creative writing year 3 tes

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Lesson plan: KS3 English – literary texts for creative writing

• Subject: English
• Date Posted: 07 December 2015

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Writing creatively on a theme linked to a text is a motivational and exciting prospect for teachers and students alike, and our students must be given an opportunity to be creative and to realise that their writing has real value. If pupils can write for themselves, and have their written words valued and respected, then they can start to begin the process of evaluating other texts.

Pupils often struggle with the concept of ‘analysing language’ or pinning down the elusive ‘effect of the word or phrase’ – usually ending up with the old expression, ‘the word is effective’. However, they might have little to no concept of what ‘effective’ actually means. If we teach students to write critically, where they actively choose the words they employ in their work, then we begin to demystify this term and make sense of what effective writing really is. This also improves pupils’ reading skills – and who knows, hopefully we will be inspiring the next generation of writers.

Many students are scared of ‘difficult’ vocabulary – but allowing them to experiment with words will support them in dispelling these fears and will allow them to develop their evaluative skills as they develop critical choice. Opening the lesson with an engaging clip or visual image related to the learning is always a great way in to the gateway of a child’s imagination. This is especially supportive for our non-readers and we should embrace the visual media to support pupils in developing their ideas. I have chosen a clip which links to the theme of Lord of the Flies as a dystopian novel and a way in to studying our literature text.

WHY TEACH THIS?

Teaching a novel to students is an opportunity to inspire our pupils with a love of reading so that they can journey through literature, and the literary experiences of the characters, in order to travel through life as well read and well rounded students who have a wider knowledge of the world. Using literature texts and their themes as a basis to develop pupils’ writing and to inspire great writing from our students is the essence of this lesson.

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STARTER ACTIVITY

Screening a melancholic clip from McCarthy’s ‘The Road’ (with or without sound) as a means into writing a descriptive piece about a dystopian vision of the world allows the students to think about what this really means – and of course, we want all of our young people to think hard within every lesson instead of writing down the key word ‘dystopia’ and its definition, which does not support deep learning.

Immersing students in the action of this clip, and asking them to imagine how they would present a vision of a dystopian world in their writing is the starter activity. Pupils can write down key words and or sentences from the clip and then feed back through class discussion about how the film creates a dystopian world and which words they would use to do this in their own writing.

MAIN ACTIVITIES

At this point in the lesson, you could introduce an extract from the text ‘Lord of the Flies’ and ask students to read this in pairs and highlight any negative images of the description of the island in the opening chapter (any dystopian novel opening could also be used, depending on your set text).

Alternatively, display a sentence, which delivers a description of the dystopian world from the clip, for example: “Gnarled and twisted, the old trees loomed over the beach. Decaying bark hung from their torsos like peeling wallpaper.” Ask the pupils to consider which individual words contribute to creating an overall impression of the setting – this can be modelled with the class on the board. Then ask students to suggest which words in the sentence do not fit this atmosphere. In this example, my class thought that the word ‘beach’ was too positive and settled on sand, shingle or island as being more fitting choices. They also came to the conclusion that ‘wallpaper’ called up a rather domestic image, and decided that ‘skin’ would be more disturbing. This rapidly evolved into ‘flesh’, at which point the class started to cringe – and all because of the choice of a single word. They had started to understand the effect and power of language.

Pupils then have to create effective sentences of their own which have a sinister atmosphere through using the images from the clip (have stills prepared so that students can refer back to these) and the extracts which they have read. Students can feed this back and the class can support, develop or challenge their ideas.

Finally, students should be invited to recreate a dystopian image of the world through their own writing. When pupils begin writing, ask them to craft each sentence slowly. Having sentence stems with multiple choices of words for the least able can support them in making an effective choice and producing something powerful. Learners must stop and read their work at check-points in the lesson to enable them to consider if their words choices have the desired atmosphere and effect before discussing this with a peer.

HOME LEARNING

Students can redraft their work based upon the feedback from their peers. They can create their own model of the dystopian world, which is labelled with key words from their creative piece of writing or re-write the opposite version of their description focusing upon a utopian vision of the world. Another suggestion is to ask students to work on a reading of their writing to deliver to the class.

Get the students to read their work aloud and record the reading so that when they hear it back as an audio book they can be critical about the effect of the words used. Learners should be able to explain what a dystopian vision of the world would be like and to make a prediction about the text the class is going to read.

ABOUT OUR EXPERT

Laura McGlashan is acting deputy head, teaching and learning, at Burnt Mill Academy

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• The Best Creative Writing Resources For Teaching Plot And Setting In Ks3 English

KS3 creative writing – Resources for teaching plot and setting

Whether students want to create an epic adventure in a fiery inferno or tense tale in a sleepy town, make sure they create a compelling plot and a fully realised setting with these resources…

Unlock the full potential of your students’ creative writing with these top-tier resources for teaching plot and setting, designed specifically for KS3 English teachers…

KS3 creative writing resources

How to teach world building, storyboard templates.

Whether it’s short stories, comic strips or filmmaking, every tale needs the right structure to be told well. Having a beginning, middle and end may be a staple of storytelling , but alone it’s not enough, and there are many ways to tell a story.

But however you choose to write yours, one thing is constant – good stories need good structure. These storyboard template resources and activities will help your students develop the skills required to add that foundation to their creative writing.

Year 7 English worksheets

Get to grips with descriptive writing across two lessons with these free Year 7 English worksheets which focus on a piece of text all about the jungle.

Inspiring images and sticky notes

This creative writing KS3 lesson uses inspiring images and sticky notes to get learners producing some truly creative writing.

The collaborative nature of this lesson (students read what the person before them has written) means they learn from and inspire each other.

Create a spooky atmosphere

This Gothic setting description lesson plan will encourage students to take their creative writing to a whole new level. Start by closing the blinds, turning off the lights, playing spooky music and displaying an image on the whiteboard of an old, decrepit, haunted-looking house.

Setting description examples

Use this  setting description resource pack to help pupils refine their descriptive writing skills. The pack contains an extract from Finding Bear by Hannah Gold, as well as worksheets, teacher notes and more.

KS3 structure lesson plan

Structure may not seem like the most riveting subject, but for exam success students need to be taught how to employ structure for effect in their own writing and analyse the effects of it in the work of others.

Start this lesson by choping up a fiction text into paragraphs for students to sort into the correct order.

Writing the middle part of stories

This fully differentiated and resourced lesson will help students with writing the middles of narratives and stories. This is excellent preparation for GCSE writing exams.

Monster consequences descriptive writing lesson

Use this descriptive writing KS3 lesson to show students the potentially hilarious consequences of timid and imprecise description. It just might have a remarkable impact on subsequent writing…

Describe a sweet shop

This free resource will engage more advanced students in Key Stage 3. It focuses on crafting vivid descriptions of a sweet shop. This is a topic ripe with potential for rich, sensory language and imaginative exploration.

Descriptive dystopian writing lesson plan

This KS3 critical writing lesson starts with a clip from 2009 post-apocalyptic film  The Road . Feed back through class discussion about how the film creates a dystopian world. Which words would students use to do this in their own writing?

Use The Hobbit to write about tunnels

In this ‘build your own adventure story’ resource students discover new lands, and overcome monsters and other obstacles.

It begins with a passage from JRR Tolkien’s The Hobbit , where Bilbo finds himself in a dark cave and meets Gollum for the first time. There are 10 pointers to look at to explore the passage, before students begin to write their own story.

The place as character

This interactive resource from Eduqas offers an opening paragraph example of a story that creates a real sense of setting.

Students should read through and identify the adjectives used to develop the atmosphere of the place being described.

The second section is where they give it a go themselves, writing out a descriptive passage about a place. There are lists of adjectives they can click on to insert them into the story should they get stuck for inspiration.

Model texts for settings

If you’re after example texts for different settings then head to Literary Wagoll where you’ll find descriptions of an alien world, a fairground, a tree house, a thunderstorm and various others.

Plot advice

This post features an excerpt from the book What’s the Story? Building Blocks for Fiction Writing , and builds on the idea of what a plot is.

It also includes a short list of traditional plot types, and tips for building a compelling plot, like using momentum, creating stakes and giving the characters goals and motives.

Award-winning author Frances Hardinge unpacks how to teach a much sought-after skill in modern storytelling – that of world-building…

When world-building, it’s easy to be distracted by questions of what, who and where, and the temptation to fill your imaginary landscape with creatures, people and places that grab the mind’s eye.

The important part is remembering to work through the  how ,  why  and  where . Why do any of these things exist, and how do they continue to exist?

Answering such questions can be time-consuming and fiddly, but the answers can often generate plot, detail and unique features for the setting so that it feels more solid.

If you leave them unanswered, then those big, shiny ‘cool’ elements of your setting will tend to feel shallow, like set dressing.

Splendid mayhem of world building

When running a ‘settings workshop’ for a full class (Y6 to Y8) I’ll sometimes encourage everyone to brainstorm the what, who and where first.

I’ll describe a storm at sea, and a ship being wrecked on a rocky shore. I then tell the students that nearly everybody on board has drowned, and that there’s only one survivor – me.

I recover consciousness, and begin looking around to discover where I am. And they’re going to tell me what I encounter.

I start by asking them what I’m lying on. What does it feel like? (At this point, someone may timidly suggest ‘sand’.)

I’ll then tell them that I’m opening my eyes, sitting up and looking around. What can I see?

Initially,  the responses will be a little cautious  – but before long, the class realises they have an adult character who they can chase around an imaginary landscape, and who will yelp with panic when subjected to countless perils.

They also realise that I won’t block any of their ideas, including all the ‘silly’ ones. At this point, splendid mayhem tends to break loose.

Note, this is not an engine for producing a grim, grittily serious setting. The results tend to be anarchic, enthusiastic, varied and frequently very funny, but in a way that generally gets the whole class engaged.

At a certain point (usually with some difficulty), I’ll call a halt to the brainstorming and get everyone to consider those how, when and why questions.

I’ll encourage them to come up with reasons for such bizarre phenomena coexisting in the same setting and invent a history. It will likely be a strange and amusing history, but that’s not necessarily a problem.

Fates of quirks

Alternatively, one could approach the world-building process from another direction entirely. I’m used to starting from bizarre premises myself, before trying to work out how they will affect the setting.

In effect, I’m starting with those  how ,  when  and  why  questions to help me work out the answers to  what ,  who  and  where .

To use this approach, a class could be broken up into small groups, each of which is tasked with brainstorming a different country.

Each group can choose a ‘quirk’ – some bizarre characteristic of this world that makes it appreciably different from our own. The students can either come up with their own suggestions, or pick out a single option from a pre-prepared list.

The groups can also be given a list of further questions to consider when fleshing out their worlds and deciding how their chosen quirk has affected everything in that particular country.

Some good sample questions here might include:

• When did the quirk begin? Has it always been there?
• Why does it exist? If nobody knows, why do people think it exists?
• How has it changed people’s beliefs and their behaviour?
• How has it affected the country’s history? Has it resulted in any new conflicts, religions, inventions, laws, jobs or crimes?
• What else is this country like? How advanced is the technology? What is the landscape like? In what other ways is it ‘weird?’
• If you were to visit the country, what odd things would you notice due to its peculiar history?

Quirks to explore

The following examples show how a single quirk can affect a whole setting’s history. Try exploring these ideas in class:

• Cats can use human speech.
• Instead of electricity, the setting has a power source that works in much the same way – except that you age twice as fast while using it.
• In this country, dreams are always distorted visions of something real that’s happening somewhere else at that exact moment.
• 1 in 10 children can teleport a few feet by the time they hit puberty. Most children have no control over it.
• The possession or use of clocks is strictly illegal.

Frances Hardinge is an award-winning children’s author. Her 11th novel,  Island of Whis p ers  (with illustrations by Emily Gravett), is available now. Browse English games KS3 ideas and more creative writing prompts .

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Creative writing

Browse this rich collection of English teaching resources, teaching ideas, templates and creative writing lessons to develop students' descriptive writing, narrative writing and creative writing skills. You'll find compelling picture prompts, supportive word banks and carefully scaffolded resources to engage even the most reluctant of student writers.

There are fun and eclectic lesson ideas, downloadable worksheets and comprehensive PowerPoints for a range of exciting creative writing and short story tasks based on journeys, the senses, on sculpture, on the weather and even 'magical doors'!

Explore point of view, narrative structure and the features of a ‘good story’ as well as how to develop a main character with a range of creative writing tasks to hone students’ descriptive writing skills. You’ll also find resources on using metaphors and similes and varying sentence structure to make their writing more engaging.

Perfect for key stage 3 English classes and GCSE English Language learners. 

You might also like our non-fiction writing activities for KS3 English.

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Creative writing year 3 tes

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Creative writing year 6 tes

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Creative writing year 8 tes

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Jasper's Beanstalk_Year 1 English Writing Unit

Subject: Literacy for early years

Age range: 5-7

Resource type: Unit of work

Last updated

25 July 2024

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This is a 3 week unit aimed at the beginning of Year 1 and is designed to start the year off with some simple sentence writing. Linked to Jane Considine’s The Write Stuff.

Based on Nick Butterworth’s story Jasper’s Beanstalk

This unit links beautifully with a growing topic, particularly planting and caring for seeds.

Other linked topics are patience, persistence and responsibility (PSHCE).

This unit covers:

• Emotive adjectives
• Simple sentence writing
• Repetitive sentence structures

Included in the unit pack:

• Overview of the unit; including independent writing
• Plot Point pictures for display
• Tasks for the non-sentence writing days
• Picture sentences to promote writing independence
• Powerpoint editable worksheets

I have personally used this in my classroom for the past 2 years and plan on using it again this September.

Tes paid licence How can I reuse this?

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