Listen and Write - Autumn 2005

Transcription

1 Listen and Write s Listen and Write - Autumn 2005 Autumn 2005 bbc.co.uk/schoolradio A series provided by the BBC at the request of the Educational Broadcasting Council for the United Kingdom Age: 9-11 These programmes are available to order (for UK schools only) on pre-recorded CDs or cassette from: BBC Schools Broadcast Recordings Tel: Monday to Friday 0800 to 1800 Or visit for more information Audio on demand. These programmes are also available as audio on demand from the School Radio website for 7 days following the original date of transmission. Refer to programme titles below to find out when programmes are available as audio on demand. This publication contains only BBC copyright material: its contents may be copied or reproduced for use in schools and colleges without further permission. 1

2 Listen and Write Autumn 2005 These programmes are available as audio on demand from the School Radio website. Refer to dates below to find out when each one is available. Introduction 3 Unit 1: Storywriting 5 1. Sensational settings 5 AOD 23/09/ /09/ Stylish stories 6 AOD 30/09/ /10/ Sparkling speeches 9 AOD 07/10/ /10/ Super storytelling 10 AOD 14/10/ /10/2005 Unit 2: Playwriting Turning a story into a play 11 AOD 21/10/ /11/ Bringing a playscript to life 15 AOD 04/11/ /11/2005 Unit 3: Shakespeare: Romeo and Juliet Language 19 AOD 11/11/ /11/ Plot 24 AOD 18/11/ /11/ Character 28 AOD 25/11/ /12/2005 Unit 3: Factual writing Diaries and reports 33 AOD 02/12/ /12/2005 2

3 Introduction Aims of the series: Listen and Write encourages pupils to: listen carefully with sustained concentration and to respond imaginatively listen for and discuss how writers create effects develop understanding of the key aspects of story: plot, structure, dialogue, setting, characters, etc. develop appreciation of genre and poetic techniques and structures develop understanding of syntax and grammatical knowledge listen, as a writer, to other writers work and to experiment with a range of approaches and techniques develop key writing skills e.g. brainstorming, choosing vocabulary, drafting, revising, proofreading, etc. produce a range of writing - including poetry, non-fiction, fiction - learning to adapt the style appropriately Interactive pause points: Each programme is 20 minutes long with three interactive pause points (clearly indicated by a musical signal). Writing activities are for individual, pair or whole class participation and are intended to be brief (about 5 to 10 minutes to achieve). The pause points are also an opportunity to consolidate what has been learnt. The activities are mainly differentiated in learning outcome. Audio on demand: Programmes are available to order (for UK schools and other academic institutions only) on pre-recorded cassettes and CDs. How to order: Programmes are also available as audio on demand from the School Radio website for 7 days following transmission (check the contents table for dates). The audio on demand is a reliable service that allows you to listen to the programme streamed over the internet. This means that you can play the programme to your class either: direct from a computer from a hifi by connecting the output of the computer into a suitable input on the amplifier (which offers enhanced sound quality) by connecting the computer to an interactive white-board 3

4 To listen to the audio files you will need to have installed Realplayer on your computer. This commonly-used software is easy to download from the internet if you do not already have it. There are instructions on how to do so at the BBC School Radio website: Using the audio on demand service is just as flexible as using a prerecorded cassette or CD of the programmes. You are able to pause the programme whenever you wish and also scroll forwards and backwards through a programme to locate other sections or to listen to sections again. 4

5 Unit 1: Storywriting Programme 1: Sensational Settings Synopsis: Leon has to write a story set in a place he s never been to. He decides to use New York and asks his CD-Rom to help him. Chrissie Disc transports him instead to rather more familiar places: the town centre, the park and his school. Leon learns how even well-known places can come alive once he has used all his five senses to describe them. When he visits his school at night he takes on a very different mood. Extracts used in the programme: 1. Elidor by James Garner 2. A Christmas Carol by Charles Dickens 3. The BFG by Roald Dahl Programme writing activities: Stop 1: Working in pairs, pupils describe in short sentences some features of a place where they live. Is it quiet or noisy, full of buildings or in the countryside? The pupils then have to read their sentences to each other. Stop 2: Leon s setting is supposed to be a bustling city. Can pupils improve on what Leon has written by describing their own town centre at Christmas time? They write a 3 line description. Stop 3: Working with a partner, divide a sheet of paper into two columns. In the first column they write words that describe school at lunchtime. In the second column they write what it s like after school is closed and everyone has gone home. You could do this as a whole class activity if preferred, with one pupil as scribe. 5

6 Programme 2: Stylish Stories Synopsis: Leon attempts to continue his detective story but somehow it sounds rather odd, more like a fairy story. Story Chef explains the ingredients he needs. Leon discovers how the setting and vocabulary all help to create the writing style. If he chooses to describe his lead detective character as the beautiful Esmerelda and the robbers as wicked his story will sound more like a fairytale. Extracts used in the programme: 1. Beauty and the Beast by Michael Foss 2. Fire on Treasure Island by Enid Blyton 3. The Demon Headmaster by Gillian Cross [Extract provided] Programme writing activities: Stop 1: Why does the opening of Leon s story sound wrong? List the words that seem out of place. Stop 2: Look at the extract from The Demon Headmaster by Gillian Cross. Make a list of all the words that show the Headmaster is a baddie. Compare notes with a partner. Stop 3: Leon s story is beginning to take shape but his language isn t very exciting. Listen to his sentences again and try to re-write them, making them more interesting for the reader. It was very dark. Lightening walked down the street. Cas walked after him. 6

7 Extracts for Programme 2: Leon s Story opening: [Stop 1] Listen and Write - Autumn 2005 There was no brainier detective in all the land than the beautiful Esmerelda. Day after day she solved all sorts of jolly interesting mysteries and had many wicked robbers cast into dark and dreary dungeons. In all this she was helped by her faithful dog, Lightning, a bloodhound whose nose was as black and wet as a stormy night but an awful lot better at sniffing out clues. 7

8 The Demon Headmaster by Gillian Cross [Stop 2] He was tall and thin, dressed in an immaculate black suit. From his shoulders, a long teacher s gown hung in heavy folds, like wings, giving him the appearance of a huge crow. Only his head was startlingly white. Fair hair, almost as colourless as snow, lay round a face with paper white skin and pallid lips. His eyes were hidden behind dark glasses, like two black holes in the middle of all the whiteness. 8

9 Programme 3: Sparkling Speeches Synopsis: Leon has created a main character - Cas, but is having some problems with the dialogue. CD s friend Buzz is a fly on the wall, and through him, Leon is able to eavesdrop on a few conversations. Leon learns that in order to write good dialogue he needs to listen to how different people speak in different situations and that it can help to read your dialogue out loud to see if it fits the characters. Extracts used in the programme: 1. Oliver Twist by Charles Dickens 2. The Peckthorn Monster by Hazel Townson Programme writing activities: Stop 1: Leon s characters, Cas and Fingers, are saying the wrong things. Working in pairs the pupils each take a character and write lines of dialogue they could say. Then they act the lines out to see if they work. They should write a dialogue between Cas and Fingers consisting of 4 separate lines: CAS Fingers. CAS. Fingers Stop 2: Still working in pairs, this time pupils write four lines of dialogue for an argument between Cas and Fingers. Stop 3: Still working with their partner, pupils add some description to explain what the two characters are doing. Their description should fit Leon s dialogue: Buy a lot of stuff did you fingers? said Cas Yes, that s right. That s why I m carrying this big bag! Fingers replied. A suggestion: Cas eyed Fingers suspiciously. It didn t look to her as though he d been shopping at all. She could see how the bag looked very heavy indeed, and she wondered just exactly what was inside. She had to find out. 9

10 Programme 4: Super Storytelling Synopsis: Leon has to write a story about a true event. CD tells him about the story of the Marie Celeste, a ship drifting out at sea with no crew. He is taken to the ship to experience it for himself by Ace Reporter. Leon realises that stories can be told from different points of view. He could write the Captain s log, or an eye witness account or a survivor s diary. Extracts used in the programme: 1. Weirdo s War by Michael Coleman 2. Robinson Crusoe by Daniel Defoe 3. The Wreck of the Zanzibar by Michael Morpurgo Programme writing activities: Stop 1: Pupils are asked to imagine they are one of the crew aboard the Marie Celeste getting ready to abandon ship. They write down three words to describe their feelings. Later they are all put together to build a class list. Stop 2: Working in pairs, pupils list as many words a possible to describe being in the water. Ask them to think about their feelings too. Do they feel confident or in panic? What does it feel like as their head goes under? Stop 3: Working with a partner, pupils imagine they have been washed up on a desert island. They describe how they will find shelter. Talk about how they will survive. Write down four topics that they d include in their survivor s diary. 10

11 Unit 2: Playwriting Programme 5: Turning a Story into a play Synopsis: Listen and Write - Autumn 2005 The Lord of the Labyrinth sets a challenge for Antonio and Amie to turn a story into a play. They visit the Adventure Plot Park where playwrights come to build their plays. Their quest is to prove they have a strong enough story to make a play before they can leave. Extracts used in the programme: Oliver Twist by Charles Dickens [Extracts provided] Programme writing activities: Stop 1: As a class, find the five Ws needed to make a scene:- Who is in the story? Where does it take place? When does it happen? What happens? Why do you think it happens? Stop 2: In pairs, look at the summary of the plot from Chapters 8 and 9 of Oliver Twist. How many adventure steps (scenes) does Oliver take to get from Barnet to Fagin s house? If Step one is Barnet - Oliver meets the Artful Dodger - and Step 5 is The next morning, Oliver alone with Fagin in a room what will be steps 2 to 4? Stop 3: Working individually or with a partner, turn the story into a proper play script using the extract provided. Remove the speech marks and lay out the lines with the character names at the left-hand side. Remember to delete any parts which don t belong to a play script such as said the young gentleman. Make sure to fill in the stage directions, e.g. the setting for the scene and what the actors need to do. 11

12 Oliver Twist - Summary of chapters 8 and 9 [Stop 2 Prog 5] The young gentleman who stops to help Oliver is known to his friends by nickname. The Artful Dodger. The Dodger offers to buy some bread and ham and beer for himself and then to take Oliver with him to an old gentleman s house where Oliver will get a roof over his head for the night. They reach Islington at eleven o clock at night. The last steps of their journey take them through narrow back streets and muddy alleys - past drunken men and women, and villainous looking fellows setting on villainous errands. They at last stop at a broken down house. A voice in the dark tells them that Fagin is up stairs. Oliver ascends with difficulty up the dark and broken stairs. Dodger bounds on ahead. 12

13 The door opens revealing a room whose walls and ceiling are black with age and dirt. The only light comes from the fire where an old man is bent over the sausages which are cooking in the frying pan. The old man is Fagin. Fagin gives Oliver food and a glass of hot gin-and-water. Oliver sinks immediately into a deep sleep. When he wakes, it s morning and he is alone in the room with the old man. Thinking the boy still asleep, Fagin takes a small box from a trap door in the floor. In the box are jewels and watches. Seeing he is being watched, Fagin leaps up and seizes the bread knife. What do you watch me for? Why are you awake? What have you seen? Speak out boy! Quick, quick for your life! 13

14 Stop 3: Programme 5 Listen and Write - Autumn 2005 STAGE DIRECTIONS: DODGER: Hullo my covey, what s the row? OLIVER: I am very hungry and tired. I have walked a long way. I have been walking these seven days. Walking for seven days! said the young gentleman. Going to London? Yes. Got any lodgings? No. Money? No. The strange boy whistled and put his arms into his pockets. Do you live in London? enquired Oliver. Yes I do, when I m at home, replied the boy. I suppose you want some place to sleep tonight, don t you? The young gentleman smiled and finished his bear as he did so. 14

15 Programme 6: Bringing a playscript to life Synopsis: Antonio and Amie take their Oliver Twist playscript into the Labyrinth playhouse and bring it to life. They visit the costume department, the casting console and special effects. Extracts used in the programme: Oliver Twist by Charles Dickens Programme writing activities: Stop 1: Look at the description of the Artful Dodger [printed extract provided]. Working with a partner, make a list for Wardrobe of the clothes for his costume. Underline any words in the extract that describe what he is wearing. Share your ideas together as a class. Stop 2: Class discussion. The two boys, Oliver and the Dodger, are very different characters. Look at the words of the second extract and ask: What has Charles Dickens done to show us that Dodger and Oliver speak in different ways? What does Dodger do in this scene that tells us something about his character? What do Oliver and Dodger think of each other? Stop 3: Working in pairs, look at Extract 3. Make a list of all the special effects the challengers need: What sounds will they need to bring the scene to life? What will the scene look like? Can you write a description for the lighting? What special effect could the stage team create to give the impression that the air was full of odours? 15

16 Description of The Artful Dodger from Oliver Twist Chapter 8 [Stop 1 Programme 6] He was a snub-nosed, flat-browed, common-faced boy enough: and as dirty a juvenile as one would wish to see; but he had about him all the air and manners of a man. He was short of his age: with rather bow-legs: and little, sharp, ugly eyes. His hat stuck on the top of his head so lightly, that it threatened to fall off every moment; and would have done so, very often, if the wearer had not a knack every now and then of giving his head a sudden twitch: which brought it back to its old place again. He wore a man s coat, which reached nearly to his heels, he had turned the cuffs back, halfway up his arm, to get his hands out of the sleeves: apparently with the ultimate view of thrusting them into his pockets of his corduroy trousers: for there he kept them. He was, altogether, as roistering and swaggering a young gentleman as ever stood four feet six, or something less, in his Bluchers. Hullo my covey, what s the row? said this strange young gentleman to Oliver. 16

17 Oliver Meets the Artful Dodger [Stop 2 programme 6] Hullo my covey, what s the row? said this strange young gentleman to Oliver. I am very hungry and tired. Replied Oliver: the tears standing in his eyes as he spoke. I have walked a long way. I have been walking these seven days. Walking for seven days! said the young gentleman. Oh I see. Beak s order eh? But? he added, noticing Oliver s look of surprise, I suppose you don t know what a beak is, my flash com-pan-ion. Oliver mildly replied, that he had always heard a bird s mouth described by the term in question. My eyes how green! exclaimed the young gentleman. Why a beak s a mag strate; and when you walk by a beak s order, it s not straight forerd, but always a-going up, a nivir a-coming down again But come, you want grub, and you shall have it. I m at a low water mark myself only one bob and a magpie; but, as far as it goes, I ll fork out and stump. 17

18 [Stop 3 programme 6] Oliver Twist Although Oliver had enough to occupy his attention in keeping sight of his leader, he could not help bestowing a few hasty glances on either side of the way, as he passed along. A dirtier or more wretched place he had never seen. The street was very narrow and muddy; and the air was impregnated with filthy odours The sole places that seemed to prosper, amid the general blight of the place, were the public houses Where drunken men and women were positively wallowing in filth. Oliver was just considering whether he hadn t better run away, when the Dodger, catching him by the arm, pushed open the door of a house, and drawing him into the passage, closed it behind them. 18

19 Unit 3: Shakespeare Programme 7: Romeo & Juliet Language Synopsis: Antonio and Amie are taken on a Shakespearian tour to find out what is needed to put on the play Romeo and Juliet. They are taken back in time to the Globe Theatre. The Lord of the Labyrinth helps them begin to get to grips with the language of Shakespeare s plays. Extracts used in the programme: Romeo and Juliet by William Shakespeare Act 1 Scene 1 Line Act II Scene II line 2-22 Act II Scene II line Programme writing activities: Stop 1: Have a go at changing the words in the Shakespearian Word challenge on the worksheet provided overleaf. Can you translate them into modern-day language? 1. What doth thou do this night? 2. I shalt watcheth television with my kinsman. 3. Art thou not afeared of thy meddlesome parents? 4. Nay sirrah, for I hath finished my poesie homework. I canst do that which I wouldst care to do till the clock striketh uponst the hour of ten. Stop 2: As a class, look at the words of Romeo s famous speech But soft what light through yonder window breaks [Extract 2]. How many images of light can you find in this speech? Make a class list of them all. Stop 3: Look at the words of the second part of the balcony scene when Juliet speaks to Romeo. Working with a partner, or as a class, translate the first eight lines of the scene into modern English. 19

20 Shakespearian Word Challenge: [For Stop 1 Programme 7] 1. What doth thou do this night? 2. I shalt watcheth television with my kinsman. 3. Art thou not afeared of thy meddlesome parents? 4. Nay sirrah, for I hath finished my poesie homework. I canst do that which I wouldst care to do till the clock striketh uponst the hour of ten. 20

21 Act II Scene II [ For Stop 2 Programme 7] Romeo s Speaks to Juliet on the balcony But soft, What light through yonder window breaks? It is the east and Juliet is the sun! Arise fair sun and kill the envious moon Who is already sick and pale with grief That thou her maid art far more fair than she. Be not her maid since she is envious, Her vestal livery is but sick and green And none but fools do wear it. Cast it off. It is my lady, O it is my love! O that she knew she were! She speaks, yet she says nothing. What of that? Her eye discourses, I will answer it. I am too bold. Tis not to me she speaks. Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars As daylight doth a lamp. Her eyes in heaven Would through the airy region stream so bright That birds would sing and think it were not night. 21

22 Act II Scene II Lines [For Stop 3 Programme 7] JULIET IS ON THE BALCONY, ROMEO IN THE GARDEN BELOW JULIET: How cam st thou hither, tell me, and wherefore? The orchard walls are high and hard to climb, And the place death, considering who thou art, If any of my kinsmen find thee here. ROMEO: With love s light wings did I o erperch these walls, For stony limits cannot hold love out And what love can do, that dares love attempt: Therefore thy kinsmen are no stop to me. JULIET: If they do see thee, they will murder thee. ROMEO: Alack, there lies more peril in thine eye Than twenty of their swords. 22

23 Look thou but sweet And I am proof against their enmity. JULIET: I would not for the world they saw thee here. ROMEO: I have night s cloak to hide me from their eyes And but thou love me, let them find me here My life were better ended by their hate Than death proroguèd, wanting of they love. JULIET: By whose direction found thou this place? ROMEO: By love, that first did prompt me to enquire He lent me counsel, and I lent him eyes. I am no pilot, yet wert thou as far As that vast shore wash d with the farthest sea, I should adventure for such merchanise. 23

24 Programme 8: Plot Synopsis: Now that Antonio and Amie are beginning to understand Shakespeare s language they try to get to grips with the story - the plot - of the play. They begin at the prologue, which sets the scene for everything that follows. Using their tension meters, they chart how the dramatic tension changes throughout the story. Extracts used in the programme: Romeo & Juliet by William Shakespeare The Prologue Act III Scene 1 Line 1-36 Act III, Scene 1 line Programme writing activities: Stop 1: As a class, look at the words of the prologue in bold type (as printed). Can you time change these words into modern English? Ancient grudge, star crossed lovers, piteous, strife, our toil shall strive to mend. Stop 2: Working with a partner, consider the lines from Act III Scene 1. Can you find the clues that tell you there s going to be a fight? What reasons does Benvolio give for wanting to return home? Why do you think he s worried? What is Mercutio s answer? Share all your ideas together as a class. Stop 3: Shakespeare keeps his audience gripped because they want to know what happens next. As a class, talk about what you think could happen next in the play. Now that Romeo s friend Mercutio is dead, what will Romeo do? How might his actions affect Juliet? 24

25 The Prologue [Stop 1 Programme 8] Two households both alike in dignity, In fair Vernona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross d lovers take their life; Whose misadventur d piteous overthrows Doth with their death bury their parents strife. The fearful passage of their death-mark d love And the continuance of their parents rage, Which, but their children s end, nought could remove, Is now the two hours traffic of our stage; The which, if you with patient ears attend, What here shall miss, our toil shall strive to mend. 25

26 [Stop 2 Programme 8] Act III Scene 1 LOCATION THE STREET ENTER MERCUTIO, BENVOLIO AND MEN BENVOLIO: I pray thee, good Mercutio, let s retire; The day is hot, the Capels are abroad, And if we meet we shall not scape a brawl; For now, these hot days, is the mad blood stirring. MERCUTIO: Come, come, thou art as hot a Jack in thy mood As any in Italy; and as soon moved to be moody, and as soon moody to be moved. Why, though wilt quarrel with a man that hath a hair more Or a hair less in his beard than thou hast. Thou wilt Quarrel with a man for cracking nuts, having no Other reason but because thou hast hazel eyes. 26

27 Thou has quarrelled with a man for coughing in the street, Because he hath wakened thy dog that hath lain asleep In the sun. ENTER TYBALT, PETRUCHIO AND OTHERS BENVOLIO: By my head, here come the Capulets. MERCUTIO: By my heel, I care not! TYBALT: Follow me close for I will speak to them - Gentlemen, good e en: a word with one of you. MERCUTIO: And but one word with one of us? Couple it with something, make it a word and a blow. 27

28 Programme 9: Character Synopsis: Antonio and Amie return to the Globe theatre. They are challenged to sort out the Heroes from the Villains and to find some who may be a mixture of both. If Romeo and Juliet are classed as heroes then how other characters help or hinder them could be a good rule for deciding what type of person they are. On their journey they discover how complex their task can be, as characters can change during the play. Extracts used in the programme: Romeo & Juliet by William Shakespeare Act 1 Scene V Act II Scene V Act IV Scene Programme writing activities: Stop 1: Look closely at the scene between Capulet and Tybalt Act I Scene V. Which punctuation marks does Shakespeare use to give us the clue that Capulet is losing his temper? How many can you find? Circle or underline them on the text. Stop 2: Class discussion. Look at Act II Scene V (the scene between Juliet and her Nurse). What kind of character is the Nurse? What can you learn from the way she speaks to Juliet? Using your imagination, what do you think the Nurse might look like? Stop 3: Continue Juliet s idea from her speech (Act IV Scene ) O bid me leap, rather than marry Paris, From off the battlements of any tower What other things do you think Juliet would rather do than marry Paris? Imagine you were in her situation, being forced to do something you didn t want to do. 28

29 [Stop 1 Programme 9] Listen and Write - Autumn 2005 CAPULET: I would not for the wealth of all this town Here in my house do him disparagement. Therefore be patient, take no note of him. It is my will, the which if thou respect, Show a fair presence and put off these frowns, An ill-beseeming semblance for a feast. TYBALT: It fits when such a villain is a guest: I ll not endure him. CAPULET: He shall be endur d. What Goodman boy! I say he shall! Go to, Am I the master here or you? Go to. You ll not endure him! God shall mend my soul, You ll make a mutiny among my guests, You will set cock-a-hoop, you ll be the man! TYBALT: Why uncle, tis a shame. CAPULET: Go to, go to. You are a saucy boy. Is t so indeed? You are princox, go Be quiet, or More light! More light! For shame, I ll make you quiet. What, cheerly, my hearts! 29

30 [Stop 2 Programme 9] JULIET AND THE NURSE IN THE GARDEN JULIET: Nay come, I pray thee, speak: good, good Nurse, speak. NURSE: Jesu, what haste. Can you not stay awhile? Do you not see that I am out of breath? JULIET: How art thou out of breath when thou hast breath To say to me that you art out of breath? What says he of our marriage? What of that? NURSE: Lord, how my head aches! What a head I have: It beats as it would fall in twenty pieces. My back o t other side ah, my back, my back! Beshrew your heart for sending me about To catch my death with jauncing up and down. JULIET: I faith I am sorry that thou art not well. Sweet, sweet, sweet Nurse, tell me, what says my love? 30

31 NURSE: Your love says like an honest gentleman, And a courteous, and a kind, and a handsome, And I warrant virtuous Where is your mother? JULIET: Where is my mother? Why, she is within. Where should she be? How oddly thou repliest. Your love says, like an honest gentleman, Where is your mother? NURSE: O God s lady dear, Are you so hot? Marry, Is this the poultice for my aching bones? Henceforward do your messages yourself. 31

32 [Stop 3 Programme 9] JULIET: O bid me leap, rather than marry Paris, From off the battlements of yonder tower, Or walk in thievish ways, or bid me lurk Where serpents are. Chain me with roaring bears, Or hide me nightly in a charnel-house O er cover d quite with dead men s rattling bones, With reeky shanks and yellow chapless skulls Or bid me go into a new-made grave, And hide me with a dead man in his shroud Things that, to hear them told have made me tremble And I will do it without fear or doubt, To live an unstain d wife to my sweet love. 32

33 Unit 4: Factual Writing Programme 10: Death-defying diaries and riveting reports Synopsis: Katrina has to write a report about the Summer fair at school. She is helped to write in different factual styles by Read Me the talking book. She begins with her diary, but soon runs into difficulty. Read Me takes here back in time and shows her how her diary could have been written. She then has to produce a clear report with a grabbing headline to catch the reader s attention for the Newspapers. She realises that story writing techniques can come in handy here too. Extracts used in the programme: The Secret Diary of Adrian mole, aged thirteen and three-quarters by Sue Townsend. Cleaning the Airwaves a report from the Young Telegraph Programme writing activities: Stop 1: Working with a partner, the pupils decide what should have been included in Katrina s diary. They should include 3 new facts: Tuesday: Got up at 7 a.m. Cycled to school Councillor Hughes rang. Dad went a bit nuts. Stop 2: The newspaper report is ready to go to print. All it needs is a snappy headline. Can you think of one? Build a class list of suggestions and vote for the best. Stop 3: The radio reporter needs to know the key facts in order to make a 30 second radio report for the late news bulletin. What are the three main incidents that should be included in the broadcast? 33