Point blanc

Point
Blanc
TEACHER’S BOOKLET

Pearson Education Limited, Edinburgh Gate, Harlow, Essex,CM20 2JE
England and Associated Companies throughout the World
© Pearson Education Limited 2004
The right of Dr Helen Bulbeck to be identified as the author of this work has been asserted
by her in accordance with the Copyright, Designs and Patents Act of 1998.
Extracts from Stormbreaker © 2001 Anthony Horowitz
Extracts from Point Blanc © 2001 Anthony Horowitz
The original edition of Point Blanc first published 2001 by Walker Books Ltd.

The original edition of Stormbreaker first published 2000 by Walker Books Ltd.
We are grateful to all copyright holders whose material appears in this book. However in
some instances we have been unable to trace the owners of copyright material and we
would appreciate any information that would enable us to do so.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording, or otherwise without the prior written permission of the Publishers or a licence
permitting restricted copying in the United Kingdom issued by the Copyright Licensing
Agency, 90 Tottenham Court Road, London, W1T 4LP

ISBN 0 582 84868 7
First published 2004

ISBN 0-582-84868-7

9 780582 848689

Introduction
Aim Opportunities for guided reading and writing are
indicated within the lesson outline so that every pupil
The aim of this resource is to provide materials to should have the opportunity to work closely with the
support the teaching of framework objectives through teacher. Underpinning these opportunities for guided
the reading of Point Blanc. Reading is a shared, social reading and writing are group activities which allow the
activity and it is important that pupils are given the rest of the class to work independently of the teacher.
opportunity to talk and write about their reading. It is envisaged that each guided group will consist of no
Emphasis is placed on the promotion and development more than six pupils.
of independent reading, as pupils are asked to reflect
on the reading strategies they use and are encouraged Managing group and guided work
to try out new ones. Many of the activities encourage
pupils to build a bridge between their reading and If pupils are unfamiliar with it, it may take time to
writing. In particular, pupils are encouraged to develop develop a culture of guided work in the classroom.
the skills that readers in Year 7 need if they are to meet However, it is worth persevering. Establishing clear
the reading and writing demands made of them. ground rules for group and guided work from the
beginning is a good idea. The following may help:
• where possible, create groups from pupils with
The lesson outline similar reading and confidence skills
The lesson outline (pages 5–13) provides a structure for • make the groups responsible for their own
teaching ‘at a glance’. It is intended to provide a organisation
framework and can be adjusted to suit your
• identify time and, if possible, clerical support, for
circumstances. The structure enables you to cover a
managing the resources
longer text, while maintaining pace. Objectives are
taught explicitly and are clearly placed within the • use additional adult support in the classroom if it is
context of the book and the lesson structure. There will available
be issues about coverage, but it is more important that • edit the materials to suit the needs of the pupils
pupils are able to explore their reading through talk and • give the groups concrete outcomes
other interactive approaches, rather than sitting
• allocate specific roles within the groups, including
passively as the whole book is read to them, or worse,
that of timekeeper
they are asked to ‘read around the class’.
• organise pupils into ‘study buddies’
Approaches for progressing through the book include:
• use peer assessment and rewards
• pupils or teacher recapping previous chapters that
• make it clear that all pupils are expected to
may not have been read
contribute to the plenary.
• jigsaw reading (groups are given a section or chapter
to read and then the group reports back) Resources
• use of video, if available
This unit does not require extensive resources but
• use of prepared summaries or diagrammatic ideally they should be prepared in advance.
representations of the plot Independent or group activities could be photocopied
• reading at home, if appropriate. onto coloured card and laminated, so that pupils have
their own copies for reference. The main resources you
It is also important to allow pupils to control their own
will need are: copies of the text, highlighter and marker
reading. If they want to read on, let them; re-reading
pens, ‘Post-it’ notes, sugar paper, reading journals,
chapters and revisiting prior reading will always
copies of extracts on OHT and on paper for annotation.
highlight things that were missed before.
Reading journals
Guided and group work
While some pupils will eagerly share their impressions
Guided and group reading and writing facilitates
about texts they have read, others feel less comfortable
interaction between teacher and pupil and between
in class discussions, and will keep their thoughts to
pupil and pupil. The focus on objectives enables
themselves. In an effort to encourage all pupils to think
teaching and learning to be pitched at a high level, so
more about what they read and to share their
that pupils are challenged and extended. Guided work
observations and opinions confidently, some teachers
is a valuable and effective teaching approach as it
use reading journals to great advantage. Reading
focuses on reading and writing strategies, which enable
journals provide pupils with the opportunity to reflect,
pupils to develop as independent learners. The use of
speculate and express their immediate responses to
small groups allows the teacher to intervene at the
their reading. They can be an essential tool in tracking
point of learning, which means that he or she can have
how pupils are responding to the text.
a much more immediate effect on what the pupils are
doing. In addition, it allows pupils to see the good Pupils can make a wide variety of entries in a reading
models of reading and writing which are so crucial to journal, including:
their development as independent readers and writers.

2

• noting responses Assessing the reading journal
• questions arising It is important that pupils regard the journal as part of
• mind-mapping and other graphic representations a continuing dialogue with the teacher and with each
(tension graphs, timelines) other, rather than work that is to be marked. However,
• jotting down words and phrases that need clarifying, there are three stages that reflect critical thinking and
or that they could ‘steal’ for their own writing reading and these could be used as a teacher checklist
for assessment:
• keeping track of the plot.
1 A literal encounter with the text – the pupil’s
Most pupils will need support if they are to write with responses are superficial and tend towards recount.
clarity and understanding, even if they are just making
2 Analysis and interpretation – the pupil’s responses are
notes. For example, if pupils are asked to delve into
more reflective, for example empathy with a character
characters’ motivations and choices, this kind of
is reflected in the journal.
response will need to be modelled for them. You can
also provide key words and phrases to prompt critical 3 Synthesis and evaluation – the pupil is able to make
responses from pupils, for example: links within and beyond the text.

‘I wonder what this means …’ It is important to remember that more challenging
content on its own does not always improve pupils’
‘This bit reminds me of …’ critical thinking. Equipping pupils with the right
‘If it was me, I would …’ vocabulary and the methods by which they can appraise
their learning and progress is a critical part of the
‘I was surprised when …’ process. Using a layout such as the one suggested
below will support pupils when they are developing
their critical engagement with the text they are reading.
Some activities are listed, but these are just suggestions.

Before, during During or after After reading
or after reading reading

Literal Analysis and interpretation Synthesis and evaluation

• Date of entry. • Personal response: • Readers make connections
• Pages/chapter. – reactions between the text and:
• Prior knowledge: – predictions – themselves
– What happened in the last – judgements – other texts
chapter? – comparisons – other things they know.
– What do you know about …? – questions, wonderings • Elements of narrative style
– Use of KWL grids. – sketches, illustrations reflected in own writing.
• Sequence key events: – diagrams, tension graphs, • How have responses developed
– How might the story mind-maps during reading?
continue? – interesting vocabulary, • How are the elements of the
– What are the clues? images text a synthesis? (Explore
• Brief summary: – cause and effect. through mind-mapping.)
– main points
– only important/new facts
– plot development.

How often should pupils write in their journals?
Less is more! Writing in journals several times a week will soon become tedious and pupils will find that they have
nothing new to add. It is much better to ask for fewer responses, and ones that require deeper engagement, so
that pupils are writing for themselves and not for the teacher.
Opportunities for using reading journals are highlighted in the resource, but it may be worthwhile establishing
routines so that pupils know when they are expected to make an entry. For example, pupils could be asked to
reflect every lesson on the reading strategies that they have used, and make a brief note about them, including
reference to the text.

3

Overview of objectives
The notion of literacy being embedded in objectives is much more than the basic
acquisition of skills. The objectives selected here focus on enabling pupils to read as
readers in order to deepen their understanding and appreciation, and to read as
writers so that they can identify typical features and explore how writers gain
impact. This is the point at which the bridge between reading and writing is made –
when the pupil has the ability to step outside the body of a text and look at it as a
writer. Whilst the majority of objectives selected reflect the development of reading,
this does not imply that they should be approached in isolation or taught in a
reductive way. The objectives listed below encompass the ability to recognise,
understand and manipulate the conventions of language and develop the pupils’
ability to use language imaginatively and flexibly, in the narrative context. Objectives
(and pupils) benefit from being explicitly taught and from being identified and
deployed in context. Other objectives can also be taught (through starter activities),
but it is up to the teacher to decide where the priority lies and to adapt the resource
materials according to the need of the pupils.
While Year 7 is the focus of this resource, this does not mean that the novel could
not be used with Year 8. With this in mind, the Year 8 objectives listed below could
underpin the unit.

Year 7 Year 8

Sentence Sentence
Sn1 Subordinate clauses Sn2 Variety of sentence structure
Sn2 Noun phrases Sn4 Tense shifts
Sn11 Sentence variety
Reading
Reading R1 Combine information
R1 Locate information R3 Notemaking formats
R2 Extract information R4 Versatile reading
R3 Compare presentation R5 Trace developments
R4 Notemaking R7 Implied and explicit meanings
R6 Active reading R8 Transposition
R7 Identify main ideas R9 Influence of technology
R11 Print, sound and image R10 Development of key ideas
R12 Character, setting and mood R13 Interpret a text
R14 Language choices R14 Literary conventions
R15 Endings R16 Cultural context
R17 Independent reading
R20 Literary heritage Writing
Wr2 Anticipate reader reaction
Writing Wr3 Writing to reflect
Wr1 Drafting process Wr5 Narrative commentary
Wr2 Planning formats Wr6 Figurative language
Wr3 Exploratory writing Wr7 Establish the tone
Wr6 Characterisation Wr10 Effective information
Wr7 Narrative devices Wr11 Explain complex ideas
Wr9 Link writing and reading Wr12 Formal description
Wr11 Present information Wr17 Integrate evidence
Wr13 Instructions and directions
Wr14 Evocative description Speaking and listening
Wr18 Present findings S&L1 Evaluate own speaking
S&L5 Questions to clarify or refine
Speaking and listening S&L7 Listen for a specific purpose
S&L1 Clarify through talk S&L9 Evaluate own contributions
S&L4 Answers, instructions, explanations

4

5
Lesson outline
Lesson AFs and objectives Lesson focus Starter/Introduction Development Plenary and Homework
1 Reading AF3 & AF6 Chapter 1 Reading journals and paired Effective openings Plenary
• R6 Active reading • Predict discussion • Ask pupils to decide what the issues and • Nominate one
• Wr3 Exploratory writing • Pass comments • Introduce reading journals and themes are that could be explored in the representative from each
explain use. Encourage pupils to novel. Pupils then write five questions that group to feed back their
• Speculate
use their reading journals they hope will be answered as they read discussion, with
• Hear a reading throughout this unit, so that they the novel. reference to the text.
voice can note down personal • Working in pairs, ask pupils to read three
responses (including effects, extracts from the novel and make notes in Homework
phrases, words that appeal, and their journals about how the features of
notes on characters and setting) • Complete Pupil
the action/adventure genre (discussed in
and plot the timeline of events worksheet 1.2, focusing
the introduction) are reflected in these
and the passing of time. on the openings of
extracts. Pupil worksheet 1.1
Stormbreaker and Point
• Introduce the phrase ‘action/ • Model a close reading of the opening Blanc. Pupil worksheet
adventure genre’. Focus on the extract, focusing on text level and reading
key features of this genre. Ask 1.2
strategies. Use the points on Teacher
pupils to list films/books/ planner 1.2 as prompts.
computer games with which they
• Divide the class into six groups and give
are familiar that have some or all
each group a focus as they read the rest
of these features. Teacher
of Chapter 1. This could be an
planner 1.1
opportunity for guided reading. Teacher
planner 1.2

6
2 Reading AF5 & AF6 Chapter 2 Inference and deduction Character development Plenary
• R2 Extract information • Text annotation • Focus on homework task. Pupil • Model a close reading and annotation of • Select one pair to feed
• R6 Active reading • Re-read worksheet 1.2 the first four paragraphs of Chapter 2 back on how Alex’s
• Ask pupils to complete Pupil (pages 11–12), focusing on sentence and character is developed
• R12 Character, setting • Interpret
worksheet 2.1, focusing on word level features and how the reader’s and one pair to feed
and mood patterns
descriptions of characters in sympathy towards Alex is elicited. back on how Horowitz
Point Blanc. (This could be done • Divide pupils into groups of four and suggests that Skoda is
as an oral activity or as a card subdivide groups into pairs labelled A and evil. Check which
sort.) Pupil worksheet 2.1 B. Direct Pair A to focus on exploring how reading strategies the
Alex’s character is developed (pages pupils used in this
12–15) and Pair B to explore how the lesson.
writer suggests that Skoda is evil (pages
13–17). Teacher planner 2.1 Homework
• Ask pupils to write key words from the • Read Chapter 2.
novel that describe Alex’s physique and his
personality on ‘Post-it’ notes. Pupils then
stick the notes on an outline of Alex.
NB Keep the outline of Alex and the
pupils’ ‘Post-it’ notes for Lesson 14.

3 Reading AF5 & AF6, Reading into Major and minor sentences Reading into writing
Writing AF5 writing • Individual whiteboard activity. • Group discussion. Ask pupils to focus on how characters are
• Wr6 Characterisation • See images Ask pupils to provide definitions described in Point Blanc and to discuss what makes an effective
• Pass judgements of major and minor sentences description (focusing on inference and deduction). Teacher planner
• Wr9 Link writing and
• Feel (see Teacher planner 3.1 for 3.2
reading
definitions). Instruct pupils to
• Wr14 Evocative • Empathise write ‘major’ on one side of their • Create a writing frame with the pupils to support writing their own
description whiteboard and ‘minor’ on the description of a good/evil character. Pupils then write their own
• Sn1 Subordinate other. When you give pupils each description, using the frame as support. This could be an opportunity
clauses example of a major or minor for guided writing. Teacher planner 3.2
• Sn11 Sentence variety sentence from Chapter 2 of the
novel (see Teacher planner 3.1),
ask them to show what type of
sentence it is by holding up their
whiteboard, marked ‘major’ or
‘minor’.
• Ask pupils to explore how
Horowitz has used these
sentence types for effect in
Chapter 2. Teacher planner
3.1

7
4 Reading AF4 Chapter 3 Narrative structure Narrative structure Plenary
• R6 Active reading • Interpret Card sort activity – Chapter 3 • Direct pupils to work in groups of six, • Ask each group to
• R7 Identify main ideas patterns divided into paragraph chunks subdivided into three pairs. Ask Pair A to compare the final order
• Reinterpret • Explain that three stories are focus on Alex’s story, Pair B on Skoda and of their story with the
woven together in Chapter 3, so Beckett and Pair C on the chief constable. original order of the
• Re-read
that the reader sees the same Direct pupils to place each story segment story in Chapter 3.
event told through three in the correct order so that the story
different perceptions. makes sense, and then make a note of
Homework
how they came to their decision. Groups
• Make several copies of Chapter • Explore why the final line
should then reconvene and interweave the
3. Divide the chapter into is funny, making notes in
three stories. This could be an opportunity
separate paragraph chunks and journals.
for guided reading.
create a series of cards (with
each card containing a • Ask pupils to explore how Horowitz has
paragraph chunk from Chapter managed the transitions between the
3). Ask pupils to sort out which stories.
paragraphs belong to:
– Alex’s viewpoint
– Skoda’s viewpoint
– the chief constable’s viewpoint.
Instruct pupils not to put them in
any order at this point.

5 Reading AF2, AF3 & AF4 Chapters 4 and 5 Making links Making notes and reading journals Plenary
• R4 Notemaking • Speculate • Ask pupils to explain the links • Remind pupils about the different types of • Working in pairs, ask
• R7 Identify main ideas • Predict between the titles of Chapters 1, entry that can be made in their journals, pupils to compare the
2 and 3 and the content. Ask including the use of ‘Post-it’ notes. different types of notes
• Wr3 Exploratory writing • Ask questions they have made on
pupils to predict how Chapter 4 • Small group work. Ask pupils to read
• Re-read (‘Search and Report’) will develop Chapter 4, making notes about: Chapter 4.
• Reinterpret the plot. – how the plot develops
– the new characters that are introduced Homework
– how the pace of Chapter 4 contrasts • Read Chapter 5.
with that of Chapter 3.
This could be an opportunity for guided
reading.

8
6 Reading AF2 Chapters 5–6 Plot Characterisation Plenary
• R2 Extract information • Text marking • Ask pupils to work in groups of • Referring to the timeline of events, ask • Focus on the reading
• R4 Notemaking and annotation four. Direct the group members pupils to identify the problems that Alex skill that is used to
• Infer and deduce to draw up a ‘group’ timeline of has faced so far in the story. Using the explore the characters’
• S&L1 Clarify through
the plot and novel events on example on Pupil worksheet 6.1, direct actions.
talk • Visualise
sugar paper. Nominate one pupils to copy the chart into their reading
• Empathise member of the group to act as journals. Ask pupils to record the problem
Homework
an observer and to note down in the first column, Alex’s solution in the
the questions which are asked as second column, why he chose this in the • Read Chapter 6.
the group works. third column and the solution that they • Chart events and themes
• Ask the observers to feed back think would be best in the fourth column. on timeline for Chapter 6.
on the questions asked. Ask Encourage pupils to focus on why the
pupils to explore how useful the characters act the way they do. Pupil
questions were in driving worksheet 6.1
forward the discussion and to
identify which types of questions
were most useful in securing the
outcome.

7 Reading AF3, AF4 & AF5 Chapters 5–6 Structure Narrative style (1)
• R12 Character, setting • Interpret • Ask pupils to work in pairs. • Using text annotation, highlighting and ‘Post-it’ notes, model a close
and mood patterns Direct Pupil A to draw a tension reading of an extract from Chapter 5, focusing on how Horowitz
• R14 Language choices • Reinterpret graph of Chapter 5 and Pupil B creates tension. Annotated text 7.2
to draw a graph of Chapter 6
• Rationalise what • Working in pairs, ask pupils to follow your example and, using
(see Teacher planner 7.1 for an
is happening annotation and ‘Post-it’ notes, make notes about how tension is
example to model). Ask pairs to
compare the two graphs, looking created in Chapter 6. This could be an opportunity for guided
for similarities and differences reading. Teacher planner 7.1
between Chapters 5 and 6 and
exploring how the author uses
tension in these two chapters.
Teacher planner 7.1

9
8 Reading AF4 & AF5 Reading into Narrative style (1) Reading into writing Plenary
• R14 Language choices writing • Reflecting on Lesson 7, ask • Using an opening sentence (taken from • Ask pupils to share their
Writing AF1 & AF5 • Hear a reading pupils to create a list of prompts Stormbreaker, Chapter 2), model writing paragraphs with each
voice about the strategies that one paragraph, helping pupils to develop other, using the prompt
• Wr7 Narrative devices
• See images Horowitz uses to create tension. the strategies explored in Lesson 7 and list as a stimulus for
• Wr9 Link writing and This could be recorded on a flip the starter activity. Move through to discussion. Invite two
reading • Feel
chart for reference during the shared writing for paragraph two and pupils to share their
• Re-read lesson. The whiteboard will be then ask pupils to continue to draft a third paragraphs with the
• Relate to needed for drafting. paragraph in which tension is built, using whole class.
previous reading the strategies explored in the previous
experience lesson. This could be an opportunity for Homework
guided writing. Teacher planner 8.1
• Ask two pupils to read
Chapter 7 (a short
chapter) and be
prepared to summarise it
for the class at the
beginning of Lesson 9.
9 Reading AF2 & AF3 Chapters 7–8 Active reading strategies – • Model reading Extracts 1 and 2, Plenary
• R1 Locate information • See images extract information highlighting the key features of the • Ask pupils to identify the
• Ask the two pupils selected in gadget. Extract the relevant information key features of the
• R2 Extract information • Re-read
Lesson 8 to summarise Chapter 7 about the gadget and enter the description of a gadget
• R7 Identify main ideas • Reinterpret information on the gadget record sheet. and to note their
for the class.
• Wr2 Planning formats • Interpret Teacher planner 9.1 answers in their journals.
• Remind pupils that one of the
patterns key features of the spy/thriller • Ask pupils to read Extracts 1–6 (Pupil • Revisit the reading
and action adventure genres is worksheet 9.1). Explain that Extracts 2–6 strategies used in this
the use of highly specialised each refer to a different gadget from the lesson. Identify when
gadgets. novel. Direct pupils to identify the name pupils would find it
of the gadget and then highlight where useful to use these
each gadget is described in Extract 1. strategies in other
Pupil worksheet 9.1 subjects.
• Direct pupils to complete jigsaw activity.
Pupil worksheet 9.2 Homework
• Read Chapter 8 and
update timeline for
Chapters 7 and 8.

10
10 Writing AF2 & AF3 Use reading to Collaborative group talk • Group task: give pupils a sheet of sugar Plenary
• Wr11 Present inform writing • Ask pupils to work in groups of paper and a marker pen. Demonstrate • Ask groups to swap their
information • Interpret four. Allocate each pupil a role how to complete the gadget planning descriptions/explanations
• Wr13 Instructions and patterns for the starter activity, which they sheet on Pupil worksheet 10.1, focusing and to discuss how easy
must keep secret: on adapting an item (a key ring) for a spy they are to follow.
directions • Drafting
to use. Pupil worksheet 10.1
• S&L1 Clarify through • Visualise – Pupil A: continually interrupts
• Direct groups to select an item and adapt
talk • Hear a reading – Pupil B: understands the task Homework
it as a gadget for a spy, using the sugar
• S&L4 Answers, voice and wants to complete it • Read Chapter 9.
paper for their ideas and then recording
instructions, explanations quickly and efficiently
the details on Pupil worksheet 10.1.
– Pupil C: is too shy to contribute
• Using the key features noted in the
and says very little
plenary in Lesson 9, pupils write a
– Pupil D: wants to talk about description/explanation of their gadget for
what they are going to do at Alex Rider. Pupil worksheet 10.1
the weekend.
• Ask pupils to empty their school
bags and to come up with a list
of items that are common to all
four pupils.
• At the end of the activity, ask
pupils what made the
completion of the task difficult.
Ask pupils to identify what they
have learnt from this activity that
they can use in future group
work.

11 Reading AF4 & AF5 Chapter 9 Narrative style (2) • Shared reading of opening to Chapter 9. Plenary
• R12 Character, setting • Interpret • Activate prior knowledge by Focus on how Alex is made to feel that • Ask pupils to note down
and mood patterns asking pupils to explain what a Point Blanc is an unwelcoming place. three ways in which the
• R14 Language choices • Ask questions noun phrase is and what it does. • Model a focused exploration of how the author has built a sense
• Ask pupils to find four examples author builds a sense of unease through of unease that they
• Sn2 Noun phrases • Use reading to word and sentence level features.
of noun phrases from Chapter 9 could use in their own
• Sn11 Sentence variety inform writing
and to share them with a • Give pupils other sections to explore, writing.
partner, explaining what the following your example. This could be an
effect is. opportunity for guided reading. Teacher Homework
planner 11.1
• Flip chart responses in a
marking frame for use in
the next two lessons.

11
12 Writing AF1, AF2 & AF5 Reading into Reading into writing Plenary
• Wr1 Drafting process writing • Using the opening sentence of a paragraph taken from Stormbreaker (‘The • Ask pupils to share their
• Wr2 Planning formats • Interpret car reached the main gate, where there was a security cabin and an drafts and using the
patterns electronic barrier’, page 69), model writing one paragraph, developing the marking frame from
• Wr6 Characterisation
• Ask questions strategies explored in Lesson 11. Move through to shared writing for Lesson 11, peer assess
• Wr7 Narrative devices paragraph two and then ask pupils to continue to draft a third paragraph in each other’s paragraphs.
• Re-read
which a sense of unease is built, using the strategies explored in the previous
• Reinterpret lesson. This could be an opportunity for guided writing. Teacher planner Homework
12.1 • Make final amendments
to paragraph.
13 Reading AF2 Chapter 10 Making notes • Model extracting information from an Plenary
• R1 Locate information • Interpret • Read Chapter 10 (pages obituary, through highlighting and then • Ask pupils to identify
patterns 118–122) with the pupils. pulling out key facts and jotting them when they could use
• R2 Extract information
down. highlighting and
Writing AF2 • Ask questions • Ask the pupils what they notice
about the style of writing that • Give pupils an obituary and ask them to notemaking in other
• Wr2 Planning formats • Make make notes about the person, using subjects.
judgements describes the other boys in the
novel. highlighting as a technique and jotting
down the key facts. This could be an
• Ask pupils to explain how it Homework
opportunity for guided reading.
differs from the writing that is on • Read the rest of Chapter
pages 121–122. 10.
• Ask pupils to identify any
patterns in each of the notes
about each boy and to create a
snapshot of one of their friends
in the same style.

14 Reading AF2 & AF6 Reading into Character development – writing Characterisation – moving towards Plenary
Writing AF2 writing to analyse, review, comment writing • Ask pupils to write three
• Infer and deduce • Ask pupils to revisit the outline • Model the point/example/explanation points to remember
• Wr9 Link writing and
of Alex from Lesson 2 and to process, using the ‘Post-it’ notes from the when writing to analyse/
reading • Visualise
decide which notes should starter activity. Use Teacher planner 14.1 review/comment.
• Wr18 Present findings • Empathise
remain on the outline and which to model one example, showing how
• Drafting no longer apply to Alex. Ask these notes can be remodelled into an Homework
pupils to consider if any should evaluative comment.
• Ask two pupils to read
be added. • Ask pupils to choose another example. Chapter 11 and be
• Remind pupils that all comments Move through to shared and then to prepared to summarise it
must be supported with evidence independent writing. This could be an for the class at the
from the text. opportunity for guided writing. Teacher beginning of Lesson 15.
planner 14.1

12
15 Reading AF4 & AF5 Chapters 11–12 Structure Dialogue and narrative comment Plenary
• R12 Character, setting • Re-read • Ask the two pupils selected in • Read Chapter 12 with the pupils. Model • Ask pupils to explore
and mood • Reinterpret Lesson 14 to summarise Chapter reading pages 152–153, exploring how what the strategies are
• R14 Language choices 11 for the class. Horowitz manages the transition between that the author uses for
• Summarise
• Direct pupils to revisit and dialogue and narrative comment (see managing the transition
• Wr6 Characterisation • Pass judgements
update their timelines and add in Teacher planner 15.1). Annotated text between dialogue and
• Interpret key events for Chapters 7–11. 15.2 narrative comment. Ask
patterns pupils to write three
• Remind pupils also to note where • Ask pupils to focus on pages 158–160,
exploring for themselves how this ideas in their journals
the high points of tension in the
transition is handled. This could be an that they could use in
novel occur.
opportunity for guided reading. Teacher their own writing.
planner 15.1

16 Reading AF2 & AF4 Chapter 13 Structure and tension – the • Ask pupils to work in pairs – each pair Homework
• R2 Extract information • Form and clock, the crucible and the labelled A, B or C. Direct pupils to • Read Chapters 14–15.
structure contract complete Pupil worksheet 16.1.
• R3 Compare presentation
• Re-read • Introduce the concept of the • Pupils list other books/films they know
• R15 Endings that have used these concepts. Pupil
• Reinterpret clock, the crucible and the
contract. Pupil worksheet worksheet 16.1
16.1 • Small group reading of Chapter 13. Pupils
explore what happens to the tension in
this chapter.

17 Reading AF2, AF3 & AF4 Chapter 14 Film v prose Prose into film Homework
• R7 Identify main ideas • Re-read • Show pupils an extract from a • Introduce the semantic field of filming – • Read Chapter 16.
• R11 Print, sound and • Reinterpret spy film. names of camera angles, storyboarding,
image • Ask pupils what similarities they sound effects, etc.
• Summarise
can see between this and • Show pupils the extract from the spy film
• Pass judgements
extracts from Point Blanc. again, identifying the different camera
• Pass comments angles, sound effects, etc. and explore the
effect.
• Identify and bullet point the key moments
on pages 181–187. Ask pupils to identify
which camera angles and sound effects
they would use if this extract was being
filmed. This could be completed as a
storyboard.

13
18 Reading AF2, AF3, AF6 & Film v prose Structure of whole text • Working in pairs to fours, ask pupils to list Plenary
AF7 • Empathise • Working in pairs, ask pupils to the common factors belonging to the spy • Explore with pupils what
• R17 Independent think about why we enjoy novels/films with which they are familiar. the ethical dilemma
• Interpret
reading reading/watching the Teacher planner 18.1 which arises in this novel
patterns
• R20 Literary heritage action/adventure and spy/thriller • Ask pupils to update their timelines for is and how the author
• Re-read
genres: Point Blanc. Then ask pupils what deals with it.
• Drafting similarities and differences they can
– escapism
• Relate to own identify between the structure of Point
– to live through the eyes of the Homework
experience Blanc and the generic structure of spy
hero/heroine • Read Chapter 17.
novels/films. Explain that pupils who have
– transports us to exotic worlds read other Horowitz novels in this series
– we can accomplish can also use this knowledge. Teacher
unimaginable feats planner 18.1
– reaffirms that good always
wins over evil.

19 Reading AF4, AF6 & AF7 Review Endings and beginnings The role of the action hero Plenary
• R7 Identify main ideas • Reinterpret • Focus pupils on exploring what • Ask pupils to work in pairs. Each pair • Ask five pairs to feed
• R15 Endings • Re-read makes an effective ending. notes down the key characteristics of an back to the class.
• Explore the derivation of the action hero on a spider diagram. Pupil • Revisit the final
• Interpret
patterns word ‘denouement’ and how it worksheet 19.1 paragraph and explore
applies to plots (French – • Pupils consider the difference between what is ambiguous
• Pass comment dénouer: to untie, Latin – nodus: heroes and idols. Pupil worksheet about the ending.
• Pass judgement a knot). Discuss how it adds to
19.1
• Ask pupils to consider to what • Pupils explore Alex’s role in Point Blanc the sense of
extent the ending of Point Blanc and consider whether or not he is a hero. action/adventure.
is a satisfactory denouement. Pupil worksheet 19.1

Lesson 1 Teacher planner 1.1
Teaching objectives
• R6 adopt active reading approaches to engage with and make sense of texts, e.g.
visualising, predicting, empathising and relating to own experience
• Wr3 use writing to explore and develop ideas, e.g. journals, brainstorming
techniques and mental mapping activities.

Focus
• Chapter 1
• Key features of action/adventure genre.

Introduction to the action/adventure genre
Explain to pupils that the action/adventure genre lends itself perfectly to the most important reason why we read
action/adventure books and/or see action/adventure films – to escape and live through the eyes and deeds of the
action hero or heroine. Emphasise that the action/adventure genre satisfies the armchair adventurer in us all.
Explore with pupils the following essential features of the action/adventure genre:
• The story is set in specific time in exotic locales. The period tends to be set in contemporary times in lands that
bear some resemblance to how we live, so that we can identify with them.
• There is unity of time – the action happens within a specified period with no prolonged gaps of time.
• The action hero accepts a quest which will bring greater good to the world.
• The action hero has specific qualities which qualify him to be sought to complete the quest.
• The action hero is placed in a situation from which he must escape.
• The action hero doesn’t need someone to tell him how dangerous the quest is. He knows the danger and he’s
not above showing fear or reluctance.
• The quest is linked to and, at times, overshadowed by an overriding world conflict.
• However, the world conflict is not usually the reason why the action hero will embark on the quest. Usually the
action hero has an inner journey that involves personal growth.
• The enemy is usually personified in one being, but he/she will have many sidekicks.
• Friends and love interests are usually present and are often held hostage.
• The stages of the quest are marked by ordeals.
• There is a final conflict of good versus evil and this is usually personal – between the action hero and the enemy.
• The action hero will have a mentor.
• The action hero is often provided with specialised gadgets.
• The action is almost continuous in a fast-paced plot.
Discuss with pupils the following examples of novels and films that have features of the action/adventure genre.
Ask pupils to list films/books/computer games with which they are familiar that have some or all of the key
features of the action/adventure genre (listed above).

Typical examples of action/adventure:

Novels Films
• Robin Hood (from a medieval legend) • Robin Hood
• Raise the Titanic • Under Siege
• Raiders of the Lost Ark (written after the film) • Indiana Jones and the Temple of Doom
• African Queen • Batman
• King Solomon’s Mines • Bond films
• On Her Majesty’s Secret Service • Braveheart
(or any Ian Fleming novel)

14

Lesson 1 Pupil worksheet 1.1
Context
As a group we have:
• explored how we are going to use reading journals
• discussed the key features of the action/adventure genre and identified some
examples.
Now you are going to read three extracts from Point Blanc.

Objectives
• R6 Active reading
• Wr3 Exploratory writing.

1 Read the following extracts from Point Blanc.
2 Work with a partner and identify some of the features of the action/adventure genre in the
extracts. Note down your ideas in your reading journals.
Extract 1 (from Chapter 1)
Michael J. Roscoe was a careful man.
The car that drove him to work at seven fifteen each morning was a custom-made
Mercedes with reinforced steel doors and bullet-proof windows. His driver, a retired FBI
agent, carried a Beretta sub-compact semi-automatic pistol and knew how to use it. There
were just five steps from the point where the car stopped to the entrance of Roscoe Tower
on New York’s Fifth Avenue, but closed circuit television cameras followed him every inch
of the way.

Alex didn’t dare look behind him, but he felt the train as it reached the mouth of the
tunnel and plunged into it, travelling at one hundred and five miles per hour. A shock
wave hammered into them. The train was punching the air out of its way, filling the space
with solid steel. The horse understood the danger and burst forward with new speed, its
hooves flying over the sleepers in great strides. Ahead of them the tunnel mouth opened
up but Alex knew, with a sickening sense of despair, that they weren’t going to make it.

The flames were tearing through the building. Fed by a variety of chemicals, they burst
through the roof, melting the asphalt. In the far distance the scream of fire engines
penetrated the sun-filled air. Alex pulled with all his strength, trying to bring the gun
down. The other Alex clawed at him, swearing – not in English but in Afrikaans.
The end came very suddenly.

15 © Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.

Teaching objectives
• R6 adopt active reading approaches to engage with and make sense of texts, e.g.
visualising, predicting, empathising and relating to own experience
• Wr3 use writing to explore and develop ideas, e.g. journals, brainstorming
techniques and mental mapping activities.

Focus
• Chapter 1
• Key features of action/adventure genre.

Model a close reading of the opening extract of the novel (below), focusing the pupils’ attention on text level and
reading strategies. Use the following points as prompts:
• What is my purpose in reading this text? • What do I learn about the voice in the story?
• What can I immediately begin to understand? • What hooks are used?
• Who is the narrative voice in the story?

Told in third Chapter 1: page 1
person
Michael J. Roscoe was a careful man. Noun phrases
Simple sentence The car that drove him to work at seven fifteen each morning provide detail
for impact. Who and add to the
is Michael J. was a custom-made Mercedes with reinforced steel doors and
mystery
Roscoe and why bullet-proof windows. His driver, a retired FBI agent, carried a
is he careful? Beretta sub-compact semi-automatic pistol and knew how to Why does he
use it. There were just five steps from the point where the car have all this
stopped to the entrance of Roscoe Tower on New York’s Fifth security?
He is obviously
very wealthy and Avenue, but closed circuit television cameras followed him
important every inch of the way. Once the automatic doors had slid shut Set in America –
this is a rich,
behind him, a uniformed receptionist – also armed – watched exciting area of
Why use only as he crossed the foyer and entered his own private lift. New York
surname? The lift had white marble walls, a blue carpet, a silver handrail
and no buttons. Roscoe pressed his hand against a small glass Punctuation –
This suggests it is
a very modern panel. A sensor read his fingerprints, verified them and dashes – used for
time setting activated the lift. The doors slid shut and the lift rose to the emphasis
sixtieth floor without stopping. Nobody else ever used it. Nor
Mr Roscoe must did it ever stop at any of the other floors in the building. While Why not? This
be very important adds to Roscoe’s
to have his own
it was travelling up, the receptionist was on the telephone,
status
staff letting Mr Roscoe’s staff know that he was on his way.
Extract from Point Blanc by Anthony Horowitz

Divide the class into six groups and give each group one of the following areas of focus as they read the rest of
Chapter 1:
• The use made of technical language – this group should note examples of technical/specialised language and
explore the effect on the reader.
• The way that time is charted in the chapter – this group should highlight references to time, including
connectives such as ‘meanwhile’ and explore how these add to the pace of the chapter.
• The narrative hooks used to keep us reading – this group should explore what makes us want to read on.
• The features of action/adventure genre – this group should continue to identify other features of the
action/adventure genre in this chapter.
• Characterisation – this group should explore the character of Michael J. Roscoe and make brief notes about him.
What do we learn about him?
• Characterisation – this group should explore the character of Sam Green and make brief notes about him. What
do we learn about him?
16

Context
As a group we have:
examples.
Now you are going to explore the similarities between the opening to Stormbreaker
and Point Blanc.

Objectives
• Wr3 Exploratory writing.

Homework
Read the opening (below) to Stormbreaker, the first novel in the Alex Rider series. Now re-read
the opening to Point Blanc and answer the following:
1 What similarities can you find in Stormbreaker and Point Blanc in the way in which Horowitz
uses narrative hooks to keep us reading?
2 Which opening do you prefer, and why?

FUNERAL VOICES
When the doorbell rings at three in the morning, it’s never good news.
Alex Rider was woken by the first chime. His eyes flickered open but for a moment he
stayed completely still in his bed, lying on his back with his head resting on the pillow.
He heard a bedroom door open and a creak of wood as somebody went downstairs.
The bell rang a second time and he looked at the alarm clock glowing beside him.
3.02 a.m. There was a rattle as someone slid the security chain off the front door.
He rolled out of bed and walked over to the open window, his bare feet pressing down
the carpet pile. The moonlight spilled on to his chest and shoulders. Alex was fourteen,
already well-built, with the body of an athlete. His hair, cut short apart from two thick
strands hanging over his forehead, was fair. His eyes were brown and serious. For a
moment he stood silently, half-hidden in the shadow, looking out. There was a police car
parked outside. From his second floor window Alex could see the black ID number on
the roof and the caps of the two men who were standing in front of the door.

Extract from Stormbreaker by Anthony Horowitz


Context
As a group we have:
examples
• compared the opening of Point Blanc with that of Stormbreaker.
Now you are going to explore inference and deduction in the characterisation of
Point Blanc.

Objectives
• R2 Extract information
• R12 Character, setting and mood.

1 Below are a variety of words/phrases used to describe the characters in Point Blanc. Some
describe characters that you have already met; others do not. Make notes in your reading
journal about the types of characters that appear in this novel, focusing on the following:
• Decide which type of character the words/phrases describe – good or evil?
• What do we learn about the characters from the words/phrases?
• How do they make you, the reader, feel?
• Can you find any patterns in the words/phrases?
• Can you link any of them together, so that they could be applied to one character?

five metal studs in his ear I didn’t know I had special status
his skin was white, his lips vague shadows You can kiss me if you like
she had a facial structure that wasn’t quite It was like meeting a skeleton
✁

human
He didn’t want to boast about what he’d done bright, red haired American girl
His hair – black and a little greasy – was fake had no parents
Quiet anger in his voice grey suit, grey face, grey life
took out a small handkerchief and dabbed at Miss Stomach-bag
her eyes
Well built with black hair, square shoulders and A careful man
a dark, watchful face
‘Nice to have you with us,’ he drawled he hated having to deceive his friends
When she wasn’t quoting opera, she was
boasting about her lifestyle, her wealth, her
holidays around the world


Teaching objectives
• R2 use appropriate reading strategies to extract particular information,
e.g. highlighting, scanning
• R6 adopt active reading approaches to engage with and make sense of texts,
e.g. visualising, predicting, empathising and relating to own experience
• R12 comment, using appropriate terminology, on how writers convey
setting, character and mood through word choice and sentence structure.

Focus
• Chapter 2
• Text annotation – sentence and word level features.

Modelled reading
Model a close reading and annotation of the first four paragraphs of Chapter 2 (below), focusing on sentence and
word level features and how the reader’s sympathy towards Alex is elicited.
Use of direct
Chapter 2: pages 11–12 address to reader
makes us feel the
Superlative used The worst time to feel alone is when you’re in a crowd. loneliness
for emphasis
Alex Rider was walking across the playground, surrounded by
This suggests
hundreds of boys and girls of about his own age. They were all
that he stands
heading in the same direction, all wearing the same blue and out from the
grey uniform, all of them probably thinking much the same crowd. He has
thoughts. The last lesson of the day had just ended. Homework, been singled out
tea and television would fill the remaining hours until bed.
Use of question
So why did he feel out of it, as if he were watching the last makes him seem
weeks of the term from the other side of a giant glass screen? vulnerable. He
Use of first name Alex jerked his backpack over one shoulder and continued doesn’t know the
makes him seem towards the bike shed. The bag was heavy. As usual, it answers
familiar
contained double homework … French and history. He had
All children will
missed two weeks of school and he was having to work hard to identify and
catch up. His teachers had not been sympathetic. Nobody had sympathise with
said as much, but when he finally returned with a doctor’s letter this!
(… a bad dose of flu with complications) they had nodded and
Use of
smiled and secretly thought him a little pampered and spoiled. exclamation marks
This is bad, but On the other hand they had to make allowances. They all knew adds a
then it gets that Alex had no parents, that he had been living with an uncle disapproving tone,
worse which makes us
who had died in some sort of car accident. But even so.
side with Alex
Two weeks in bed! Even his closest friends had to admit that even more
was a bit much!
Suggests he has And he couldn’t tell them the truth. He wasn’t allowed to tell He sticks to this
a moral code anyone what really happened. That was the hell of it. and therefore is
trustworthy
Show how Alex faces many problems in these three paragraphs:
• He feels alone. • His teachers are unsympathetic.
• He doesn’t know why. • They think him spoiled.
• His bag is heavy. • He has no parents.
• He has double homework. • His uncle has died.
• He has missed two weeks of school. • He can’t be honest.
• He has to work hard to catch up.

19

Teaching objective
• Sn11 vary the structure of sentences within paragraphs to lend pace, variety and
emphasis.

Focus
• Chapter 2
• Major and minor sentences.

Activating prior knowledge
Ask pupils to provide definitions of major and minor sentences.
Major sentence: A major sentence is regular in construction; it uses established rules and follows a pattern, e.g.
‘Alex jerked his backpack over one shoulder and continued towards the bike shed.’
Minor sentence: A minor sentence does not follow rules and often looks like it has no structure or pattern, e.g.
‘But even so.’

Whiteboard task
Below is a list of major and minor sentences from Chapter 2 of Point Blanc. Ask pupils to write ‘major’ on one side
of their whiteboard and ‘minor’ on the other. When you give each example, ask pupils to show what type of
sentence they think it is. This could be run as a card sort task.

SENTENCES

Major Minor

The bag was heavy. Another school day.
✁

For a moment he was dizzy. Two weeks in bed!

What could he do? The barge.

Alex looked around him. The building site.

Could it be done? And Blackpool funfair.

He was right. It probably could.

Ask pupils to explore how Horowitz has used these sentence types for effect in Chapter 2.

20

Teaching objectives
• Wr9 make links between their reading of fiction, plays and poetry and the choices
they make as writers
• Wr14 describe an object, person or setting in a way that includes relevant details
and is accurate and evocative.

Focus
• Character descriptions.

Working in groups, ask pupils to focus on how characters are described in Point Blanc and to discuss what makes
an effective description (focusing on inference and deduction). Then ask pupils to write a description of a good/evil
character; use the prompts below to support pupils when they are writing their character description. Before they
begin to write, create a writing frame to help them write their description.
The best frames are those that are created with the class, so that there is a shared understanding of the
expectations. You can use the following as a guide to support the creation of a joint frame:

Dialogue and commentary
• Am I going to open with dialogue and then move
into commentary, or the other way around?
• How much dialogue do I want to use?
• How will I manage the transition between dialogue
and commentary?
Variety of sentences to add rhythm and effect:
Simple • Where should I place a simple sentence for effect?
Compound • Should I use two or three compound sentences
together in the middle of a paragraph to add
rhythm and balance?
Complex • Where should I put my clause? At the front, for
emphasis, or at the end, to delay the impact?
Unusual sentence structures, e.g. noun phrases • It’s OK to break the rules on purpose and use
grouped together sentences that don’t sound complete.
Use of minor sentences, e.g. one word • I could use this for impact at the beginning or end
of my writing. Maybe use a word to describe a key
feature about my character, e.g. ‘Ugly’.
Adverbial phrases at the front of sentences • These are good for adding detail about the character.
Variety of sentence openings:
Non-finite verbs • Using one of these verbs tells the reader straight
away what my character is doing, e.g. ‘Spying, …’
Subordinate clauses • These add detail, so it’s good to put them at the
front – they involve my reader quickly.
Pronouns • Good to use these if I want to keep the reader
guessing about the identity of my character.
Noun phrases • These give lots of detailed information in an easy way.
Conjunctions • Using a conjunction at the beginning of a sentence
is a brilliant way to emphasise a point, e.g. ‘Ugly. So
ugly.’
Vocabulary:
Verbs used for impact and effect • Check that I haven’t used a verb and an adverb,
when I could use a more powerful verb.
Tense used for effect • Do I want to stay in past tense, or could I also use
the present to make this feel immediate?
Imagery and figurative language • Have I used vocabulary that is descriptive and
includes metaphors and similes?

21

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