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STARSEEKERTeachers’ Resources

By

Frances Gregory

CONTENTS

Introduction 3

Overview for Scheme of Work 4–5

Navigator 6–7

Lesson Plans and Worksheets 8–56

Assessment 57

AcknowledgementsThe author and publishers are grateful for permission to include the following copyright material in this resource:

Extract from Tim Bowler’s website, author notes, and press release, used by permission of Tim Bowler.

We have tried to trace and contact all copyright holders before publication. If notified, the publishers will be pleased to rectify any errors or omissions at the earliest opportunity.

Illustrations:Barking Dog Art

INTRODUCTIONEnglish teachers don’t need to be told the enormous value and pleasure of reading whole texts as class readers. Little compares with that feeling when a class are truly engaged in the reading of a really good book. Fortunately, contemporary writers of fiction for young adults continue to offer us fresh opportunities to enjoy literature with our students.

Oxford Rollercoasters is a series that offers teachers the opportunity of studying first-class novels as whole-class readers with Year 7, 8, and 9 students. Each set of materials has been written in response to the diverse needs of students in that key stage.

Focus on assessment of readingOxford Rollercoasters includes titles with varied themes, challenging subject matter and engaging plots. For example, Noughts and Crosses takes a contemporary slant on racism, The Boy in the Striped Pyjamas explores the holocaust through the eyes of a young German boy, Iqbal tells the real-life story of young Iqbal Masih, whose courageous rebellion against child slavery eventually cost him his life.

In the latest wave of Rollercoasters, each novel is accompanied by innovative and engaging teaching materials, designed to help all students access the texts and also to reflect the changes in the National Curriculum Programmes of Study and the renewed Framework. The key concepts of competence, creativity, cultural and critical understanding are clearly addressed, and the schemes offer a wide range of cross-curricular opportunities.

Rollercoasters continues to be written by practising teachers and consultants, and draws on approaches to reading fiction recommended by the English strand of the Secondary National Strategy. The latest teaching materials are firmly based on the reading strands and sub-strands of the renewed Framework, though teaching plans include approaches to literature through oral work, drama and media. Theories behind both assessment for learning and thinking skills are evident in the lesson plans.

Time-saving resourcesIn each on-line Teaching Pack there is a compact Overview which summarizes the work scheme, identifies the relevant key concepts, the Framework sub-strands that are tackled, the learning outcomes, the relevant assessment

focuses and the resources available for each lesson.

Lesson Plans suggest particular Framework objectives, but the Word files can be adapted to suit the level of progression for each particular class. All Worksheets and OHTs can be easily adapted for differentiation.

The Navigator offers a clear plot summary, identifying the stages in the structure of the novel. It is designed to help teachers adapt the pace and detail of work according to the needs of their class.

Each Teacher’s Pack contains suggested Guided reading sessions as well as the opportunity to develop further specific group teaching.

Every set of lesson plans ends with its own student Reading Assessment Progress sheet, based on the assessment focuses, which can be used to identify areas for student development in line with APP (Assessing Pupils’ Progress).

Reading GuideEach of the novels has its own student Reading Guide – an accessible, magazine-style booklet, packed with visual, textual and activity materials to help engage students in their study of the novel. Each one features writer’s craft material to enhance and enrich the students’ appreciation of the author’s skills, offering communication with real writers that is recommended in the new Programmes of Study. Original drafts and commentary from the authors of the novels provide valuable insight into the process of writing.

Ideas for wider reading and for the extension of independent reading are provided in the Pathways section at the end of the Reading Guide.

Oxford Rollercoasters provides first-class teaching resources for first-class contemporary fiction. The series is designed to engage the widest possible range of students in reading for pleasure, and we feel confident that it will contribute to those memorable experiences of reading together in the secondary classroom.

Frances GregorySeries Edit

Oxford Rollercoasters: Starseeker © OUP 2009. This may be reproduced solely within the purchaser’s school or college. 3

OXFORD ROLLERCOASTERS Starseeker Overview

OVERVIEW FOR SCHEME OF WORK Lesson and focus(Book chapter)

Key conceptsReading AFsReading strategies

Framework sub-strands Rollercoasters resources

1 Response to characterPages 1–22(Chapters 1–3)

CompetenceCritical understandingAF2AF3AF6Reading between the linesPredicting

5.1 Developing and adapting active reading skills and strategies5.2 Understanding and responding to ideas, viewpoint, themes and purposes in texts5.3 Reading and engaging with a wide and varied range of texts

WS: 1a, 1bRG: pp. 4–5

2 Setting and relationshipsPages 23–50(Chapters 4–5)

CreativityCritical understandingAF2AF3AF6VisualizingInterpreting ideas/images

4.1 Using different dramatic approaches to explore ideas, texts and issues5.1 Developing and adapting active reading skills and strategies5.2 Understanding and responding to ideas, viewpoint, themes and purposes in texts

WS: 2a, 2bRG: 6–7

3 CharacterPages 51–67(Chapters 6–7)

Critical understandingAF 2AF 3AF 6RereadingAsking questions


WS: 3a, 3b, 3cRG: p. 8

4 Tension and fearPages 68–114(Chapters 8–10, and 11–12 for homework)

CompetenceCritical understandingAF4AF5FeelingEmpathizing

6.2 Analysing how writers’ use of linguistic and literary features shapes and influences meaning6.3 Analysing writers’ use of organization, structure, layout and presentation10.2 Commenting on language use

WS: 4a, 4b

5 Narrative interestPages 115–140(Chapters 13–15)

CompetenceCritical understandingAF4AF5Passing comments and judgementsRationalizing

5.2 Understanding and responding to ideas, viewpoint, themes and purposes in texts6.2 Analysing how writers’ use of linguistic and literary features shapes and influences meaning10.2 Commenting on language use

WS: 5a, 5b

6 CharacterPages 141–156(Chapters 16–17)

Critical understandingAF3AF6Deducing evidencePassing judgments

5.1 Developing and adapting active reading skills and strategies5.2 Understanding and responding to ideas, viewpoints, themes and purposes in texts

WS: 6a

7 The titlePages 157–179(Chapters 18–20)

CreativityCritical understandingAF4AF5AF6Interpreting imagesAsking questionsPredicting

5.1 Developing and adapting active reading skills and strategies6.2 Analysing how writers’ use of linguistic and literary features shapes andinfluences meaning10.2 Commenting on language use

WS: 7aRG: pp. 9–10

8 Theme/musicPages 180–202(Chapters 21–22)

CreativityCritical understandingCultural understandingAF3AF6RereadingInterpret patterns

5.1 Developing and adapting active reading skills and strategies 5.2 Understanding and responding to ideas, viewpoint, themes and purposes in texts 6.2 Analysing how writers’ use of linguistic and literary features shapes andinfluences meaning10.2 Commenting on language use

WS: 8a, 8b, 8c, 8dRG: pp. 8–11

9 Character and mysteryPages 203–241(Chapters 23–24, and 25–26 for homework)

CompetenceCritical understandingAF3AF4RereadingRe-interpretingEmpathizing


WS: 9aRG: p. 14

OXFORD ROLLERCOASTERS Starseeker Overview

Lesson and focus(Book chapter)

Key conceptsReading AFsReading strategies

Framework sub-strands Rollercoasters resources

10 The escapePages 242–260(Chapters 27–28)

CompetenceCreativityCritical understandingAF4AF5AF6EmpathizingFeelingPassing judgements

6.2 Analysing how writers’ use of linguistic and literary features shapes andinfluences meaning6.3 Analysing writers’ use of organization, structure, layout and presentation10.2 Commenting on language use

WS: 4a, 10a, 10bRG: pp. 12–13

11 ResolutionPages 261–284(Chapters 29–30)

CreativityCritical understandingAF4AF6RereadingSeeing patternsPassing judgements

4.1 Using different dramatic approaches to explore ideas, texts and issues5.2 Understanding and responding to ideas, viewpoint, themes and purposes in texts6.3 Analysing writers’ use of organization, structure, layout and presentation

WS: 11a, 11b, 11cRG: p. 13

12 ResolutionPages 285–-301(Chapter 31)

CreativityCritical understandingCultural understandingAF4AF6EmpathizingReinterpretingSeeing patterns

5.2 Understanding and responding to ideas, viewpoint, themes and purposes in texts6.3 Analysing writers’ use of organization, structure, layout and presentation

WS: 12a, 12b, 12c, 12d, 12e, 12f, 11c

13 Resolution and endPages 301–323(Chapters 32–33)

CreativityCritical understandingAF4AF6Passing judgementsReinterpreting

5.2 Understanding and responding to ideas, viewpoint, themes and purposes in texts6.3 Analysing writers’ use of organization, structure, layout and presentation

WS: 13a, 13b, 11cRG: p. 15

14 ReviewWhole novel

CreativityCritical understandingCultural understandingAF6AF7Relating to other reading experiencesPassing judgementsDrawing comparisons

5.3 Reading and engaging with a wide and varied range of texts6.1 Relating texts to the social, historical and cultural contexts in which they werewritten

RGWS: 14a, 14b

15 ReviewWhole novel

CompetenceCritical understandingCultural understandingAF6AF7Relating to other reading experiencesPassing judgements

1.2 Understanding and responding to what speakers say in formal and informalcontexts5.3 Reading and engaging with a wide and varied range of texts7.2 Using and adapting the conventions and forms of texts

RG and if possible, some of the novels listed in the Pathways section on p. 16.

Progression: teachers’ choice of this text should be influenced by the degree to which the study of Starseeker will allow a class to make appropriate progress in their knowledge and skills of reading. Starseeker offers excellent opportunities to develop students’ skills in the interpretation of patterns within a text, such as: tracing themes; noticing repetitions of ideas or images; finding connections between events or characters or places or ideas; tracing narrative structure. The language of the novel also offers teachers the chance to analyse a writer’s creation of mood and atmosphere with a class.

Cross-curricular links: strong opportunities to link with music, PSHE, art and religious education. Mrs Little’s experience also offers opportunities to discuss aspects of the Second World War and the Battle of Britain.

OXFORD ROLLERCOASTERS Starseeker Navigator

NAVIGATORChapter Plot outline

Chapter 1 Fourteen-year-old Luke Stanton – an evidently sensitive boy who plays the piano – is pressured by a gang of boys to break into The Grange to steal a precious box from an old lady who lives alone in this neglected old house. Once inside, Luke discovers not the box but a little girl, whose plaintive voice and weeping so disturbs him that he runs from the house without further thought of his original purpose.

Chapter 2 Luke flees to his haven in the Buckland Forest – to the old oak tree that was the favourite haunt of his father. Luke has yet to be reconciled to the death of his father which happened two years ago. The gang – Skin, Daz and Speed – are furious with Luke’s failure to rob the old lady at The Grange. Though Luke hides from them in his old oak tree, the gang leader, Skin, waits until Luke leaves the tree, and beats him up, viciously.

Chapter 3 Luke struggles home, more worried by the girl he has found and her tiny, haunting voice, than by his injuries. He is not happy to find his mother’s boyfriend, Roger Gilmore, leaving the house as he arrives home.

Chapter 4 Luke’s mother is suspicious of his wounds, but he is evasive. He quickly becomes defensive and aggressive in response to her comments about his current ‘friends’ (Skin and the gang) and yet he is clearly not happy about them himself. He and his mother know that he has changed for the worse in recent months. Alone in his room, he hears his mother playing the piano which makes him recall the strange little girl and the forest trees. That night he has vivid dreams about his father, the oak tree and a bright star.

Chapter 5 Luke tries to avoid Skin the next day but fails, and has to accept Skin’s command that he return to The Grange that night. Luke meets Roger Gilmore and a school friend, Miranda Davis, who discuss a wooden sculpture of a dancing figure that Roger has made for Miranda’s mother. Again, Luke finds himself thinking of the mysterious girl at The Grange. Luke agrees to help Miranda prepare her flute piece for a musical concert in their village. Though Roger tries to be pleasant with Luke, Luke resents him, disapproving of his relationship with his mother.

Chapter 6 Luke visits his music teacher, Mr Harding, who is an eccentric but affable old man. Mr Harding understands that Luke is troubled by hearing sounds not heard by others. He also senses that Luke is anxious. They discuss what Luke might play at the concert and Mr Harding agrees that Luke’s options can remain open. Luke is still haunted by strange noises – the girl’s voice, a deep roaring sound and a strangely familiar yet unknown melody.

Chapter 7 At home, Luke goes to check his emails and, guiltily, his mother’s, discovering how serious her relationship with Roger Gilmore actually is. Wildly, he attempts to email his father, and within minutes he is, yet again, hearing that melody, and contemplating with some dread the night ahead and his return to The Grange.

Chapter 8 Luke and the gang return to The Grange and Luke breaks in again. He discovers the box, but realizes that he is being watched: Mrs Little is standing behind him.

Chapter 9 Mrs Little tells him that she has phoned the police and Luke is deeply worried about the consequences of his actions. However, Mrs Little engages him in conversation and introduces him to the strange little girl who proves to be blind. Mrs Little challenges him to do something good and not to waste his talent, eventually, asking him to come to The Grange again to play her piano for the benefit of her granddaughter. She swears him to secrecy.

Chapter 10 Luke faces the gang again, pretending that he has searched the house and failed to uncover the precious box. Skin does not believe Luke’s story and threatens him once again. Luke struggles home, worried by his situation and yet again hears the strange melody which continues to develop with the introduction of new and more varied sounds.

Chapter 11 Luke has breakfast with his mother. She tries to talk to him about his father, about his friends and about her friends, but he is difficult to talk to, questioning his mother’s relationship with Roger Gilmore.

Chapter 12 Luke visits his father’s grave and, as a result, arrives late for the practice session with Miranda. She, too, recognizes that Luke is struggling with his life, but they focus on their music and Luke begins to enjoy it. Quite suddenly Luke, once again, hears the strange melody that has been haunting him – yet another element is added to the piece in his imagination.

Chapter 13 The gang meet in Luke’s old oak tree. Skin demands that they return to The Grange at midnight that night, and hints at dreadful consequences if Luke lets him down yet again.

Chapter 14 Luke’s mother tells him that she has received some silent telephone calls. Luke discovers they were from Mrs Little, who later comes to his house to beg him to come to The Grange to play her piano for her granddaughter. That night, Luke deliberately fails to go with the gang to The Grange at midnight. As he lies in bed, he hears the strange music again, and with it, he dreams of colours and shapes that end with a five-pointed star. He is woken from his dream by a torch beam – it’s Skin, ready to punish him for failing their rendezvous at The Grange.

Chapter 15 Luke fakes an email from his mother to excuse himself from school and, making it look as though he is going to school as usual, he escapes to The Grange.

Chapter 16 At The Grange, Mrs Little tells him the story of the little girl – how her parents were killed in a car crash, how she needed someone to care for her and how she took her from a care home that was inadequate. She also tells Luke that a visit from the piano tuner made her aware that the little girl – Natalie – loved piano music.

Chapter 17 Luke plays the piano for Natalie. She is entranced by his playing and he is entranced by her trusting, gentle nature. She calls him ‘Funny Ears’.

Chapter 18 Luke, hiding in the oak tree until it’s time for school to end, contemplates the little girl’s response to him. On the way home, he passes Roger Gilmore’s house and glimpses his mother and Roger together. He goes back to the graveyard where he is found by Miranda. She senses he is troubled and tries to confront him with the reality that his father is dead. He resists her challenge but they return to her home to continue their music practice.

Chapter 19 Under pressure from Luke, his mother declines a proposal of marriage from Roger Gilmore. They go for a walk together, and begin to discuss how his father used to hear sounds and see shapes associated with those sounds, as Luke does.

Chapter 20 Luke dreams of his father again, but again is woken by Skin. This time, Skin is throwing stones at his window. As he tries to block out the threat of Skin, he finds himself recalling how he used to listen to his father playing music, like Natalie does with his piano playing. The next morning he finds a new email from his mother to Roger Gilmore – Luke now knows that he has prevented them from being together and he feels guilty, but he must return to The Grange and sends another email to his teachers, disguised as one from his mother.

OXFORD ROLLERCOASTERS Starseeker Navigator

Chapter Plot outline

Chapter 21 Luke plays all sorts of music for Natalie. She draws him a star in the dust on the piano. When he starts to play ‘Peace of The Forest’, Natalie tells him that she can see trees and sunlight. He starts to ask her about her previous life and suddenly Natalie starts to hum a tune. He recognizes that the tune is one his father used to play and asks Natalie if that too makes her see things. She replies ‘Barley’ and he assumes she means fields of barley.

Chapter 22 Luke visits Mr Harding. His main reason is to find out what the tune that Natalie was humming is actually called. At the same time, though, he talks to Mr Harding about all the sounds that he is hearing, and Mr Harding explains that his father also had experience of hearing sounds and associating sounds with shapes and colours, including shining five pointed stars. Luke discovers that Natalie was humming a piece of music by Tchaikovsky, called ‘Reverie’.

Chapter 23 Luke’s mother finds out about Luke’s absence from school. She and Luke have to attend a meeting at school. Luke is desperate to avoid Skin and his friends and fortunately, Miranda helps him do so. She, and everyone else, is still unaware of his visits to The Grange.

Chapter 24 Luke returns to The Grange where he finds Mrs Little and Natalie in a terrible state. Neither has slept for days and Natalie is weeping inconsolably. Luke plays ‘Reverie’ and miraculously, Natalie falls into peaceful sleep. When Luke carries Natalie up to sleep in Mrs Little’s bedroom, he finds the precious box. It contains not the jewels or money that Skin imagined but old photographs and letters – Luke uncovers Mrs Little’s past and evidence of her husband that died in The Battle of Britain during the Second World War. He also finds a tiny identify bracelet in the box, which is engraved with the name Barley May Roberts. He takes the bracelet when he goes home that day.

Chapter 25 Luke discovers that Barley May Roberts is actually a missing child. He realizes that Mrs Little’s story about being Natalie’s grandmother may be false, and phones Natalie/Barley’s real parents. He establishes that Mrs Little is no relation at all of Barley, and that, as a baby in the womb, Barley loved the tune ‘Reverie’. Indeed, Mrs Roberts had once attended a concert where the pianist, Matthew Stanton, played that very piece of music.

Chapter 26 Making careful arrangements with Mr and Mrs Roberts, Luke returns to The Grange, with the intention of removing Barley so that she can be returned to her real parents. While Mrs Little is making hot chocolate, Luke makes his escape and takes Barley to the Buckland Forest.

Chapter 27 Luke and Barley listen to the sounds made by the trees. Luke hums the tune of ‘Reverie’ and this keeps her happy. He follows the arrangements he has made with Mr and Mrs Roberts who arrive in the forest to collect Barley without Luke being seen by them. Luke is deeply content when he sees the child and parents re-united.

Chapter 28 However Skin has finally tracked down Luke. Luke seeks refuge in his old oak tree but Skin sets fire to it. Luke tries to escape the choking flames and fumes by climbing to the end of a branch, but falls.

Chapter 29 Luke recovers in hospital to find out that Roger Gilmore has saved his life. Luke now feels differently about Roger’s relationship with his mother. Luke is also anxious that the musical concert should go ahead as planned.

Chapter 30 Luke, his mother and Roger are reconciled. Luke finds out that the gang have been taken into custody and that Skin will face serious charges for attempted murder. Luke, however, fears for Mrs Little whom he knows will have been deeply troubled by his removal of her little Natalie.

Chapter 31 Bravely, Luke returns to The Grange to make his peace with Mrs Little. The true story of Natalie is told, and Luke and Mrs Little have a frank discussion about her actions. She asks Luke to play for her once more – this time a piece by Scriabin that her husband loved. Luke refuses to play the music at The Grange, telling her that she must attend the concert if she wishes to hear it. She feels unable to attend such a public event and it looks as though Luke will play the piece without her. Luke goes home to practise for the concert, and memories of Barley, mixed with memories of his father and that recurring melody he has been developing in his imagination result in the composition of a new piece of music.

Chapter 32 The concert takes place. Miranda’s flute piece is perfect. Just as Luke is to begin the Scriabin piece, Mrs Little does arrive and he dedicates to her. She is deeply moved and his piano playing is so excellent that the audience ask for an encore. Luke plays his new composition, at the end of which the audience are stunned with admiration before they begin to clap. Everyone gathers round Luke. All his family and friends gather round to congratulate him, and he introduces Mrs Little to them all. As everyone makes their way home, Luke and Miranda take a walk to the forest.

Chapter 33 Luke takes Miranda to the old oak tree. He senses the spirit of his father so strongly that he actually sees him by the tree, but Luke recognizes that his father is now satisfied that Luke is fulfilling his potential as a musician. Luke feels deeply satisfied. He can live his life to the full. He and Miranda kiss – it is the future that now matters and Luke knows the direction he needs to take.

OXFORD ROLLERCOASTERS Starseeker Lesson 1

LESSON 1

Sub-strands: 5.1; 5.2; 5.3

Focus: Chapters 1–2Response to character

Learning outcomesStudents will be able to: Use relevant textual evidence to make

judgements about characters Make predictions about plot based on initial

responses to character

EngageAs students enter the classroom, play ‘Peace of the Forest by Grieg’, available at www.timbowler.co.uk/media-hi.html. Ask students to jot down anything the music makes them imagine or visualize, or any emotions or memories that are stimulated. Briefly, share and explore initial thoughts before moving on, indicating that the novel they are about to start reading makes several references to music and how it can stimulate ideas.

Distribute Starseeker and the Reading Guide. Using the Pathways (page 16) explain to students that they are expected to read at least one of these book titles while they are studying Starseeker.

ExploreUsing the Reading Guide, page 4 (First Voices), explore one of Tim Bowler’s inspirations for Starseeker – a little girl from one of his school visits, whose tiny voice becomes so crucial in his novel. Focus on the novel’s opening words, as printed in the Reading Guide, using the questions that follow.

Then, setting aside the Reading Guide, pin up four character outlines on a prepared space on the wall. These outlines represent Luke, Skin, Speed and Daz. Start reading Starseeker, asking students to focus on these named characters. As you read with the class, use a display version of WS1a to model picking out key character points, e.g. Speed has ‘fat stubby fingers’ page 1 and prompting inferences based on specific words, e.g. Luke is afraid of Skin’s ‘face as fierce as fire’ page 2.

Continue to read to the end of chapter, prompting students’ selection and inference, e.g. Luke is the outsider in this group (evidence

page 3, ‘you want to be part of this gang’ and inference, he is the only one without a nickname); Luke plays the piano, p3 ‘clear off back to your piano playing’; Luke’s dad has died, page 8 ‘since Dad died’. Once points are collected, model selecting and writing key details onto sticky notes to stick on the appropriate outline. Look for short, pertinent quotations to prove a point. Draw out that we are seeing events through Luke’s eyes, even though the novel is written in the third person. You may wish to question why the author chose not to write in the first person.

What questions do the class have at the end of this chapter? What predictions do they have about how the plot will develop?

TransformStudents read Chapter 2 independently, using WS1b to collect points, to note inferences about characters, to look for answers, and to record more questions. When they have finished that reading, ask them to use the Reading Guide (Can you depend on your friends? pages 4/5) to prompt further thoughts. Ask them to prepare key points and to select evidence about each character on sticky notes, as previously modelled. Remind them to use short, relevant quotations as proof.

Review and reflectStudents post up their notes and share answers to the Reading Guide questions. Point out how Skin’s physical power over Luke is shown by muscular verbs, e.g. ‘pounded’, ‘jerked’, ‘dragged’ and by his abusive language: ‘chicken bastard’ (page 16).

Ask the class how helpful they have found the method of recording key points as a way of developing their sense of character? Suggest they continue to use the method as they meet further characters. What questions do they still have? What predictions have they to make?

HomeworkStudents will need their novels for this homework. Tell them it focuses on setting. Firstly, they must try to draw a very rough diagram/sketch of The Grange as Luke sees it in chapter 1 – outside and inside. Then, reading Chapter 3, see if they can visualize the geography of Luke’s village, noting down the specific places mentioned and who lives there.

http://www.timbowler.co.uk/media-hi.html


Worksheet 1aChapter 1

Use this sheet to record some key points as you read.Some examples have been given to help you.

What we are told about characters:Speed is overweight, ‘his fat stubby fingers’ (page 1)Luke is afraid of Skin, ‘Skin flashed an angry glance at him’ (page 2)Mrs Little has lived at The Grange for two years (page 2)

What else we can infer or deduce about characters:Skin seems to be the ringleader of the group of boys (pages 1 and 2)

Questions that are suggested by the story:Whose voice is Luke hearing?Why is she weeping (page 1)

Questions that are answered in this chapter:


Worksheet 1bChapter 2

Use this sheet to record some key points as you read.Some examples have been given to help you.

What we are told about characters:Luke loves the old oak tree because he associates it with his Dad (page 12) ‘the place Dad had loved’.Skin is violent and aggressive – he beats Luke up (page 16) ‘the fist simply pounded into him again’.

What else we can infer or deduce about characters:Luke is unhappy with himself (page 14) ‘he just wasn’t a very nice person any more’.

Questions that are suggested by the story:What will Skin do to Luke when he catches him? (page 11)Why does Luke think he is losing his mother? (page 14)What will Skin do next time? (page 17)Why does Luke dislike Roger Gilmore? (page 20)

Questions that are answered in this chapter:Luke’s mother has a boyfriend – Roger Gilmore.


LESSON 2

Sub-strands: 4.1; 5.1; 5.2

Focus: Chapters 4–5Setting and relationships

Learning outcomesStudents will be able to: Develop mental picture of a key setting in

the novel based on text Use a diagram to represent the initial state

of relationships in the novel

EngageAsk students to compare outlines of the house in pairs, before distributing the Reading Guide to compare their idea of the outside with the drawing on page 6. Emphasize that this is no more ‘correct’ than their version – both are based on what we are told. Share words that the class think apply to The Grange. Then, ask students, working in pairs, to follow the task on page 6. Use ‘Peace of The Forest’ by Grieg as background music, again, using the music supplied on Tim Bowler’s website.

ExploreAsk individuals to mention the other places that matter in Luke’s village (mentioned in Chapter 3). Then, using the Reading Guide pages 6 and 7 review what the reader already knows about Luke and the characters that live around him. Draw out the tensions that surround Luke, pointing out Luke’s own view of himself as he thinks about helping the little girl he sees in the Grange: ‘it was a long time since he had done something good, or so it felt. He didn’t know why this was. Maybe he just wasn’t a very nice person any more… he found it hard even to talk to people nowadays’ (page 14).

Tell students that as they read on, they must track some key themes through the whole novel – all things that are important to Luke and his future. Distribute WS2a that identifies the five key things:

1. The oak tree2. Stars3. The girl’s voice4. Other sounds heard by Luke5. Any reference to a piece of music – title

and composer.

Give suitable groups of students one of the above five key themes to track. Page references

or very short quotations will suffice, as in the examples on WS2a – model doing this for students at first.

Read Chapters 4 and 5. Draw out the relationship between Luke and other characters as a shared focus.

TransformDwell on two key moments:

1. Page 28 ‘Luke, some time or other you’ve got to bring yourself to talk to me about Dad’. Ask one student to sculpt two other students into position as Luke and Mum when this is said. Ask other students to name the space between the two characters at this point, i.e. use an appropriate descriptive word, such as love, distrust, betrayal, disappointment, etc.

2. Do the same with Roger Gilmore and Luke when Luke says to him, on page 49 ‘I can’t help the way you feel.’

Distribute WS2b. Model the use of this sheet to place characters in relation to Luke, annotating to elaborate on relationships, as in the sculpting exercise. The Reading Guide also supports this activity. The drama activity can be repeated at any stage in the novel for a new character or for a change in the relationship.

Review and reflectAsk the students what has been learnt about Luke’s relationships with others, so far. How did the sculpting exercise help?

How does Luke feel about himself? Read for them again page 32 from ‘He closed the door behind him and this time… as dry and barren as the rest of his life’.

HomeworkStudents try mapping out relationships with a set number of characters – according to student needs. This is a continuation of work done in class.

A wall display copy of the relationships chart, enlarged, could be added to as students progress through the novel, including new characters as they emerge.


Worksheet 2aTracking key themes

Track one of the following:1. The oak tree2. Stars3. The girl’s voice4. Other sounds heard by Luke but not by others5. Any reference to a piece of music with title and/or composer.

Tracking of ____________________ by ____________________________

Page Word, phrase, fact – relevant to your focus

Continue on a fresh sheet.


Worksheet 2bLuke’s relationships – family and friendsCut out the character profiles below. Arrange them on a sheet of A3 paper to show the characters’ relationships with each other at the start of the novel.

When you have placed the characters, draw lines between them, adding labels which describe how the characters feel about each other, e.g. ‘uneasy’, ‘distant’, ‘detached’. Add further short comment that you think is important:

For example:

You can record these relationship patterns on a wall chart, adding more patterns as you meet more characters, or as their relationships change.

fear

distrustuneasy

Kirsti Stanton

Luke Stanton SkinLuke has not come to terms with the death of his father, and is uneasy with his mother.

Mum tries to help him but he pushes her away.

Skin Kirsti StantonLuke Stanton

Matthew Stanton Miranda Davis

Mr Harding Mrs Little Roger Gilmore Speed Daz


LESSON 3

Sub-strands: 4.1, 5.1, 5.2

Focus: Chapters 6–7Character

Learning outcomesStudents will be able to: Trace and collate points on writer’s

presentation of Luke’s musical talents Establish the function of Mr Harding in the

novel

EngageStudents peer review their character charts from homework. A class, shared version can reflect the consensus or show a variety of views.

Draw out key points about Luke’s relationships before moving on, asking particular students to explain their charts in more detail.

ExploreHow would students feel if they were Luke, given what we know of his situation and the characters around him? Briefly, hot-seat one or more of the class as Luke and ask other students to question him about the people around him. Remind them of Luke’s reflections at the end of Chapter 4. End by asking Luke – what is it that you really want? Some students may feel more empathy for Luke than others. Allow responses to be discussed.

Move on to ask, why does Luke keep hearing the girl crying? (Ask the group tracking the voice to comment on the number of times this has happened so far.) Why does he keep associating her with other important things in his life – music, his father, the forest? Is it associations with his childhood? Or is there some mysterious link between Luke and this girl? Use the Reading Guide page 8 to stimulate thinking. Re-read the dream sequence on pages 32–34 with students and invite them to interpret the dream.

TransformGive students WS3a to focus their reading (independent or group reading, as you prefer) of Chapters 6 and 7. Use guided work and WS3b with the group that have been collecting music references. As this is the most straightforward of the collecting tasks, this may be a lower-attaining group, and their guided work seeks to

consolidate inference and questioning. WS3a builds on skills practised in Lessons 1 and 2, so remind the rest of the class to use inferring, deducing and questioning as key strategies.

Remind students to continue their particular tracking exercise with the five key things (started in Lesson 2).

Review and reflectShare ideas about:a) Luke’s musical talent, e.g. he’s ultra-sensitive to sound, page 53; music ‘consumes’ him, like his father, ‘you have your father’s touch’, page 58, he’s so good that Mr Harding has no more to teach him.b) Mr Harding’s function in the novel, e.g. Is Mr Harding a father figure? Is he the only trusted male? Note that he speaks his mind and Luke accepts it. He knows that Luke is a genius but that Luke’s current mood prevents real inspiration.

Students decide what details about Mr Harding and Roger Gilmore can be added to their character relationship charts. These can be added to the displayed chart – the guided group could take responsibility for this.

What further questions arise? For example, will Luke’s mother marry Roger Gilmore? How does Miranda feel about Luke and vice-versa? Is the little girl’s voice some sort of inspiration to Luke, like it was to Tim Bowler? Record the questions so that students look for answers.

If there is time, play another piece of music mentioned in the text and model the homework task. (‘The Dance of the Blessed Spirits’ by Gluck would be appropriate as Miranda chooses this to play on her flute.)

HomeworkGive students a particular piece of music or musician mentioned in Starseeker to research, as appropriate to ability/need. They can continue this research as they read the whole novel. WS3c supports this task.

www.timbowler.co.uk/media-hi.html This website offers the key pieces of music used in the novel.



Worksheet 3aGroup task for Chapters 6 and 7

Luke has a special musical talent. What do these chapters tell us about his talent? How might it help Luke, as well as others, as Mr Harding suggests on page 55?

What do we learn about Mr Harding? How and why is this character important to Luke and to the story?

What words and quotations could you add to your relationships charts? Any more on Roger Gilmore, for example?

What further questions do these chapters suggest?


Worksheet 3bGuided reading plan

IntroductionTeaching intention: to consolidate inference and deduction, to focus attention on key points about a new and important character, to stimulate questioning as a strategy to increase engagement.

Strategy checkWhat reading strategies, that students have already used in reading Starseeker, will help to complete WS3a? (Infer and deduce about Mr Harding, Luke and Roger Gilmore; pick out points about Mr Harding or Roger Gilmore that will answer questions 2 and 3, ask questions.)

Example: Infer – Mr Harding understands Luke and manages Luke’s grumpiness, page 51, ‘Come and sit

down… I am sitting down… I mean away from the piano’. Pick out – Mr Harding seems to read Luke’s mind, page 52, ‘the old man seemed to catch his

thought’. Questions – Does Mr Harding act as a father figure? Why can’t Luke accept Roger Gilmore?

Independent readingStudents read the two chapters with the focus questions in their minds.

Sharing responsesTeaching intention: to identify that each student can: Pick out a detail from the text in answer to WS3a Make an inference based on the text in answer to WS3a – especially points about Luke’s musical

talents and feelings about others Frame a question based on these two chapters.

ReviewAsk students to rate their confidence in the three strategies by holding thumbs upwards, sideways or downwards for each skill.


Worksheet 3cComposer research

My musician is:

Date of birth and death:

Where he lived and worked:

Special things about him:

Piece of music mentioned in Starseeker:

When I listened to this piece of music I imagined:

Other things he is famous for:

A picture of your composer:


LESSON 4

Sub-strands: 6.2, 6.3, 10.2

Focus: Chapters 8–10(11 and 12 for homework)Tension and fear

Learning outcomesStudents will be able to: Analyse how a writer builds tension in

narrative

EngageAsk the class to recall what they know of Skin and to check the role-on-the-wall for him. This display needs to be developed during subsequent reading. Ensure students focus on his association with fire through his eyes, his violent actions (expressed in muscular verbs), aggressive language and his police record (page 41 gives examples of all these). Draw attention to his threats and prompt students to notice how these increase in intensity as Luke fails to meet his demands.

What does the reader fear Skin might do to Luke and why?

ExploreThe focus for reading in this lesson is on how Tim Bowler builds narrative tension in chapters 8, 9 and 10.

While reading Chapter 8, model to students the identification of points that create tension. For example, the opening sentence, Skin’s voice, knowledge that the house is occupied and Luke must break in, the delay in action as Luke asks questions, his thumping heart, the moonlight, the silence that meets him in the house (‘the house ached with silence’). As the description develops, tension drops when Luke does not find the girl in her room, but then suddenly increases when Mrs Little corners him at the end of a chapter. Mark the levels of tension on a scale of 1 to 5 on a tension graph (WS4a) – 5 being highest and o being the lowest.

Suggest to the class that tension is usually greatest when the reader is anticipating an event, or has a question that is not being answered. Writers create and build that tension in the reader by using particular words, phrases or techniques, as well as withholding information and suggesting threats and dangers. You could

ask the class to suggest what sort of music would be suitable to accompany Luke for his second break into The Grange, drawing together the musical theme and the building of tension in narrative. Students could also consider, if this episode was filmed, how would the camera be positioned? This would consolidate ideas about Luke as focaliser as the camera would most likely be positioned from his viewpoint.

TransformAsk students to read Chapters 9 and 10, looking for and noting levels of tension, using another copy of WS4a. For example, tension remains low once Mrs Little admits she has not contacted the police, but rises steeply once Luke faces Skin’s threats again. Encourage students to note particular words, phrases and techniques that help create tension.

Guided work can be done here, using WS4b to support a group of suitable students. This worksheet could also be adapted to support independent work.

Review and reflectStudents compare their ideas of tension. What words, phrases or techniques have the most effect on the reader?

What is Luke’s greatest worry now? This can be debated – is it Roger Gilmore? The little girl? Skin? Ask students to justify their ideas with textual evidence from Chapters 8, 9 and 10.

What is the reader’s greatest concern at this stage in the novel (i.e. what creates the greatest tension for the reader)? If it does not arise, draw attention to the reader’s sympathy for Luke: the receptive reader shares Luke’s fears.

HomeworkRead Chapters 11 and 12. Ask students to consider whether Luke’s relationships witha) his motherb) Mirandaimprove or get worse in these two chapters. Explain to students that they should be prepared to talk about their views in the next lesson.


Worksheet 4aTension graph

Mark a scale 1 to 5 vertically and put appropriate page numbers on the horizontal line.Then complete your graph showing the rise and fall of tension.



IntroductionTeaching intention: to consolidate the effective use of textual evidence to support a tension graph (WS4a).

Strategy checkCheck that students have understood how to use the tension graph to chart how a writer structures a reader’s response. In particular, check the use of textual evidence to support decisions, emphasizing the need to select just a few key words at key moments.

Example: How Chapter 8 starts with some tension (6/10) at The Grange at midnight ‘a scarier place than it

had been before’. How the threat from Skin remains, ‘eyes smouldering’, page 68. How tension increases as Luke sets off on his own, ‘no way out of this’ (7/10), and rises as he

climbs in ‘there were no sounds of movement’ (8/10). How the chapter ends with a climax when he sees Mrs Little, ‘Mrs Little standing in the doorway’

(10/10).

Independent readingStudents read Chapters 9 and 10 looking for the rise or fall of suspense, noting key words and phrases that they attach to those rises and falls.

Example: How Chapter 9 begins with suspense (10/10). Mrs Little has caught him, ‘a cordless phone in one

hand and a stick in the other’, page 75. How the tension stays high as she challenges him, ‘he felt only fear, fear of the consequences of all

this’, page 76.

Sharing responsesTeaching intention: to check progress and confirm that responses are backed up with relevant short and pertinent textual references.

ReviewStudents peer review their use of textual evidence to back up their judgment of tension levels. How effective is the use of a tension graph in helping them to notice how the writer is shaping their response to a situation?


LESSON 5

Sub-strands: 5.2, 6.2, 10.2

Focus: Chapters 13–15

Narrative interest

Learning outcome

Students will be able to:

Analyse how a writer chooses character, ideas and language to maintain narrative interest

EngageAsk pairs to tell each other what they felt about Chapters 10 and 11. Share a few opinions as a class, seeking ideas about how Luke’s mother and Miranda add interest to the plot. Ask students to identify where Miranda fits into the relationships chart. Suggest also that Mum and Miranda have particular functions in the plot, e.g. Luke’s Mum allows Tim Bowler to reveal Luke’s past, Miranda is the kind girl-friend that Luke really needs, and she’s the love interest!

Before moving on, dwell on the end of Chapter 10 – what was that final paragraph about? Read it through again to show how the language appeals to the senses: the contrasts in colour; the many sound effects (onomatopoeia); the way Tim Bowler conveys strong feelings through sentence structures.

ExploreRead the opening two paragraphs of Chapter 13. Ask a student to sculpt Skin into position for his words ‘Half an hour late…’. Ask another student to sculpt Luke into position. Before reading any further text, ask other students to suggest:a) what Skin is thinking – what he might say if he said what he really feltb) what Luke is thinking and feeling.

Ask a few students to stand behind a sculpted character and voice their inner thoughts. Sculpt Daz and Speed into the scene. What are their inner voices saying? What does all this reveal? What sort of conflict emerges? Is Luke’s conflict just with Skin? Are Daz and Speed thinking similar or different things? Is their a conflict inside Luke – his good and bad angel, as it were?

He lay back on the bed and stared up at the

ceiling. Darkness had not smothered it

completely; moonlight was breaking through a

gap in the curtains and throwing a limpid glow

over the surface. He closed his eyes and saw

under his brow the deep blue that had appeared

there before, and the splashes of gold against it,

forming slowly into a circle; and now, in the

middle, something new: a tiny white speck. The

sounds he had heard earlier started to pour

through him again. He heard the bell sound and

the flute sound and the harp sound and the

buzzing sound and the sound of rushing water,

all playing together in a weird, ethereal

symphony, then somehow, as he listened, it was

as though the different sounds all merged into

one: the deep oceanic roar that seemed to

pervade everything. He stared through the

golden circle at the white speck in the middle and

saw at last what it was.

A five-pointed star.

Starseeker pages 130–131

Repetition

Sentence length to add impact

Use of contrast, including light and dark

Vivid adjective(s)

Appeal to sensese.g. the word ‘limpid’ to describe the glow of the moonlight suggests a transparent frost-like shine which appeals to the reader’s sense of sight, and creates a ghost-like atmosphere.


Then read Chapters 13 and 15 with the class, focusing on why Luke is telling lies. Is he changing? Is he changing for the worse or for the better? Ask students to note textual evidence for their view. For example, ‘he knew he had to protect them somehow, especially the little girl’, Page 121.

TransformUse WS5a to carry out a short guided session on pages 130–32 to analyse the language. The group that have been collecting star references will run the review session, drawing on their WS2a collection of points and displaying the explanations they have composed. WS5b can be used with the guided group and adapted for the rest of the class, as required.

Review and reflectFollowing feedback, focus discussion on what sense the star/music/father theme is making currently. Are these ideas stimulating reader curiosity, or are they just baffling? Draw attention to how often light and dark are used as contrasts in the novel and ask students what they think this might represent (e.g. good and evil).

Ask students what interests them the most in their reading so far: character, ideas or language? All of these have been the focus of work on the novel so far. Advise all students to continue their WS2a tracking.

End the lesson by showing students the computer images that are generated by music on Windows media player screensaver, using the piece ‘The Snow Is Dancing’. Music available at: www.timbowler.co.uk/media-hi.htmlOr, if you prefer, use Powerpoint to show a slideshow of forest scenes as visual stimuli to accompany the music.

HomeworkAsk students to write up their language analyses. Set some students to write their explanations as full paragraphs, while others just complete a neat version of WS5a.

Worksheet 5aLanguage analysis

Draw an arrow to indicate an appropriate place in the text for the technique used. Add your own comment on its effect.



Worksheet 5bGuided work on language analysis

IntroductionTeaching intention: to develop students’ explanation of specific features of language.

Strategy checkAsk students to identify features of language that are used for effect, drawing on their previous work on language use in Starseeker.

Use WS5a to check student level of understanding of the key features.

Independent reading (only two or three minutes for this)Students’ re-reading enables them to pick out examples of each of the features required. If this is an able group of students, it can be completed swiftly.

Sharing responses (the bulk of the available time)Teaching intention: to develop detailed explanation of the EFFECT of the use of the language features. Student picks out a detail from the text in answer to WS5a. Student is prompted to explain the effect of that feature. Teacher prompts further detail from that student. Teacher prompts another student to develop further detail. Teacher models composing a complete comment to fill one of the boxes, to suit the level of the

students in the guided group. Students write in the provided boxes or add additional sticky notes to facilitate expanded

comments.

ReviewStudents pick out their best explanation. All students view those best explanations and decide what makes them effective (i.e. the success criteria for explanation of a writer’s language choices). Depending on the nature of the guided group, these can be shared and explained in the review/reflect part of the whole lesson with the class. If this is an able group, the models could be very helpful for the homework task, scaffolding the attempts of lower attainers.

If some students need more scaffolding with the homework task, fill in further boxes for them, or identify more examples of features for them. Set some students to write their explanations as full paragraphs, while others just complete WS5a.


LESSON 6

Sub-strands: 5.1, 5.2

Focus: Chapters 16–17Character

Learning outcomeStudents will be able to: Comment on the writer’s presentation of Mrs

Little and the little girl, using textual evidence

EngageRemind students of their wider reading and allow pairs to discuss what they are currently reading before a brief class sharing of titles and responses. Draw any comparisons with Starseeker that have been noted, allowing students to consolidate ideas on character presentation, for example, even if only on a very basic level at this stage.

Review the story of Starseeker so far. Make some predictions about Luke’s next actions. How will he manage Skin? And Roger Gilmore? Will he return to see the little girl?

ExploreFor a quick paired and note-making activity, ask students what is already known about Mrs Little. Use WS6a to support the task. This worksheet can be differentiated by adding to or reducing the examples given. With the class, start drawing up a verbal portrait of Mrs Little from what we have encountered of her so far in the novel. Pick out points and supporting quotations (reminding the class of the process used with Skin and others). Some of the class can continue working on her profile in pairs, while others do the same for the little girl whose voice is heard (Natalie, as we told in Chapter 16). The group that have been tracking the voice, should work on Natalie to consolidate their special knowledge of this character.

Then focus on the shifting presentation of Mrs Little as you read Chapter 16 with the class. Ask: what does Tim Bowler want the reader to think of Mrs Little in this chapter? Prompt the class to track changes in Mrs Little’s tone of voice, noting adjectives, adverbs and phrases

that are used to describe her, e.g. she begins by being ‘frosty and hard’, her voice becomes ‘a little softer’. Pause at the end of the chapter to consider the story of Natalie’s arrival at The Grange. If we had been Luke, would we have questions we’d ask her? Record these questions for future reference.

TransformThe class read Chapter 17 by themselves, focusing on how the reader feels about Natalie, noting how she is presented by the writer. Suggest they look for the way Tim Bowler uses language to describe the little girl, and the way she and Luke respond to each other. Encourage students to draw on their previous work on identifying language that appeals to the senses and the way sentences can be ordered to build emotion.

Following the reading, ask the class to note down what they have learnt about Natalie from these two chapters.

Review and reflectShare ideas about Natalie, e.g. how her smallness makes her intriguing; how Luke is drawn by her eyes and her shyness; how he is attracted by her love of his music; how she creeps up to him in stages; how they share their ‘funny ears’; how Tim Bowler makes Luke’s sensitivity to Natalie something that is shared by the reader.

Reflect on these two chapters. Question what effect Mrs Little and Natalie are having on Luke (he is softening and being more open to others, he’s caring about his playing because he has a receptive audience in Natalie). Where would students place Natalie and Mrs Little in Luke’s relationship chart (completed in Lesson 2)?

HomeworkUsing existing notes (continuing WS6a), add to the profiles of Natalie and Mrs Little drawing on Chapters 16 and 17. Be prepared to add words to the display copy of the character relationships chart for Mrs Little and Natalie.


Worksheet 6aCharacter analysis

Use this worksheet to collect notes about what we know about Mrs Little and the little girl. Back up your notes with quotations.

Mrs Little

Use the following to get started:‘She snaps if anyone goes near her house’ (page 2).She is thought to be ugly: ‘That is one seriously ugly old woman’ (page 2).She knows who Luke is (page 75) and that his father has died (page 81).She wants Luke to do something to help the girl (page 82).

The little girl

Use the following to get started:She is ‘nine or ten years old… with short black hair’ (page 10).She is easily frightened and she cries frequently (page 10).She’s blind (page 79).She’s Mrs Little’s granddaughter (page 82).


LESSON 7

Sub-strands: 5.1, 6.2, 10.2

Focus: Chapters 18–20The title

Learning outcomeStudents will be able to: Consider the choice of Starseeker as a title

for the novel

EngageStudents peer review language analysis of pages 130–2 (set as a homework task after Lesson 5). As a class, note what makes a good explanation of the effect of language (i.e. detailed, relevant exploration of why the writer has selected particular words and phrases, NOT paraphrase. Comments like ‘this word has the effect of…’ are helpful).

Does that section explain the title? On the basis of this description, what are the students’ feelings about the cover design? Would they want to change it in any way? Use WS7a to show some alternative covers that have been used for Starseeker. More covers for different editions can be found on the internet, including some playscript versions.

Encourage students to discuss the pros and cons of the alternative covers. Ask them for their own ideas about a new cover for Starseeker, encouraging them to justify their choices.

Some students may feel that the cover, most of all, needs to be a contrast of light and dark. If this point does not arise, suggest, and ask for comments. This can be picked up later to explore the novel as a struggle for Luke between good and evil. Maybe students who have been collecting references to one of the five key things are biased in a particular direction – allow them to justify their bias.

Suggest that the next few chapters will provide more exploration of the ideas that gave Tim Bowler his title. But point out that ‘Starseeker’ was NOT his original choice, as they will soon discover.

ExploreBut first, the reader needs to think again about Miranda. Ask the class to read Chapter 18. Is Miranda a help or a hindrance to Luke? Justify opinions before moving on. What predictions do

the class have about Miranda and Luke and what makes them think this? Draw on previous discussions of her role.

Then read Chapter 19 with the class – does this help to explain the title? Is the meaning of this clear to the students? What still needs explaining? Have dictionaries available for checking the meaning of some of the more challenging vocabulary in this chapter.

TransformUse the Reading Guide pages 9 and 10 to pull together ideas about the title that have already been suggested to the reader and to open the topic of synaesthesia. This could be done as a whole class or group activity. The Reading Guide suggests several questions to explore that can be followed through into the review session. You may wish to use an ICT suite for this lesson to allow students to access the websites on synaesthesia as they are introduced to it or this theme can be pursued later.

Follow up this study with the reading of Chapter 20 with the class, focusing on the problems that Luke still has to overcome. Draw attention to the way Luke describes himself as a child lingering at his father’s music room doorway rather as Natalie did. Are there links between the two as children?

Review and reflectWhat problems does Luke still have to resolve? Roger Gilmore seems to have gone from his list, but Skin is very much present and still threatens with his stone throwing: ‘he found Skin’s menace terrifying’ (page 175). If Luke is the starseeker of the title, has he found his star, yet? What is his star, do the class think?

HomeworkMusical research – find out if your composer is known to have experienced synaesthesia. Or give the option of researching synaesthesia itself. Two books which explore this concept are: Blue Cats and Chartreuse Kittens: How Synesthetes Color Their Worlds by Patricia Lynne Duffy, and The Frog Who Croaked Blue: synesthesia and the mixing of the senses by Jamie Ward.

Earlier musical research should also be completed before the next lesson, and students should continue to keep a record of the five key themes that they started to trace in Lesson 2.

http://www.amazon.com/exec/obidos/search-handle-url?_encoding=UTF8&search-type=ss&index=books&field-author=Patricia%20Lynne%20Duffy

http://www.amazon.com/exec/obidos/search-handle-url?_encoding=UTF8&search-type=ss&index=books&field-author=Patricia%20Lynne%20Duffy


Worksheet 7aAlternative covers


LESSON 8

Sub-strands: 5.1; 5.2, 6.2, 10.2

Focus: Chapters 21–22Theme of music

Learning outcomesStudents will be able to: Recognize the importance of the musical

theme in the novel in relation to Tim Bowler’s interest in music

Analyse language used to convey this theme

EngageSelect another of the pieces of music mentioned in Starseeker and stored on Tim Bowler’s website to play as students enter. Pictures to accompany the music also could be projected – natural scenes related to those mentioned in the novel would be appropriate.

Remind the class of Luke’s special hearing: have this on the board: ‘You hear lots of things, the way your father did’ (page 101) and ‘Funny ears’ (page 156).

What other factors have told the reader that Luke has extraordinary hearing?

Address this question before moving on, drawing particularly on the group that have been collecting all references to Luke’s powerful hearing.

ExploreStart with the students’ research findings on their musicians – they could present their findings in groups of students who have researched different musicians, or individuals could share their research with the whole class. Then, using the Reading Guide pages 9 to 11, explore the musical theme in the novel a little further. Start with the music quiz and test how much the class have learnt from each other about the musicians.

Before moving on, ask the class, now they know about synaesthesia, if any of them respond to music in colour? Or in shapes, as Luke does?

Read Chapters 21–22 and relate the content to the discussion on the title. Pause, in particular, to question the class about Mr Harding’s comment on the sheet music of ‘Reverie’ that he

gives to Luke (page 200). What journey does Mr Harding mean? Pull together thoughts on tree, music, star – returning to the Reading Guide and/or seeking group comments (drawing on their WS2a task) to support this, to suit the class.

TransformWith the class, read Tim Bowler’s own comments on music, using WS8a. Then, skim Tim Bowler’s list of the pieces of music that he mentions in Starseeker, on WS8b. Have the group collecting musical references spotted anything that has not been mentioned? Discuss the questions on WS8a before moving on.

Then, give students guided, group or independent work on the novel’s musical theme. Explain that they need to analyse a short section of text from the novel, printed on WS8c, about music (apportion the three alternatives to different groups in the class). This builds on the previous skill of language analysis practised in Lesson 5, and for homework for Lesson 7. If necessary, remind students of the features of language analysis that they decided were most effective. If you wish, pick out a detail of one of the passages to model good exploration of language use. WS8d structures this task for all and can be used or adapted to guide a selected group of students.

Review and reflectFor detailed review, display a copy of each text on a whiteboard or OHT so that students can present their ideas to each other. Encourage students to articulate their ideas fully to build a wide range of ideas to meet the challenge of the homework task.

Students should now be more aware of the way a writer’s interests feed into the themes of a novel and influence how that theme is handled.

HomeworkStudents redraft or complete their language analysis from this lesson as short written paragraphs. For some students, you may wish to encourage a more detailed analysis than for others, according to ability level.

I come from a very musical family. My mother and father play the piano, I play the piano and my brother Graham (two years older than me) plays the piano. (I have no other brothers or sisters.) On my father’s side, my great grandfather was a self-taught musician who ended up playing the organ in church and my great aunt was a concert pianist. On my mother’s side, my grandmother (called Nan, to whom Starseeker is dedicated) was also a brilliant pianist. Like my great aunt, she could play anything. If you put a piece of music in front of her, she’d just play it straight off. If it was a song and the key was too high or too low for you to sing, she’d transpose it from the printed score. If she didn’t have the music but knew the tune, she’d just play it by ear. She died at the age of 98 and was playing the piano well into her 90s. During the First World War she used to entertain the troops. She sometimes went to prisoner of war camps and played to the inmates. She had an extraordinary musical gift and was a massive influence on me.

My brother Graham has inherited a similar gift. He’s not a professional musician but he can play pretty much anything. Like Nan and my great aunt, he is omnivorous in his musical tastes. He likes to play classical, jazz, anything. It was through Graham that I first heard about colour in music. I remember when he was a boy that some notes made him see particular colours. For example, he had a certain note that he said gave him what he called a ‘luxurious blue colour’ and another note that gave him a ‘pillar-box red colour’. He doesn’t now remember what these notes were and he no longer experiences colour with sounds. He also has one-directional perfect pitch, i.e. if you play a note on the piano, he will tell you what it is but if you ask him to sing a B, for example, he may find that difficult. He is extremely sensitive to the temperament of an instrument. If a piano is out of tune, he can still tell what the correct note should be.

I am also very musical. I do not have my brother’s technical ability at the piano, nor do I possess perfect pitch, but I am extremely sensitive to sound and music has always had a profound effect on me. I started studying the lives of the great composers seriously from the age of about twelve. I was interested to find that some of them also experienced colour in music. Sibelius was a particular example. His biographer recorded how he saw colours with all notes. He had absolute pitch and could both recognise and sing any note he chose. He also experienced other senses in relation to sound. For example, he sometimes had gustatory experiences with music. An unpleasant sound would give him not just a corresponding colour but also sometimes a metallic taste in his mouth. Other composers who apparently saw colour in music include Messiaen, Scriabin, Liszt and Rimsky-Korsakov. The technical term for this crossing over of two or more senses is synaesthesia and some of the things experienced by synaesthetes are extraordinary.


Worksheet 8aMusical theme

Read the following explanation from Tim Bowler. How does it increase your appreciation of the musical theme in Starseeker? Does it illuminate any other aspect of the novel?

On Worksheet 8b, you will find Tim Bowler’s list of the music that he uses in Starseeker. He adds quotations from the novel about those pieces of music. What do they all suggest about Tim Bowler’s interest in music?


Worksheet 8bTen key pieces of music in Starseeker

1. Gluck: ‘Dance of the Blessed Spirits’ (from Orpheus and Eurydice)“ ‘The Dance of the Blessed Spirits’ turned out to be exactly that. As the notes cut through the air, he felt as though all the dancing spirits he had sensed in that magic world of light and sound were here again, moving endlessly around them.” (page 306)

2. Grieg: ‘Peace of the Forest’ (also called’ Peace of the Woods/Woodland Peace’), Opus 71 No. 4 of The Lyric Pieces“The first two chords reminded him of distant bells, then came the soft singing melody, the left hand running up and down with a slow rhythmic bass while the right hand picked out the tune; and suddenly it was all bells, bells ringing in a forest. He saw pictures flooding his mind as she played, pictures of Buckland Forest, of lush green canopies, of leaves dripping with dew, of light pouring through treetops.” (page 32)

3. Debussy: ‘The Snow is Dancing’ (from The Children's Corner Suite)“Luke started to play ‘The Snow is Dancing’. He hadn't expected to know the piece but the moment he started it, he recognized it. Dad had played it several times. It wasn’t the wistful tune that even now was singing in his head like a cross-current of melody, but it was beautiful in itself and he played on, gradually settling into the music; and before long the snow was dancing in pictures before him.” (page 58)

4. Grieg: ‘I Love Thee’ (also called Ich Liebe Dich)“She was humming the tune of ‘I Love Thee’ by Grieg, the piece Dad used to play for her. She wasn’t humming boisterously, just very quietly to herself, almost as though she didn’t want him to hear her. Perhaps she didn’t realize that he could… He sat down at the piano, propped open the music in the holder and started to play.” (page 137)

5. Ravel: ‘Pavane’ (also called Pavane for a Dead Infanta/Pavane pour une Infante Défunte’)“He started to play again, Ravel’s ‘Pavane’ this time, a piece he hadn’t played since he was Natalie’s age, but he remembered it well enough. It was perhaps a little mournful and he wasn’t sure he should be playing something that had once been written in memory of a dead child, but in a strange way the music seemed to mirror the mood he felt.” (page 152)

6. Grieg: ‘Nocturne’, Opus 54 No. 4 of The Lyric PiecesHe played on, Grieg’s ‘Nocturne’ this time, and very quietly. The girl was barely a few feet from him. She had made her way towards him with lots of stops and starts but now she was almost within touching range. He glanced at her as he played, feeling slightly nervous at her closeness, and anxious in case he frightened her again. He took the lively section of the piece much more slowly than it was meant to go, and with no crescendos at all. Too much sound and movement and he felt certain he would lose her again.” (page 153)


Worksheet 8b (continued)

7. MacDowell: ‘To a Wild Rose’“He chose ‘To a Wild Rose’ by MacDowell. It was nice and simple and it seemed a good piece to play for Natalie right now. He glanced down at her. She had turned back towards him and her eyes were darting about the room as though the notes were flashes of light and she was trying to catch them.” (page 155)

8. Tchaikovsky: ‘Reverie/Douce Reverie’ (also called ‘Daydream/Sweet Dreams’) from Album for the Young, Opus 39“Luke played; and as the notes moved, so the presence of his father – still close by – seemed to move, too, through his fingers, through the music, through all his emotions. He played on, fighting hard to keep his composure, but the poignancy of the piece, and the thought of his father playing it all those years ago, mastered him… He stood up and let Mr Harding take his place on the piano seat. The old man’s hands stretched out and he started to play, at the point where Luke had left off. Luke closed his eyes as the melody ran through him.” (page 198)

9. Scriabin: Etude, Opus 2, No 1“He played on and tried to lose himself in the music. At least the Scriabin étude was a beautiful piece. He hadn’t heard it before but he was glad to now. There was a yearning to it, a beseeching quality, especially in the opening phrases. He played it again and again, each time a different way, and each time growing to love it more… Strange to think that this piece had been composed by a boy about his own age.” (page 298)

10. Luke's own composition: the piece he plays at the concert at the end of the book.

Passage A: page 32

It was the sound of the piano down in the music room. He listened, his eyes closed. It was so long since Mum had played but he knew this piece at once. He’d played it himself enough times, though not for a couple of years: ‘Peace of The Forest’ by Grieg, Mum’s favourite composer. It was good to hear it again. The first two chords reminded him of distant bells, then came the soft singing melody, the left hand running up and down with a slow rhythmic bass while the right hand picked out the tune; and suddenly it was all bells, bells ringing in a forest. He saw pictures flooding through his mind as she played, pictures of Buckland Forest, of lush green canopies, of leaves dripping dew, of light through treetops, and then – to his surprise – the girl’s face, her black hair brightened by the sun; and she wasn’t frightened: she was laughing, singing even, and he was with her, in the forest, in the music.

Passage B: page 183

He thought for a moment of what to play, then remembered ‘Peace of The Forest’. He hadn’t played it for ages but his fingers found the notes at once, the two opening chords that made him think of distant bells, and suddenly the music was flowing out of him like running water, the song of the forest speaking through the notes… He played on to where the bell-like chords came back, his mind running ahead as he tried to remember how the music went; but his fingers knew the path… The bell sounds returned, more softly, the slow final chords opening like petals. He felt the rustling of leaves, the movement of treetops, the stillness of hidden glades; then silence. The forest slept.

Passage C: page 198

And Luke played; and as the notes moved, so the presence of his father – still close by – seemed to move, too, through his fingers, through the music, through all his emotions. He played on, fighting hard to keep his composure, but the poignancy of the piece, and the thought of his father playing it all those years ago, mastered him. He stopped, halfway through. Before him on the page, the printed notes awaited his attention; yet he could not play them. He felt Mr Harding’s hand on his shoulder.

“Stand up, Luke. Let an old man have a try.”

He stood up and let Mr Harding take his place on the piano seat. The old man’s hands stretched out and he started to play, at the point where Luke had left off. Luke closed his eyes as the melody ran through him.


Worksheet 8cMusical analysis

Choose one of the following short passages.How does Tim Bowler use language to suggest Luke’s (and his own) interest in and love of music?(Use Worksheet 8d for further guidance.)


Worksheet 8dGuidance on language analysis

Select one of the three passages for close comment using the skills of language analysis. Remember, it is the effect of the language choices, not just spotting the language feature that really counts.

In your group, you could explore: How the writer appeals to the reader’s senses (including sound effects in the actual language, like

alliteration or onomatopoeia; visual effects like similes and metaphors; words that suggest textures or touch) and what effect these have on the reader.

The effect of the use of repetition (both words and phrases). The effect of the use of contrast (light/shade, loud noise/soft noise) The effect of the use of vivid vocabulary (adjectives, verbs, nouns). The effect of the length of sentences and the order of the words in the sentences – do they create

feelings or suggest the musical melody? Anything else that you think contributes to the impact of the writing to suggest Luke’s and Tim

Bowler’s interest in and love of music?

Annotate your copy of your passage to provide prepared comments to feed back to the class.


LESSON 9

Sub-strands: 4.1, 5.1; 5.2

Focus: Chapters 23–26 (25 and 26 for homework)Character and mystery

Learning outcomesStudents will be able to: Synthesize points from across the narrative Explain reasons for changing the reader’s

response to Mrs Little

EngageWith the teacher in role as Mrs Little, students should be encouraged to address questions to her, trying to uncover more about her. The teacher must keep up Mrs Little’s cold façade, softening only at the mention of Natalie and the soothing potential of Luke’s piano playing. She must remain absolutely closed on certain subjects, only revealing as much as is known currently. However, hints that she has more to her past than has yet been revealed are allowed.

Use this activity to summarize how the class, as readers, feel about Mrs Little. Consider how Tim Bowler has shaped our response by presenting her from the outset from the outside, and at first, through Skin whose judgements are not perfect!

ExploreBefore reading on, ask the class to consider how the reader’s response to Mrs Little develops as they read further. Chapter 23 deals with Luke’s problems at school first, but Chapter 24 takes us back to Mrs Little. Read and trace shifting empathies. Then distribute the Reading Guide and ask students to read page 14 of the Reading Guide to begin to uncover some important contextual details about Mrs Little’s life and misfortune.

TransformAsk one student to sculpt another as Mrs Little as she might be when she looks through the contents of her precious box – what does each photograph and item in the box mean to her?

Divide the class into groups of five or six. Each group should take responsibility for one of Mrs Little’s precious things (these are listed on WS9a which supports this task). Each group must compose a short monologue for Mrs Little,

based on what she might think or remember as she holds that item in her hands and looks at it. Each group must write two copies of their monologue, one of which they keep and one which they give to Mrs Little. In the presentation of this work, the student sculpted as Mrs Little must pick up each item in turn. As she handles it, the group who have written her thoughts about this item must read the words aloud. Finally, the teacher reads out the letter about Mr Little’s death as it appears in the novel. One of the pieces of music featured in the novel can be used as background music to this whole activity to give it greater impact.

Review and reflectAsk the class how their perceptions of Mrs Little have changed. Did the sculpting exercise increase their sympathy? Why or why not? How do they think Luke feels about her when he looks through her box?

Students may wish to add to their notes on Mrs Little or change the words that name the space between Luke and Mrs Little on the displayed relationships chart.

Before concluding, dwell on very last part of Chapter 24. What is the bracelet that Luke finds? What would any member of the class have done with the bracelet if they had found it? Why does Luke take it? What will it prove to be?

HomeworkRead Chapters 25 and 26 to find out how Luke responds to finding the bracelet. Without reading further, ask students to predict what he might do next.


Worksheet 9aMrs Little’s precious things

Cut into separate cards for student groups.

A photograph of a young man by a Spitfire. On the back are the words – ‘Bill at Biggin Hill August 1940’.

A photograph of several young RAF pilots all in flying gear at the airfield, playing cards with planes in the background – many of them smoking.

A photograph of a group of young RAF pilots playing football.

A photograph of Bill (dressed in RAF uniform), sitting on wild grass near an airfield, alone, whittling a stick.

A photograph of Bill with a young woman standing outside a pub – smiling and arm in arm – words on the back say ‘Bill and me outside the Black Horse August 1940’.

A folded piece of paper and a tangle of brown hair.


LESSON 10

Sub-strands: 6.1, 6.2, 10.2

Focus: Chapters 27–28The escape

Learning outcomesStudents will be able to: Analyse and evaluate the writer’s language

choices to build to a climax Trace the development of the threat of Skin

to Luke’s safety

EngageDiscuss what did Luke did when he found the bracelet and why.

Using the Reading Guide page 12, consider Luke’s secretiveness. Is it acceptable that he lies? Then ask pairs to discuss what they think about Luke taking Natalie? What questions would they like to ask him at this stage?

Organize a brief hot-seating exercise to reflect on his action. Was it the right thing to do?

ExploreRecall how narrative tension is built by a writer, listing the key features. What level of tension did students feel at the end of Chapter 26?

Read Chapter 27 with the class. Trace how Tim Bowler tackles this climax in the plot strand involving Natalie/Barley. Pick out a few examples of language that creates narrative tension, building on skills developed in Lessons 4 and 5. Suggest that the use of contrast, in particular, becomes crucial at the end of the chapter.

As on previous occasions, chart events and tension strategies (including words, phrases or key passages) on a copy of WS4a (the tension graph used previously). What is the students’ response to events at the end of Chapter 27? Do they find what has happened unexpected? Or predictable?

TransformAsk students read Chapter 28 for themselves, or if you prefer in small groups, and use another copy of WS4a to continue charting events, tension strategies and key words or phrases or key passages.

As they finish the chapter, and after taking initial responses, return to the Reading Guide page 12 from ‘Now The Bullies’. Look in more detail at their response to the climax in Chapter 28? How does the writer make them feel? They must begin to analyse their response to Skin’s final act of cruelty, and how the writer has prepared the reader for this act from the outset. This work builds on both their sense of narrative tension/structure and their skill in language analysis.

A group of students could be guided through this work using WS10a and b, which can also be used or adapted to supplement pair or independent work based on the Reading Guide.

Review and reflectAsk all students to keep full notes from this feedback session as it will be the basis of their homework.

Agree the stages in Skin’s threat to Luke, plotting on a flow diagram as prompted on page 13 of the Reading Guide. Explore how Skin’s threat to Luke provides effective narrative tension in the novel, drawing out student responses and recording key points. Mention, for example, Tim Bowler’s initial presentation of him, the imagery of fire suggested from the outset, his association with violent and muscular verbs, Skin’s own violent language of threat, how his presence often cuts across a moment of peace for Luke (page 92, page 132), Luke’s constant concern about the threat expressed in desperate questions, Skin’s escalating punishment of Luke feeding the readers’ sense on impending danger.

Briefly explain the homework task which draws heavily on the discussion in the review section.

HomeworkAsk students to answer the question: How does Tim Bowler use the character of Skin to provide narrative tension in Starseeker?

Or, ask them to complete the flow diagram which shows the progress of Skin’s threat to Luke from Chapter 1 to Chapter 28.


Worksheet 10aSkin’s acts of violence


Skin’s eyes … like looking at two black flames p4

The flames in his eyes now seemed darker, deeper, hotter p6

Skin’s eyes… it was like watching a black fire reaching out to choke him p37

Next time you’ll do the job properly… don’t try and avoid us… well find you p17



IntroductionExplain to the students that they are learning to recognize how Tim Bowler has structured the development of Skin’s treatment of Luke to create narrative tension.

Read through page 12 in the Reading Guide with students, following the questions and drawing attention to the idea of Skin’s violence against Luke gradually increasing to create narrative tension. Tell the students that their task will be to collect references to Skin’s violence against Luke to see if this is correct.

Strategy checkCheck that students recall how to skim a text to look for references to a particular character. They will need to look at the chapters in which Skin appears – if necessary use the navigator to identify the appropriate chapters to support some pupils. Take them through some early examples to model how to use Worksheet 10a. Three references are already given in the Reading Guide.

Independent readingStudents use Worksheet 10a to fill in short references to the escalating violence, together with page numbers. Students may work in pairs.

Sharing responsesCheck progress and share the collected references. Ask the students how far they think the reader has been prepared for the climax in Chapter 28. If they did anticipate the climax, did it create narrative tension for them?

ReviewConclude the guided group work by asking them what they have learnt about how a writer can use character and events to create tension.

Oxford Rollercoasters: Starseeker © OUP 2009. This may be reproduced solely within the purchaser’s school or college 39


LESSON 11

Sub-strands: 4.1, 5.2, 6.3

Focus: Chapters 29–30Resolution

Learning outcomesStudents will be able to: Express responses to a writer’s structural

choices, drawing on textual details Trace the importance of the theme of

bullying through the novel, and consider other themes

EngageFollow up previous homework by an initial peer review of their work on Skin’s role in the novel. You might like to tell the class that Tim Bowler did base the character of Luke on someone he actually knew, but that he is certain that the real person would not recognize himself!

Set homework for this lesson – to write a newspaper report about Luke’s accident. Model the use of WS11a to support this writing task, reminding students that a newspaper report must focus on who, what, where, when and why and use language economically to pack in the interesting facts. The worksheet can be adapted to suit individual students.

ExploreReturn to the Reading Guide to reflect on the theme of bullying and lies in the novel – set up the conscience corridor for Luke as suggested on page 13. How does this make the students feel about Luke and the decisions he had to make?

Then ask the students what they think needs to be resolved in relation to the theme of bullying and lies before the end of the novel. (For example, Mrs Little’s lies. Will they be forgotten and forgiven?)

What other themes can the students identify in the novel? Pairs or trios of students should use the diamond ranking exercise on WS11b to prompt ideas and lead to discussion. Ask the students to rank the given themes into a diamond shape – the most important one at the top, then two more underneath that, and three

more underneath those, and so on, until they have a diamond shape. Tell students that they may add other themes and remove any not wanted, but they must keep to the nine choices. Before moving on, ask students to justify their choice of theme. Suggest that some of the themes may have contrasting counterparts, e.g. if ‘belonging’ is a theme, then is ‘not belonging’ also important to consider? If ‘love’ is a theme then ‘hate’ is also crucial, thinking of Skin and even Luke with his hatred of Roger Gilmore. Allow students a few minutes to reflect on illuminating opposites to the themes on the cards.

Ask students what is still left unresolved in the novel. Even though Skin is no longer a threat, Natalie is safely at home with her parents, Luke still has some problems to overcome. What are they?

TransformExplain that WS11c contains a chart tracking different strands of the plot. You can adapt this chart to meet particular needs of the students, but use it in a form that enables you to model how it works, i.e. a cross is placed when a chapter tackles an aspect of the plot. Leave blank the last few chapters so students can fill in the crosses for the end of the novel.

As groups or individuals, read Chapters 29–30. Ask students to complete the filling in of the chart and to reflect on how the different strands have worked together so far.

Review and reflectBriefly review the content of Chapters 29 and 30. Having filled in the chart on WS11c, students should be able to see what has been resolved (Luke’s relationship with his mother and, in particular, Roger Gilmore taking a turn for the better. Roger’s bravery in rescuing Luke is a key factor. The fate of the other boys in the gang is addressed – justice has been done). They can also see what is left to be resolved in the remaining three chapters.

HomeworkWrite the newspaper report of Luke’s accident which was explained earlier. WS11a supports this task.

Local boy, Luke, son of the famous pianist, Matthew Stanton, had a narrow escape in the Buckland Forest last week…


Worksheet 11aLuke Stanton – Forest FireUse the following prompts to plan your newspaper article:

1. Compose an attention-grabbing, descriptive and short headline.2. Answer all the questions below in as few words as possible, packed with facts to inform and

entertain your local readers. Make it sound interesting by using lively vocabulary and short, clear sentences. When did the event occur and where? What happened? Who was hurt and how? Who was responsible? Why was it done? How was he saved and by whom?

In between your answers to the questions, add any suitable eye-witness quotations, saying who said them, and who they are. Use characters from the novel.

End with a concluding comment – was there any lasting damage? How is Luke, now?

You could begin:

Belonging

LoveHope

Rebellion Genius

Redemption

Healing

MusicFriendshi

p Trust

AngerGrief


Worksheet 11bSome themes

Choose nine of the themes below (or identify your own) and rank them in order of priority in a diamond shape, with the most important at the top.

Be prepared to justify your choices.


Worksheet 11cStrand trackerMain plot strands Chapters

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33Mrs Little and Natalie

X X X X X X X X X X X X X

Luke and the gang

X X X X X X X X X

Luke and his father

X X X X X X X X X X

Luke’s musical growth and Mr Harding

X X X X X

Luke, his mother & Roger Gilmore

X X X X X X X X X X X X X

Luke and Miranda

X X X X X

Adapt this chart to include different headings or plot strands. Blank out XXXs to suit needs and level of challenge required.


LESSON 12


Focus: Chapter 31Resolution

Learning outcomesStudents will be able to: Consider the overall effect of the writer’s

presentation of Mrs Little on the reader Interpret the role of Natalie and Mrs Little in

the plot and themes of the novel

EngagePoint out to the class that Luke’s last meeting with Mrs Little was when he took Natalie. Can he return to see her again? Must he do so? Why? Why not? Ask the class what Mrs Little and Luke might have to say to each other when they next meet, if they do. What might make the meeting really tricky? Encourage pairs to discuss ideas and try out some possible conversations. Ask one or two pairs to show their conversations to the class. Agree how difficult such a meeting might be for both parties.

ExploreRead Chapter 31 to uncover what actually happens and explore the feelings that emerge. Who do they think is being most responsible and mature here? Ask them to recall Luke’s first meeting with Mrs Little when she criticises his behaviour. What has happened in Chapter 31? (role reversal)

Explain that the class are now going to reflect on the whole strand of the plot that involves Luke, Mrs Little and Natalie.

TransformUsing the series of meetings with Mrs Little as the basis for a rolling theatre, give small groups of students different sections of the novel to dramatize. WS12a sets out six mini-scenes and a very short seventh scene. Students rehearse their section of the text (two groups can do the

same section). When the groups have had sufficient time to become familiar with their section, each group performs in order. The performance must begin with a still image and end with a still image.

In between each group’s performance, use the Scriabin Etude as link music until the very last scene when it must change to Reverie. That last scene in the rolling theatre will be Luke reflecting on Natalie at the point where Luke sees how his life has been transformed by his connections with her – ‘lost and found…’, page 300.

Following the performance, ask if the rolling theatre has altered their response to or thinking about this strand of the plot which involves Mrs Little, Natalie and Luke. Explore responses.

Review and reflectAsk how these three characters contribute to any of the themes identified in the last lesson. Recall how Natalie’s voice is the first topic to be mentioned at the start of the novel. What did her voice set in motion for Luke?

Finally, ask what’s still left to be resolved. Use WS11c to mark up the completed strands of plot and identify the final piece of the jigsaw. Do all plot strands HAVE to be tied up in a novel? Will they be in this novel? This question leads into the homework task.

HomeworkStudents make notes on how they would like Starseeker to end, and reconsider the suitability of the title.

They must also ensure they have completed the reading of at least one other book on the Pathways list, ready for discussion in Lessons 14 and 15. Some students could be asked to find and bring in a website review of the novel they have been reading to assist Lesson 14.


Worksheet 12aStages in the relationship between Luke and Mrs Little

Scene 1

Luke creeps across a room where he has seen the precious box that Skin wants. He hears a small, delicate cough and turns round. Mrs Little stands in the doorway. She has a mobile phone in one hand and a stick in the other.

Mrs Little: (Contemptuous and critical) Don’t you even think of running. I know exactly who you are. You’re Luke Stanton. You hang around with those louts from the village. I’ve phoned the police. (In a softer tone) You can come out now. He’s not going to hurt you.

Natalie: Nana, Nana.

Mrs Little: Here darling. (She comforts the girl and strokes her hair) Don’t you want to say hello to him? (The girl hides behind Mrs Little)

Luke: Hello …

Mrs Little: (Looking crossly at Luke) She’s terrified of you.

Luke: I’m not going to hurt her.

Mrs Little: I know you’re not. You’re not like the boys you’re stupid enough to hang around with. And you play the piano. Like your father – Matthew Stanton. I read about the cancer.

Luke: I don’t want to talk about this. Do what you like about the police! I’m going home.

Mrs Little: You’re going to help her

Luke: How can I help her?

Mrs Little: You want to rage against the world because the world took away your father. But now you’ve got the chance to do some good. I want you to come here again for her…


Worksheet 12bStages in the relationship between Luke and Mrs Little

Scene 2

Luke calls at The Grange as Mrs Little has asked. She sits with him in her sitting room. He looks around nervously.

Mrs Little: (sharply) You’re not here to get to know me or for me to get to know you. You’re here to help Natalie. Any visits you make to this house will remain secret. I will tell no one. You will tell no one. Is that absolutely clear?

Luke: Okay, but you still haven’t explained how you want me to help her.

Mrs Little: Natalie’s ten years old but she has a mental age of four. Her parents – my daughter and son-in law – died in a car crash. Natalie survived but the impact made her lose her sight. She’s very confused.

Luke: I’ve never seen her round the village.

Mrs Little: One reason is she’s too frightened.

Luke: And the other?

Mrs Little: (pauses) Because I’m not supposed to have her. They put her in a home. I didn’t like it so I took her away. Sneaked out with her.

Luke: So you’ve kept her a secret? But you’re her grandmother…

Mrs Little: They’d argue she needed special care – her blindness, her trauma, her low mental age. An old woman like me can’t provide for her…

Luke: But I still don’t see how I can help Natalie.

Mrs Little: You can play the piano.


Worksheet 12cStages in the relationship between Luke and Mrs Little

Scene 3

Luke is at the piano with Natalie beside him and she tries to follow his fingers on the keyboard.

Luke: Let’s get you to play something. We’ll do Twinkle, Twinkle, Little star. Do you know it, Natalie? Can you sing it? Do you know what a star is? Natalie? Can you draw me a picture of a star with your finger? You can draw it on the piano if you want. (She traces a star with her finger on the piano top.)

Luke: Well done Natalie. (Speaking to Mrs Little) So she can remember things she’s seen. What about me? Does she know my name?

Mrs Little: I’ve told her but I don’t think she’s taken it in.

Luke: Natalie? Natalie? What’s my name? Do you know? (Natalie reaches for his ears.) Funny ears, I know. What’s my name, Natalie?

Natalie: Funny ears. (Luke grins and starts to play ‘Peace of the Forest’.)

Natalie: Trees.

Luke: Can you see them in the music?

Natalie: Big, green trees.

Luke: And leaves.

Natalie: Lots of leaves.

Luke: What else?

Natalie: Sunlight.

Luke: Can you remember where you used to live? (She starts to hum a tune and Luke vaguely recalls this tune.)

Luke: That’s a nice tune, Natalie. What’s it called? Can you see pictures in it? Like you did with the other piece?

Natalie: Barley.

Luke: Barley?


Worksheet 12dStages in the relationship between Luke and Mrs Little

Scene 4

Mrs Little has called Luke to help her because Natalie is hysterical and cannot sleep. Luke plays her Reverie and she falls asleep at last. Mrs Little, exhausted herself, allows Luke to carry Natalie upstairs to her room.

Mrs Little: Just pop her in my bed and tuck her up and make sure she’s sleeping all right. I’ll… I’ll…

Luke: Just stay here. You don’t have to do anything. You just rest here for a bit. She’s only light.

Mrs Little: All right. Thank you. I’ll probably fall asleep. Can you stay with her a bit? Make sure she’s all right? While I get some rest down here?

Luke: I can stay till about quarter-past six.

Mrs Little: That’s all right. If I’m asleep, wake me when you leave. And wake me if there’s a problem with Natalie.

Luke: OK.

Luke carries Natalie to Mrs Little’s bedroom and he makes sure she’s comfortable and asleep. He looks round the room to find a chair that he can sit on. What he actually sees is Mrs Little’s box. He sits down and looks at it, peering through the unexpected contents (photos, letters and finally a small bracelet).

Luke: (in a whisper) Barley May Roberts (pause) Barley May Roberts?


Worksheet 12eStages in the relationship between Luke and Mrs Little

Scene 5

Luke has taken Natalie to Buckland Forest and Luke is on the phone to her parents. Natalie sits happily listening to the sound of the trees in the forest.

Luke: There’s a track that leads into the forest. OK? I want you to pull into the lay-by and wait.

Mrs Roberts: Until you phone us?

Luke: Yes

Mrs Roberts: And you will phone us, won’t you? Please tell us you’re not going to raise our hopes and the…

Luke: It’s OK. It’s OK. I will phone. This is for real, Mrs Roberts, I promise. You’ll have Barley back very soon.

Mrs Roberts: Thank you. Whoever you are. Thank you. (Luke walks over to Barley and kneels down. She has her eyes closed.)

Luke: (very quietly) Only me, Barley. Only me.

Barley: Singing.

Luke: Who’s singing? The birds?

Barley: Tree.

Luke: The tree?

Barley: Tree singing.

Luke: Tree singing. Lots of trees singing now, Barley. Can you hear them?

Barley: All singing. (She reaches for his ears and he laughs.) Funny ears.

Luke: Funny ears. I’ll always think of you. I’ll always love you. And Nana will always love you. And your mummy and daddy will always love you.

Barley: Mummy and daddy.

Luke: They’ll be with you very soon. They’re going to look after you from now on. Keep humming, Barley. Keep humming.

(Quietly he takes out his phone…)

Worksheet 12fStages in the relationship between Luke and Mrs Little

Scene 6

Barley is safely with her parents. Luke calls on Mrs Little. At first she is stiff but then she tells him what really happened when she took Barley.

Mrs Little: I was meant to find her. I was meant to find her.

Luke: But not to keep her! (shaking his head) It was wrong! You know it was!

Mrs Little: I know, I know. And I did think of trying to get her back to her parents, especially after their appeal on television. But the weeks went by, then months… I just got so close to her. Barley didn’t hate me. She loved me.

Luke: It was still wrong. Didn’t you think about what her parents were feeling?

Mrs Little: They let her go! They let her go wandering off. They don’t deserve to keep their daughter. (She slumps back in her chair.) I should have got her back to them. Especially when she started to show signs of distress.

Luke: So I was just a means to an end. Someone who could play the piano for Barley and calm her down so you could keep her locked up here a little bit longer.

Mrs Little: I didn’t just want you to play for Barley. I wanted you to play for me, too. Would you play for me now? (She hands him some music. It’s a Scriabin Etude, Opus 2 No. 1.) Scriabin was about your age when he wrote it. Bill told me. Will you play it for me?

Luke: I’ll play this for you, but not here.

Mrs Little: Where then?

Luke: At the concert in the village hall tonight…

(Scriabin music replaced by Reverie.)

Scene 7

(Luke at his piano, as if playing – music stays in background.)

Luke: Where are you now Barley? Speak to me through music. (music louder at this point, then fades) Lost and found, Barley. You and me both.


LESSON 13


Focus: Chapters 32–33

Resolution

Learning outcomes

Students will be able to:

Discuss and evaluate the effect of the ending on the reader

Trace changes in Luke and his relationships

EngageGive students WS13a which suggests possible endings for Starseeker. These endings could be printed on cards for a card-sort activity or displayed on an interactive whiteboard for manipulation.

Ask pairs to discuss their own ideas and consider the options. As a class, compare a few students’ predictions and ask whether the ending they have predicted is what they’d like to happen, or really think will happen. Raise the topic of what makes a good ending. If students have comparisons with the other books they have been reading, these should be explored.

ExploreRead Chapter 32 to the end with the class, pausing to note the various resolutions, e.g. Mrs Little’s public appearance and reconciliation with Luke through his dedication to her when he plays her Scriabin piece; the success of Miranda’s performance at the concert; Mr Harding’s possible friendship with Mrs Little; Luke’s (and his Dad’s) composition (noting the language on page 311); Mrs Little giving Luke an alibi for his truanting; and into Cchapter 33 Luke’s vision of his father who seems to have been watching over him all this time; Miranda and Luke’s closeness at the end; Luke’s certainty that old oak tree will recover from the fire.

Do students find the ending satisfying? Mention that the ending with Luke and Miranda was crucial to Tim Bowler. He was unhappy about its exclusion from the film of the novel. Tim says, ‘their final moment in the book is a key part of the story’. How do the class react to this? Does this make them re-evaluate any themes or

characters? Remind them of the diamond ranking activity from Lesson 11.

Ask the different groups who have been tracking the five key things if they have additional observations, e.g. the group tracking sounds that Luke hears may wish to comment on its development into Luke’s first musical composition.

Complete WS11c – tracking plot strands – to assist and affirm judgement and allow reflection before moving on.

TransformUsing the Reading Guide page 15, consider the changes in Mrs Little and Luke. Then discuss how Luke’s relations with the other characters in the novel have changed since the novel began.

Dwell on that quotation from Tim Bowler about a teenager being like a ‘child falling asleep and an adult waking up’. Ask the class to consider whether this applies to Luke (think back to the way he handles Mrs Little in Chapter 31) and what justification there is for this view.

Review and reflectWith the whole class, review the picture of relationships drawn up as the story has unfolded. Discuss how to adjust the words that link the characters. Who changes most and why? Who or what is at the heart of all the changes? (Is it Luke? Is it Natalie? Allow students to explore possibilities.)

Has Luke been the starseeker? Has he found his star? What was it? Or is it several things at once? Allow pairs or small groups to think through these questions.

HomeworkIf Luke were to have a box of precious items, following his experience with Natalie as well as reflecting his life before he meets her, what would we find in it?

Ask students to choose five things they think would be appropriate for Luke to have in his box to preserve precious memories, using WS13b.

Worksheet 13aEndings

Consider what makes a good ending to a story. Does it depend on the type of story it is? What sort of story is Starseeker?

So what sort of ending do you expect? Below are some suggested endings for Starseeker. Which do you find most likely? Which are unlikely?

Possible endings Rank 1 to 9 for likelihood

Mrs Little tells the community the whole truth and the community take pity on her. She and Luke’s family become life-long friends.

Skin and Luke are reconciled and Skin becomes a member of Luke’s music group.

Luke gets a scholarship to university to read music and becomes a famous composer.

Luke and Miranda attend the marriage of Kirsti Stanton to Roger Gilmore. They are all very happy.

Luke leaves home, unable to accept the changes in his life, and goes in search of the only thing that gave his life meaning: Natalie.

Luke suffers a relapse from his injuries and dies. Everyone mourns the lost genius, but in the forest, on quiet nights, the spirits of both Luke and his father can be sensed, creating magical music around the old oak tree.

Luke and Miranda take a walk through the woods. They visit the old oak tree, which, though damaged, is still alive. Luke knows this because he hears its singing.

Luke and Miranda, Roger and Kirsti, Mr Harding and Mrs Little hold a joint engagement party.

Skin escapes justice and flees. He returns to take his revenge on Luke and his friends. Starseeker 2 is out next year.


Worksheet 13bLuke’s boxIf Luke had a box of precious items, what would be in it? Describe five things that might represent precious memories for Luke. Explain why you have chosen each object.

Object Reason for selection


LESSON 14


Focus: Whole novel

Learning outcomesStudents will be able to: Develop personal views on the novel as a

whole, using comparison with another novel to highlight distinctive features

Ask questions about Starseeker to clarify their judgements

EngageIn groups, students share their ideas about what Luke might have in his box. This should consolidate responses to his character.

What about the title Starseeker? Consider this early quotation, ‘Dad died and the light of his existence went out’ (page 26). When does Luke recover his light and find his star? Is Luke really just like a fantasy hero on a quest, then? Explore tentatively the idea of light being associated with good, dark with evil – Luke chooses good over evil and redeems himself. Point out that Tim Bowler considers the spiritual dimension to be very important.

Is the book cover, therefore satisfying? For example, that scene on page 320 when Luke ‘sees’ his father by the oak tree suggests that the oak tree in moonlight might make a better cover with the star behind its wounded but recovering branches? Or what about Natalie and Luke at the piano with the star traced in the dusty surface? What do the class think?

ExploreWhat other texts have they been reading? Allow students to talk about their reading in pairs and fours and as a whole class, to suit your context. Specifically ask them to make comparisons with Starseeker, thinking about characters, themes, language, narrative tension and endings.

Then, select a review of at least one other text tackled to study with the class – do those who have read that particular text agree with those views? Does it inspire those who have not read that book to read it? Draw on any reviews students have brought in with them. Good reviews can be found on several different websites. Two sample reviews are given on WS14a – more or less detailed reviews are

readily available on numerous websites. Draw up a list of success criteria for a review based on the reviews that have been read, and of the quality and length you wish students to produce at the end of this series of lessons.

Before they write anything on Starseeker, though, they will do some further background reading, thinking of questions they would like to ask Tim Bowler about Starseeker to focus their research. Make a class list of questions and display them for reference.

TransformDrawing on the class list of questions, students do independent research (preferably using computers with internet connection) on Starseeker. Remind them to refer to Tim’s website and the Reading Guide, in particular the author’s letter on page 3. WS14b offers further useful comment from Tim Bowler. There are further review comments in their copies of the novel.

A guided group could be supported through the research process, ensuring that they find suitable websites and explore key questions.

Review and reflectAllow students to share some initial thoughts and findings. Are there any unanswered questions? Explore these together, considering the possibility of writing to Tim Bowler for further answers.

If appropriate, invite students to make an alternative form of review/response to Starseeker. For example, some students might create a visual and auditory response using music and images, using their ICT skills.

HomeworkStudents plan and draft a review of/response to Starseeker, working with the previously selected success criteria.

Hoot by Carl HiaasenHoot by Carl Hiaasen is a great read. Roy Eberhardt, is new to his Florida town. He’s clever, funny and big-hearted, and he doesn’t yet have any friends, yet. Dana Matherson, the cigarette-smoking school bully, torments him daily on the school bus. Roy misses his old life in Montana where he could go fishing and trek up in the mountains.

One morning, while Dana is pushing Roy’s head into the window of the school bus, Roy spots a running figure beside the bus. Roy is compelled to find out more about the mysterious runner, and follows him right into his fight to protect an endangered settlement of burrowing owls.

An All-American Pancake House is planning to fill in the owls’ habitat and build another restaurant as part of their national chain. The company will stop at nothing to make more money, and the owls’ protector isn’t afraid to keep going forward with daring and ingenious actions that prevent the building.

The story has lots of layers, and contains both humour and realism. The writer conveys the beauty of the Florida Everglades and clearly knows about the species of animals that live in this part of America. In present-day Florida the natural, wild places are disappearing at an alarming rate, and this story tackles that issue head on.

As in many stories written for teenagers, some of the adults in this one are not impressive. They are portrayed as apathetic, ignorant or cruel. But Roy has love and respect for his parents, who eventually support his fight against the destruction of the environment. His efforts bring him adventure, and most importantly, the friends he needed before he can feel at home in Florida.

Storm Catchers by Tim BowlerTeenager Fin and his family live in a house on the English coast. During a violent storm, when Fin was supposed to be looking after his younger sister, Ella, she is kidnapped. The whole family is shocked and Fin suffers from huge guilt. His worries increase when his little brother starts wandering off to the dangerous cliff edge to ‘catch the storm’, lured by the ghost of a girl. As Fin starts to hunt for his missing sister, awful family secrets are uncovered that will change relationships in the family forever. The kidnapper had his reasons, as Fin discovers.

Tim Bowler, known for his award-winning book River Boy, manages the suspense in Storm Catchers with great skill – it’s a real page turner. The dark and threatening tone of the book is beautifully represented by the cover image of a wind-battered lighthouse silhouetted against a stormy sky.


Worksheet 14aTwo sample reviews

My sixth novel is called Starseeker. It's quite a long book (about twice the length of all my other books) and it's about lots of different things. It's set in a village situated close to a large forest. One of the trees in the forest plays an important role in the story. There's a big musical theme running through the novel but the story actually starts with a gang of boys trying to break into a house.

I had to write several drafts of this novel before I worked out exactly what it was that I was trying to say. Anyway, it's about a boy called Luke who is desperately mixed up following his father's death two years earlier. He's a brilliant musician but in his distress over the loss of his father he's fallen into bad company and is being steered into terrible danger. To make matters worse, he's becoming increasingly disturbed by strange psychic noises he keeps hearing day and night. It's a novel that works on several levels and covers several themes. It's about hope and healing and light. It's about music and the song of creation. It's about coming through grief and learning to love again. It's about a boy growing into manhood, growing into genius, growing into spirit. And it's about a tiny, unforgettable girl who will change his life forever.

From http://www.timbowler.co.uk/home.html

Tim comes from a very musical family. He and his parents and older brother play the piano. His great grandfather was a church organist and his great aunt was a concert pianist. His grandmother, Nan, to whom Starseeker is dedicated, was also a brilliant pianist. During the First World War she used to entertain the troops, travelling round prisoner of war camps and playing to the inmates.

Tim started studying the lives of the great composers seriously from the age of about twelve. He was fascinated to discover that some of them also experienced colour in music, or synaesthesia (the crossing over of two or more senses). For example, Sibelius’ biographer recorded how he saw colours with all notes and also experienced other senses in relation to sound, e.g. an unpleasant sound would often give him a metallic taste in his mouth.

From the original press release about Starseeker


Worksheet 14bTo support your review

http://www.timbowler.co.uk/home.html

http://www.timbowler.co.uk/starseeker.html


LESSON 15

Sub-strands: 1.2, 5.3, 7.2

Focus: review of novel

Learning outcomesStudents will be able to: Express and share personal responses to

the novel orally and/or in writing Respond to others’ views of the novel Review learning

EngageAsk students to peer assess their draft reviews in pairs, identifying two good features and one area for development against the success criteria. They may draw in other texts for comparison if they wish, but the main focus must be Starseeker. With the whole class, draw out key points for redrafting – in particular, suggest that students ensure that any opinions are well backed up by textual reference (either from Starseeker itself or from secondary sources). Also, encourage students to make comments about the language used to create mood and atmosphere in Starseeker, especially in relation to music.

Students have ten minutes to redraft their reviews ready for oral presentation.

ExploreEither: Select three students to present their views

to the whole class. Students may draw in other texts for comparison and to highlight distinctive features. The rest of the class listen and prepare to question them, agree or disagree and then open the discussion to all.

Or: Arrange students in groups to present their

oral reviews to each other, before assembling as a whole class to share and debate views.

TransformThe teacher encourages detailed debate and useful comparison with other texts. Ensure that students are giving reasons for their opinions that are rooted in the text or in the secondary sources that they have accessed. If necessary, ask students to find parts of the text to support views, and re-read small sections of text that can stimulate debate or more detailed thinking and re-interpretation

A few possible questions:1. Is the character of Natalie satisfying to

the reader? Why make her blind in addition to a mental age below her physical age? Or is Natalie’s almost spirit-like quality the point? Is that sufficiently developed, though?

2. Is the ending too neat? Or were some things left unresolved for you?

3. Is the musical theme overplayed for someone not fond of music? Or does this novel actually inspire an interest in music?

4. How did you feel about the spiritual element (Luke’s strong feeling of his dead father’s spirit in the tree, for example)?

5. Is Luke’s transformation credible? Or was he never in real danger of going ‘bad’?

6. Were the other boys in the gang too stereotypical and underdeveloped? Or are they meant to be seen almost as aspects of Luke that he has to overcome?

Review and reflectIn the remaining time, ask students to complete the unit assessment sheet.

Orally, ask the students to identify at least one new thing they have learnt through reading this text. It could be about themselves or about the novel as a work of fiction or art. It could be about a theme or character or event or piece of music or a composer noted in the novel.

Share concluding comments.

End by reminding students of further Pathways to a good read. Recommend texts that students have not already tried, especially additional novels by Tim Bowler, not all of which have been included in Pathways.

HomeworkStudents write their final draft of their review, aiming to incorporate the interesting detail that has emerged during discussion, including any considered reservations they may have as well as positive comments. Students may like to post their reviews on one of the many reviewing websites.


Worksheet 15aSelf assessment

AF Assessment focus You practised this when: I do this well

I can do this some-times

I need to practise this

AF2

Understand, describe, select or retrieve information, events or ideas from texts and use quotation and reference to text

you created role-on-the-wall for characters

you collected titles of pieces of music

you noted references to stars, voices, sounds and trees.

AF3

Deduce, infer or interpret information, events or ideas from texts

you predicted events you interpreted detail of

characterisation or event you thought about the title.

AF4

Identify and comment on the structure and organization of texts, including grammatical and presentational features at text level

you thought about Skin’s increasing violence

you thought how Luke had changed

you thought about narrative tension

you thought about how satisfying the end of the novel was.

AF5

Explain and comment on writer’s uses of language, including grammatical and literary features at word and sentence level

you analysed the way Tim Bowler writes about Luke’s dream and Luke’s love of music

you analysed how language is used to build tension

you noted how language is used to create character or describe setting or feelings.

AF6

Identify and comment on writer’s purposes and viewpoints and the overall effect of the text on the reader

you considered how the reader’s feelings about characters change during the novel, e.g. Mrs Little

you thought about the importance of the musical theme

you considered the title of the novel.

AF7

Relate texts to their social, cultural and historical contexts and literary traditions

you researched the composers that influence Luke

You did this when you read about Mr Little and the Battle of Britain.

Teacher comment

calling a dead man - tim bowler€¦ · web viewword, phrase, fact – relevant to your focus....

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