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Using the input from the sessions in the school I have tried to tell the stories in as close a way as possible to how they were constructed in the classroom while the children were present, but there are often a number of changes which drive the plot more succinctly to a conclusion. Whilst there is still ownership and recollection of the words and their contribution to the story, there is also a demonstration of making the plot more logical and manageable. In many cases I have actually videoed the notes that were constructed in the classroom to give them clues as to how to construct their own, independent object-generated stories. Go to the bottom of the page to find some of the reasoning behind the construction of more structured stories. Traditional stories The Brahman and the tiger http://www.youtube.com/watch?v=CJyHv96UzMA ORIGINAL STORIES
A king's purse (TONY WILSON) AZTECS
FLOWERS
A gift from the flames (TONY WILSON) MAGIC/FANTASY
An excellent resources book for the Great Fire of London is "By permission of Heaven" by Adrian Tinniswood (Riverhead Books New York 2004 ISBN 1-57322-244-5) If you think that we are mismanaged by middle management now then this book is an enjoyable, eminently readable revelation.
A scratch by any other name (TONY WILSON) BEREAVEMENT/ MEMORY A boat on the sea of imagination (TONY WILSON) Old toys
WHALING STORIES A lucky wager (TONY WILSON)
A gory, emotional but engaging history of the whaling industry is the novel "The Greenlander" by Mark Adlard (Hamish Hamilton London 1978 ISBN 0-241-89981-8). The tale of a boy's right of passage in the forbidding whaling grounds and the harbours of the 18th and 19th Centuries. WORLD WAR 2
Stan Bolovan and the dragon Part 2
The 'Nice' song (TONY WILSON) http://uk.youtube.com/watch?v=sMKvdpGNATU Who? Where? What? Why? Don't forget when? (TONY WILSON) http://uk.youtube.com/watch?v=NzqUJtsgiLw The sandwich song (KEITH DONNELLY) (Adjectives) http://uk.youtube.com/watch?v=VnaXv7Fo0kE KEY STAGE 2 STORIES A brief outline The stories have a definite line of action and consequences with an emphasis on consistent and even description. This is coupled to a creating an engaging story for a specific audience. The story requires a lot more input than a series of events; the setting becomes almost like an extra character and the characters themselves need to be described with a relevant and ever-expanding, emotional vocabulary. Once again, (like traditional stories), the characters can be described by their way of talking and the content of their speech. There are many instances where it is a recollection of actual experiences to help give the story some substance, but the children need to be able to generate and include secondary, read, experiences to broaden the pallette of their writing. |
