Charlotte’s Web, Chapter 1. Discuss how the author built this description and how
it differs from other descriptions of places they may have read. Talk about the use and
type of sentences and ways of making the text cohesive. Talk about the use of literary
devices to create description. See pages 271 and 276.
ICT: Consider using » Take the students outdoors and encourage them to select a place (without telling others)
mobile learning that they want to describe. Discuss the role of the senses in creating description. Ask
technologies when them to think about what they see, hear, smell and so on and write a rich description of
students are not in their selected place. They share these and note what the writer did to create a rich
their permanent description.
place of learning
(iPads, iPhones, SEQUENCE 4: LANGUAGE FEATURES
iPods etc.).
» Select relevant focuses, each of which is to be addressed during separate sessions.
Select examples of the specific focuses from model texts. Draw the students’ attention
to the specific focus; seek and build on their prior knowledge through discussion, inquiry
and so on; and then ask the students to find examples in other texts (published or their
own texts).
For example, focus on:
– dialogue
– voice
– verb tense and types
– point of view
– sentences—types, function, beginnings, structure
– literary language.
SEQUENCE 5: THE WRITING PROCESS

» Model the writing of a short narrative. This may take a few sessions.
» Show students how to plan plot, characters and setting using a graphic organiser or by
brainstorming.
ICT: Consider using » Model the writing of the lead and the orientation. During the process, you may decide
the Word Track that students can join in to jointly construct the remainder of the narrative.
Changes tool when » Complete the modelled writing sessions ensuring each has a specific focus.
students are revising » The students can work with a partner or individually to write a narrative of their own
or editing a Word choice from planning to publishing. This will take several sessions. Provide explicit
document. teaching or demonstrations during the process.
ASSESSMENT OF NARRATIVE WRITING

TABLE 14.3 ASSESSMENT CRITERIA FOR NARRATIVES
IMAGINATIVE NARRATIVE CHECKLIST
STUDENT’S NAME: ___________________________

YES NO COMMENTS
DATE/S: ___________________________
Text structure and organisation
Identifies the purpose and audience for own and other texts
Demonstrates subject knowledge and clear ideas
STUDENT’S NAME: ___________________________

YES NO COMMENTS
DATE/S: ___________________________
Uses appropriate text structure to organise information

meaningfully
Differences in structure and style. Most common is linear
Linear structure: Introduction (orientation). Body (complication/s

and series of events). Conclusion (resolution and/or reorientation)
Description related to characters, setting and plot (events)
Uses appropriate language features to create text cohesion
Maintenance of theme and clear connections throughout

text; suitability of language, style and voice for content,
appropriateness of tone and mood in each part of narrative
Uses elements of visual text appropriately for intended purpose
Expressing and developing ideas
Uses well-structured clauses and sentences
Elaborated sentences that build characterisation through

description of actions as well as through description of
characteristics
Various sentence types and beginnings. Work of adverbials for

detail
Uses punctuation correctly
All sentence types: exclamations, statements, questions,

commands
Direct and reported speech, embedded clauses, subordinate

clauses
Uses appropriate vocabulary
Language related to content, narrative style and features
Uses word level grammar to provide detail and enhance

sentences
Description through enhanced noun groups. Function of words in

noun groups
Circumstances of the happening. Work of adverbials, phrases
Strong verbs and verb groups
Accurately spells most words using spelling knowledge and

strategies
(continued)
TABLE 14.3 ASSESSMENT CRITERIA FOR NARRATIVES (CONTINUED)
STUDENT’S NAME: ___________________________

YES NO COMMENTS
DATE/S: ___________________________
Creating texts
Uses effective strategies to create text—plan, draft, revise, edit

and publish
Variety of planning strategies and tools; focus on character and

plot development
Effectiveness of strategies for revision and editing
Consideration of publishing options
Uses software appropriately during the writing/creating process
How, what, when and why software is used and to what degree
THINK AND LINK

1 Think about the demands that narratives make on readers as they read. What do
students need to know, do and think as they read narratives? How can teachers
support students before, during and after reading a narrative?
2 Think about the demands that narrative writing makes of writers as they write. What
do students need to know, do and think as they write narratives? How can teachers
support students before and during the writing process?
3 Draw on your classroom experiences and discuss what teachers do to help students
write effective narratives and which aspects they focus on. Discuss how teachers
link reading and writing.
RESOURCES
Teacher resources
Corden, R. 2007, ‘Developing reading-writing connections: the impact of explicit
instruction of literary devices on the quality of children’s narrative writing’, Journal of
Research in Childhood Education,Vol. 21, No. 3, p. 269.
This UK researcher describes how, during literacy sessions, the explicit teaching of the
literary devices used by authors in mentor texts improved students’ narrative writing.
Dorfman, L. & Cappelli, R. 2007, Mentor Texts:Teaching Writing through Children’s Literature,
K–6, Stenhouse, Portland.
The book explains how to use literature to teach characteristics of good writing—
focus, content, organisation, style and conventions. It includes lists of mentor texts,
student writing samples and ideas for teaching focuses.
Dymock, S. 2007, ‘Comprehension strategy instruction: teaching narrative text structure
awareness’, The Reading Teacher,Vol. 61, No. 2, pp. 161–7.
The author defines what needs to be taught for the comprehension of narrative text
and provides practical classroom examples of how these aspects can be taught, using
examples of graphic organisers and strategic questioning.
Fletcher, R. & Portalupi, J. 2007, Craft Lessons: Teaching Writing K–8, Second Edition,
Stenhouse, Portland.
The authors provide scores of lessons with a wealth of ideas and activities for teaching
aspects of the writing craft. The crafts are listed by subject; for example, character,
details, dialogue, endings, focus, ideas, paragraphs, sentences and leads.
Gleeson, L. 2014, Writing Like a Writer:Teaching Narrative Writing, PETAA, Newtown.
The author describes how teachers can support students during their ‘narrative
imagining’. The book includes a range of teaching and learning experiences to help
students write effective narratives.
Primary Resources, 2015, General Fiction Story Writing <www.primaryresources.co.uk/
english/englishC1.htm>.
This resource provides information about, and links to, aspects of fiction, including
setting and characterisation. It also links to planning ideas and tips for writing.
Children’s resources
Please note:The resources listed in the imaginative texts chapter can also be used for the
content of this chapter.
Branford,A. 2014, Violet Mackerel’s Possible Friend (No. 5 in series),Walker Books, Newtown.
Dahl, R. 2013, Matilda, Puffin, London.
Heinrich, S. 2007, Hungry Ghosts, Lothian Children’s Books, Sydney.
Klein, R. 1984, Hating Alison Ashley, Penguin, Ringwood.
Tolkien, J.R.R. 2012, The Hobbit, Harper Collins, London. (Film tie-in edition)
White, E.B. 2002, Charlotte’s Web, Puffin, New York.
YouTube: The site has many animations of classic children’s books, short stories, fairy
tales, myths, fables and folk tales.

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NARRATIVES

TABLE 14.1 AT A GLANCE—POSSIBLE GRAMMAR FOCUSES FOR NARRATIVES

LEVEL » statements, questions, exclamations, commands

TABLE 14.1 AT A GLANCE—POSSIBLE GRAMMAR FOCUSES FOR NARRATIVES (CONTINUED)

Subordinate clauses—types and work

Modal adjectives to build description. Used to express intensity. For example,

TEACHING FOCUSES FOR NARRATIVES

then present some stories orally.

physical characteristics, personality, temperament and other characteristics.

CHARACTER CHARACTERISTIC EVIDENCE TO SUPPORT THIS

George Creative Because he thinks of lots of different

Grandmother Bad tempered Because she always growls at George

Mr Kranky Impatient Because he wanted to use George’s

FIGURE 14.1 CHARTS

» The use of planning templates or proformas that provide a framework or scaffold

FIGURE 14.2 SAMPLE QUESTIONS TO GUIDE PLANNING FOR WRITING A NARRATIVE

Questions to help you organise your information

speech and vice versa.

GENERAL ACTIVITIES FOR NARRATIVES

THINKING ABOUT WRITERS AND STORIES

FIGURE 14.3 STORY STARTER CARDS

FINISH THE STORY

‘ADD A BIT’ STORIES

WHAT’S THE SETTING?

BUILD THE SETTING

FIGURE 14.4 BUILDING THE SETTING—A CONCEPT MAP

distant roads bumpy

BUILDING DESCRIPTION—SURPRISE WRITING

features of the character they wish to include in their descriptions.

ADD THE COMPLICATION

CHANGE THE FORM

WHAT’S THE RESOLUTION?

EXPLORING NARRATIVES—A SAMPLE UNIT

SEQUENCE 3: DESCRIPTION—PLACES AND THINGS

SEQUENCE 5: THE WRITING PROCESS

document. teaching or demonstrations during the process.

ASSESSMENT OF NARRATIVE WRITING

IMAGINATIVE NARRATIVE CHECKLIST

STUDENT’S NAME: ___________________________

Text structure and organisation

Demonstrates subject knowledge and clear ideas

IMAGINATIVE NARRATIVE CHECKLIST

STUDENT’S NAME: ___________________________

Uses appropriate text structure to organise information

Differences in structure and style. Most common is linear

Linear structure: Introduction (orientation). Body (complication/s

Description related to characters, setting and plot (events)

Uses appropriate language features to create text cohesion

Maintenance of theme and clear connections throughout

Uses elements of visual text appropriately for intended purpose

Expressing and developing ideas

Uses well-structured clauses and sentences

Elaborated sentences that build characterisation through

Various sentence types and beginnings. Work of adverbials for

Uses punctuation correctly

All sentence types: exclamations, statements, questions,

Direct and reported speech, embedded clauses, subordinate

Uses appropriate vocabulary

Language related to content, narrative style and features

Uses word level grammar to provide detail and enhance

Description through enhanced noun groups. Function of words in

Circumstances of the happening. Work of adverbials, phrases

Strong verbs and verb groups

Accurately spells most words using spelling knowledge and