The Lion, The Witch and The Wardrobe: Teacher's Resource

The Lion, the Witch and the Wardrobe
Teachers Resource
by Kim Richardson
William Collins dream of knowledge for all began with the publication of his first book in 1819. A self-educated mill worker, he not onl enriched millions of li!es, but also founded a flourishing publishing house. "oda , sta ing true to this spirit, Collins books are packed with inspiration, inno!ation and practical e#pertise. "he place ou at the centre of a world of possibilit and gi!e ou e#actl what ou need to e#plore it. Collins. $o more.
%ublished b Collins An imprint of &arperCollinsPublishers '' ( 8) *ulham %alace +oad &ammersmith ,ondon W- 8./ /rowse the complete Collins catalogue at www.collinseducation.com "e#t &arperCollinsPublishers ,imited 0112#tracts from The Lion, the Witch and the Wardrobe 3 C.4. ,ewis Collins Readers Teachers Resources can be downloaded and duplicated as re5uired for institutional use. &owe!er, this material is cop right and under no circumstances ma copies be offered for sale. Author6 7im +ichardson $esign6 7en 8ail 9raphic $esign, Cambridge %rogramming6 7ineti# :nteracti!e ,td
+ontents
Introduction Medium-term plan cheme o! "or#
Lesson 1: Creatures of Narnia Worksheet 1: Creatures of Narnia Lesson 2: Complex sentences OHT 2: What are subordinate clauses for Lesson 3: Punctuating speech OHT !: Punctuatin" s#eech Worksheet $: Punctuation Worksheet %: Punctuation OHT &: The ori"inal te't Lesson 4: Conveying setting, character and mood OHT (: )ettin", character and *ood Lesson : !evie"ing a scene from the novel OHT +: Re,ieWorksheet .: Re,ie-in" a scene Lesson #: Paragraphs OHT 1/: 0ood #ara"ra#hin" Lesson $: Portraying a character OHT 11: Portra1in" characters Worksheet 12: 2escribin" a character Lesson %: &tructuring a story Worksheet 1!: )e3uence cards Worksheet 1$: Plannin" 1our stor1 Worksheet 1%: 4ssess*ent sheet Lesson ': (riting from a character)s point of vie" OHT 1&: 5d*unds #oint of ,ieLesson 1*: +dmund
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Worksheet 1(: Character cards
33
Introduction
+ollins Readers
From well-known classics to award-winning contemporary fiction, Collins Readers are a series of hardback class readers written by leading childrens novelists and selected by teachers and educational advisors based on their teaching potential and ability to inspire your students. In line with our brand promise Freedom to Teach our teachers notes provide a fun, engaging and comprehensive set of resources to save you time, and help you use Collins Readers more effectively in your classroom. For each novel we provide a complete scheme of work, including creative lesson plans based on the four-part Framework lesson model, worksheets, OHTs and ICT activities. All lessons are produced in Microsoft Word so that they can be customised according to your needs, and are focused around specific Framework Objectives. They also provide many opportunities to incorporate differentiation and Assessment for Learning into your teaching.

The best-known of C. S. Lewiss Chronicles of Narnia, The Lion, the Witch and the Wardrobe began with a picture in the authors head, at the age of sixteen, of a faun carrying an umbrella and parcels in a snowy wood. It is generally regarded as one of the great classics of childrens literature, and is now also a major film. The novel introduces readers to the captivating fantasy world of Narnia, and the timeless battle between good and evil that the children become caught up in. It provides many wonderful passages for the study of narrative, as well as complex characters and motivations ideal for class discussion. Students will need to have read the whole novel before beginning this scheme of work. They may also find useful a visit to www.narnia.com, which offers further information on the author, books and film.
The ,uthor
Clive Staples Lewis was born in Belfast in 1898. He was a fellow and tutor in English Literature at Magdalen College, Oxford, and later was Professor of Medieval and Renaissance Literature at Cambridge University, where he remained until his death in 1963. He wrote numerous books of literary criticism and on Chistianity, the bestknown being The Screwtape Letters, as well as four novels for adults. Lewis (known as Jack to his friends) and his good friend J. R. R. Tolkien, the author of the Lord of the Rings trilogy, were part of the Inklings, an informal writers club that met at a local pub to discuss story ideas. Lewiss fascination with fairy tales, myths and ancient legends, coupled with inspiration from his childhood, led him to write the seven Chronicles of Narnia. These were his only works for children, and they have become acknowledged classics of childrens literature.
-ther resources
Cross-curricular teaching suggestions for The Lion, the Witch and the Wardrobe, as well as worksheets for study of the novel in conjunction with the film from Film Education can be downloaded from www.collinseducation.com. Alternative teaching materials are also available at the following URLs: www.factmonster.com/spot/narnia1.html www.filmeducation.org/narnia/index.html www.teachervision.fen.com/page/2430.html?detoured=1 www.standards.dfes.gov.uk/primary/publications/literacy/63481/920167
.urther readin/
C. S. Lewis: A Biography by A.N. Wilson ISBN 0 00 720271 7 Step into Narnia: A Journey Through The Lion, the Witch and the Wardrobe by E. J. Kirk ISBN 0 00 720611 9 Beyond the Wardrobe: The Official Guide to Narnia by E. J. Kirk ISBN 0 00 720571 6 The Magicians Nephew by C. S. Lewis ISBN 0 00 711555 5 The Horse and His Boy by C. S. Lewis ISBN 0 00 711559 8 Prince Caspian by C. S. Lewis ISBN 0 00 711556 3 The Voyage of the Dawn Treader by C. S. Lewis ISBN 0 00 711560 1 The Silver Chair by C. S. Lewis ISBN 0-00-711558-X The Last Battle by C. S. Lewis ISBN 0 00 711554 7
Medium-term plan
0ear1 7 Term1 2uration1 46 weeks et1 All
Literacy -b3ecti4es
Word
W2 Pluralisation W16 Unfamiliar words
Writin/
Wr5 Story structure Wr6 Characterisation Wr7 Narrative devices Wr11 Present information Wr14 Evocative description Wr19 Reflective writing
entence
S1 Subordinate clauses S7 Speech punctuation S8 Starting paragraphs
Readin/
pea#in/ 5 Listenin/
R7 Identifying main ideas R12 Character, setting and mood R14 Language choices
S&L10 Report main points
Teachin/ se6uence
Lesson 1: Using information on the creatures of Narnia to write an encyclopedia entry Lesson 2: Working with complex sentences Lesson 3: Writing a dialogue using correct speech punctuation Lesson 4: Making notes on setting, character and mood Lesson 5: Reviewing a scene from the novel Lesson 6: Writing a biography using paragraphs effectively Lesson 7: Exploring how characters are portrayed Lesson 8: Writing a story using appropriate narrative structure Lesson 9: Writing from a characters point of view Lesson 10: Looking at Edmund as a character

Lesson '1 Creatures of ;arnia
.rame"or# -b3ecti4es
W16 Wr11 Work out the meaning of unknown words using context Select and present information using detail, example, diagram and illustration as appropriate
NOTE: Students should have already read the novel before completing these lessons. The Narnia Quiz ( ICT Activity 1) can be completed at the beginning of this lesson, or at any other time as consolidation.
tarter
Read out each of the following words, first on their own, and then (after pausing for a few seconds) in context. Students write down their meaning. sceptre (So the children sat on their thrones and sceptres were put into their hands, page 167) fulfil (That would not fulfil the prophecy, page 12 ) su!!on (Su!!on all our people to !eet !e here, page 12") !uffler (#e had a red woollen !uffler round his nec$, page 1") courtier (%ut you !ust ha&e courtiers and no'les( ) will !a$e your 'rother a *u$e and your sisters *uchesses, page 1) decoy (shell want to use hi! as a decoy+ as 'ait to catch the rest of you with, page ,2) When students have finished, ask them whether the context helped them. Reinforce the point that looking at a difficult word in context is a good way of determining meaning.
Introduction
Organise the class into small groups and give each group a set of the cards from Worksheet 1. These contain notes about four different mythological or fantastic creatures that appear in the novel. The students first task is to sort the items under the four different headings (in bold). Explain to the class that they are going to use the information on the cards to write a short entry (four paragraphs) called Creatures of Narnia for an encyclopedia of childrens literature. Remind the class of the key features of an information text. In particular they should organise points into paragraphs and link them clearly and in a logical order; begin each paragraph with a topic sentence; write clearly and in formal language (not in note form, as on the worksheet cards); use the third person.
2e4elopment
Students write their information texts. They can do this individually or in pairs, depending on ability level. Likewise, their encyclopedia entry can cover two, three or four of the creatures. Alternatively, a single entry could be constructed by a group of four students, each choosing one paragraph. If book and/or Internet resources are available, students could research further details about the creatures to include in the entry.
7lenary
Ask a few students to read out what they have written so far. Elicit positive critical comment from the rest of the class as to the appropriateness of the writing for the purpose and audience given.
&
As an extension, or for homework, students could expand the information texts into a display sheet, with pictures, further details and relevant passages from The Lion, the Witch and the Wardrobe quoted and attached as illustration.

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Wor#sheet '1 Creatures of ;arnia
Centaurs
,nicorns
-auns
."arves
*rom 9reek m tholog
< thical animal
*rom +oman m tholog
*rom ;orse m tholog , fair tales and fantas fiction
&a!e head, upper bod and arms of a man, and bod and legs of a horse Chiron =wisest of the Centaurs> was tutor of 9reek hero Achilles 4upport Aslans cause in The Lion, the Witch and the Wardrobe
White horses with a single straight horn on forehead
4pirits of the woodlands
4hort creatures like humans, but li!ing underground
;ame comes from two ,atin words ( unus =one>, cornu =horn> 4upport Aslans cause in The Lion, the Witch and the Wardrobe
&alf-man, half-goat
:mportant characters in "olkiens <iddle 2arth
"umnus from The Lion, the Witch and the Wardrobe is an e#ample
*ight on both sides in The Lion, the Witch and the Wardrobe

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Lesson )1 Comple# sentences
S1 Extend their use and control of complex sentences
tarter
Remind students that a main clause is a single idea or event, which has a subject and a verb and makes complete sense on its own. A subordinate clause also expresses one idea or event but does not make complete sense on its own; it relies on the main clause to make sense. Write the following examples on the board or OHP and ask students to identify the main and subordinate clause in each case: -ucy thought the %ea&ers had a &ery snug little ho!e, though it was not at all li$e .r Tu!nus ca&e( -ucy and Susan held their 'reaths, waiting for /slans roar and his spring upon his ene!ies( Point out that the subordinate clause does not always come after the main clause and show how each of the above examples could be rewritten with the subordinate clause first. Remind students that a sentence with a main clause and one or more subordinate clauses is called a complex sentence. If necessary, consolidate with further examples in ICT Activity 2.
Introduction
Read through OHT 2 with the class carefully. This explores the uses of subordinate clauses in more detail, defining the three main types of subordinate clause. As you go through the examples, show how complex sentences are more interesting and clearer than two simple sentences strung together, for example: As he got into the middle of the courtyard, Edmund saw that there were dozens of statues in it shows the connection of the two parts of the sentence more clearly than: Edmund got into the middle of the courtyard. He saw that there were dozens of statues in it. Ask the class for suggestions of similar subordinate clauses to attach to the same main clauses. For example, what other subordinate clause could attach to Edmund saw that there were dozens of statues in it?
2e4elopment
Write this simple sentence on the board: Peter plunged his sword into the Wolfs heart. In pairs, students try to construct ten complex sentences with this as the main clause. They can refer to the types and purposes of subordinate clause on OHT 2 as they do so. Those who finish quickly can try to identify what kinds of subordinate clause they are. Ask pairs to feed back.
7lenary
Write the following two simple sentences on the board: Lucy felt very relieved. She reached the lamp-post. Ask students to rewrite each of these as a single complex sentence. How many different sentences can the class come up with, and what different purposes do they have?
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-8T )1 What are subordinate clauses forB

4ubordinate clauses make a sentence clearer and more interesting. "he do this in different wa s6 1. 4ome subordinate clauses tell ou more about the wa in which the main action of the sentence happened, or wh it happened. ?ou could sa that the answer 5uestions about the main clause. "hese are called adver/ial clauses. "he are underlined below.
As he got into the middle of the courtyard, Edmund saw that there were dozens of statues in it. Even though he knew it was only a stone giant, Edmund did not like going past it. We cant get there before her, because shell be on a sledge and well be walking. Wherever Edmunds eyes turned he saw birds alighting on branches.
When? On what condition ? Why?
Where?
0. 4ome subordinate clauses gi!e more information about a noun in the main clause. "he begin with a pronoun =who, which, that>. "hese are called relative clauses. "he are underlined below. In one corner there was a door, which Lucy thought must lead to Mr Tumnus bedroom. Lucy remembered the precious cordial that had been given her for a Christmas present. The White Stag, who would give you two wishes if you caught him, had once more appeared in these parts.
pronoun = which It refers to the door pronoun = that It refers to the cordial pronoun = who It refers to the stag
@. Ather subordinate clauses gi!e more information about a noun in the main clause. "he use the (ing or (ed part of the !erb. "hese are called non0finite clauses. "he are underlined below. But we havent time! said Susan, buttoning the collar of her coat.
buttoning refers to Susan warmed up refers to they

'3
Warmed up by their long walk, they were really rather snug.


Lesson 31 %unctuating speech
S7 Use speech punctuation accurately to integrate speech into longer sentences
tarter
Write the following word step on the board: /S-/0 /01T#23 23313 13/042 Show how each word begins with the last two letters of the previous word. Put students into pairs and give them five minutes to make the longest word step that they can from the word: WARDROBE. You may want to allow students to use dictionaries.
Introduction
Display OHT 3 and use it to explain how speech is punctuated. Begin with simple speech, then move on to speech in longer passages. Hand out copies of either Worksheet 4 or Worksheet 5 to each student, depending on their level of ability. Less able students can complete Worksheet 4, in which they add punctuation to the passage from page 136, while higher ability students can attempt Worksheet 5, where they also have to separate the speech into new lines. When they have finished, students should compare the result with the original on OHT 6.
2e4elopment
Remind students about the robin that the children meet in the forest after they have discovered that Tumnus the Faun has been captured by the White Witch (page 60). They should imagine that the Robin can actually talk, and continue the following dialogue, following the rules of speech punctuation that they have been practising: Lucy turned to the Robin and said, Please, can you tell us where Tumnus the Faun has been taken to? Students can incorporate the following in their dialogue: The 3o'in does not want the na!e of the 5ueen !entioned( The 3o'in $nows of so!e 'ea&ers who can help the children( 2d!und does not trust the 3o'in( The 3o'in actually witnessed the capture of Tu!nus(
7lenary
Ask 3 or 4 students to read out their dialogues and encourage positive criticism.
The Lion, the Witch and the Wardrobe )che*e of Work

3 &arperCollins %ublishers 011-.
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-8T 31 %unctuating speech

4peech is punctuated like this6 1pening speech mar2s are placed in front of the first word of the speech. "he can be single 3 or double 4 -inal speech mar2s are placed after the last word spoken "he sentence ends with a full stop
And now what are we to do? said Edmund.
Punctuation to do with the speech is put in front of the final speech mar2s. &ere it is a 5uestion mark because 2dmund is asking a 5uestion. ;ormall it is a comma
"he person "ho is spea2ing is usuall stated, unless it is clear from the conte#t
;ow look at this longer section of speech from the stor 6 2ach new speakers lines begin on a new paragraph "his e#tra section of speech is also spoken b %eter. :t does not begin a new paragraph. &owe!er, it is a new sentence, so it has a capital letter
I saw it that time too, said Peter. Its still there. Its just gone behind that big tree. What is it? asked Lucy, trying very hard not to sound nervous. Whatever it is, said Peter, its dodging us. Its something that doesnt want to be seen.
"his e#tra section of speech is also spoken b %eter. :t does not begin a new paragraph. As it continues his sentence it doesnt begin with a capital letter
/ecause we know that %eter is still speaking, the writer does not need to sa Csaid %eter or Che said again
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Wor#sheet 41 %unctuation
Add the correct punctuation to the passage of speech below.
Cant you get to sleep either said Susan No said Lucy I thought you were asleep I say Susan What Ive a most horrible feeling as if something were hanging over us Have you Because, as a matter of fact, so have I Something about Aslan said Lucy Either some dreadful thing that is going to happen to him, or something dreadful that hes going to do Theres been something wrong with him all afternoon said Susan Lucy What was that he said about not being with us at the battle You dont think he could be stealing away and leaving us tonight, do you

'6
Wor#sheet *1 %unctuation
Rewrite the passage below into the space provided, adding in the correct punctuation. Remember that you will also need to separate the speech into new lines.
Cant you get to sleep either said Susan No said Lucy I thought you were asleep I say Susan What Ive a most horrible feeling as if something were hanging over us Have you Because, as a matter of fact, so have I Something about Aslan said Lucy Either some dreadful thing that is going to happen to him, or something dreadful that hes going to do Theres been something wrong with him all afternoon said Susan Lucy What was that he said about not being with us at the battle You dont think he could be stealing away and leaving us tonight, do you
________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________

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-8T 61 "he original te#t
Cant you get to sleep either? said Susan. No, said Lucy. I thought you were asleep. I say, Susan! What? Ive a most horrible feeling as if something were hanging over us. Have you? Because, as a matter of fact, so have I. Something about Aslan, said Lucy. Either some dreadful thing that is going to happen to him, or something dreadful that hes going to do. Theres been something wrong with him all afternoon, said Susan. Lucy! What was that he said about not being with us at the battle? You dont think he could be stealing away and leaving us tonight, do you?

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Lesson 41 Con!e ing setting, character and mood
R12 R14 Comment, using appropriate terminology on how writers convey setting, character and mood through word choice and sentence structure Recognise how writers language choices can enhance meaning
tarter
Write on the board: CMYCAU YKPVGT CPF PGXGT EJTKUVOCU. In pairs, the students must crack the code to reveal a famous line from the novel. (The code A=C, B=D, etc. has been used. The solution is: Always winter and never Christmas, said by the Faun to Lucy on page 23.) Then ask students where the line comes from, and what makes it so effective.
Introduction
Explain to the class that it takes more than a good plot (storyline) to make a successful story; individual words and phrases, and skilful use of sentence structure, are all essential tools in the writers toolkit. Tell them that you are going to investigate how words and sentence structure can convey setting, character and mood in an extract from the novel. (Write these three key words on the board.) Using OHT 7, read the extract from Chapter 8 (pages 7981) to the class. Students should then discuss the questions on style that are asked on the OHT. You can either do this as a whole class activity, or model the first few questions in class and then put students in pairs to discuss the rest. They should make notes and either feed back their answers in a class discussion or write them up (for higher level classes). You may also like to question the authors repeated use of the rather characterless word went in the sentence: Out they went, plunging well over their ankles into the soft new snow, and went round the house in every direction an example of the occasional lapses in style in the book. Could Lewis have written this sentence more effectively? (It is encouraging to young students to be given the chance to improve on great authors.)
2e4elopment
Ask students to choose a favourite passage of their own from the novel (not more than a page). Working alone, they draw up a table analysing the way in which words and sentence structure convey character, setting and mood in their chosen passage. They should quote the relevant text, then comment on what effect it has how it helps to build up a picture for the reader. Model the start of this a table as follows (the example is based on the extract from pages 7981):
How it conveys CHARACTER How it conveys MOOD Sudden, short sentence, all on its own, suggests the sudden change in !ood, and the stunned silence that follows the ;uestion The ad&er's help to e!phasise how hea&y the snowfall is How it conveys SETTING
Evidence (words or sentence structure) 6) say 7 where8s 2d!und9: The snow was falling thic$ly and steadily
'&
7lenary
Select students to read out one example of how words or sentence structure help to convey character, mood or setting from their passage. Ask them to further describe the effect of the words/sentence structure if it isnt clear from their explanation, always linking this together with the intended effect of the author.

)(
-8T $1 4etting, character and mood

What effect does the author want hereB &ow does putting this Cspeech on a separate line, with no other comment, emphasise this effectB
All the children had been attending so hard to what Mr Beaver was telling them that they had noticed nothing else for a long time. Then during the moment of silence that followed his last remark, Lucy suddenly said: I say - where's Edmund? There was a dreadful pause, and then everyone began asking Who saw him last? How long has he been missing? Is he outside? and then all rushed to the door and looked out. The snow was falling thickly and steadily, the green ice of the pool had vanished under a thick white blanket, and from where the little house stood in the centre of the dam you could hardly see either bank. Out they went, plunging well over their ankles into the soft new snow, and went round the house in every direction. Edmund! Edmund! they called till they were hoarse. But the silently falling snow seemed to muffle their voices and there was not even an echo in answer. How perfectly dreadful! said Susan as they at last came back in despair. Oh, how I wish we'd never come. What on earth are we to do, Mr Beaver? said Peter. Do? said Mr Beaver, who was already putting on his snow-boots, do? We must be off at once. We haven't a moment to spare! We'd better divide into four search parties, said Peter, and all go in different directions. Whoever finds him must come back here at once and Search parties, Son of Adam? said Mr Beaver; what for? Why, to look for Edmund, of course! There's no point in looking for him, said Mr Beaver. What do you mean? said Susan. He can't be far away yet. And we've got to find him. What do you mean when you say there's no use looking for him? The reason there's no use looking, said Mr Beaver, is that we know already where he's gone! Everyone stared in amazement. Don't you understand? said Mr Beaver. He's gone to her, to the White Witch. He has betrayed us all.
What effect does putting all these 5uestions together ha!eB Wh are we not told who e#actl is asking each 5uestionB
Wh does the author describe the scene outside using two long, slow sentencesB What words help him to paint a picture of the sceneB
What effect does the word Cplunging ha!e hereB &ow do these sound effects help build up a picture6 the repeated Cs soundsB the phrase Ce!en an echo in answerB
&ow does 4usans comment help de!elop a picture of her characterB =,ook back to pages )8 and -1, for e#ample>
&ow does %eters response to the crisis help de!elop a picture of his characterB
&ow do <r /ea!ers words =especiall his 5uestions> and actions help de!elop his characterB =,ook back to pages 'D and '), for e#ample>
&ow do all the 5uestions and e#clamations help to create a particular mood in this sectionB
Wh does the author lea!e it for such a long time before re!ealing the truth about 2dmundB
&ow does the word Cher add to the picture of the White Witchs characterB

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Lesson *1 +e!iewing a scene from the no!el
Wr19 Write reflectively about a text, taking account of the needs of others who might read it
tarter
Write Daughter Of Eve on the board. Working on their own, students try to find as many words as they can hidden in this phrase. The words must be at least three letters long and letters cannot be reused (for example, ever is acceptable, but not dragged). After three minutes, collect all the students words on the board.
Introduction
Explain to students that in this lesson they are going to review a favourite scene of theirs from The Lion, the Witch and the Wardrobe. Ask for suggestions as to the sort of things that should be covered in a review of a text, and put these on the board. Read through OHT 8 (a students review of Chapter 2) with the class. Reinforce the following points: The scene is na!ed clearly at the start ( The re&iew is organised effecti&ely < one paragraph per point ( )t co&ers action ('riefly), characters, setting and purpose ( )t includes the re&iewers own feelings a'out any of these points ( )t ends with a conclusion su!!ing up how the reader feels a'out the scene ( )t !a$es reference to different &iews that other readers !ay ha&e( Point out that in a longer review other issues could be explored, for example, the style and quality of the language, with quotations as illustration.
2e4elopment
Students can then write their own review of a scene. Either set a scene for all of them to cover, offer a choice between two or three scenes, or ask students to choose a scene of their own. Hand out copies of Worksheet 9 to aid students in planning and writing notes.
7lenary
Ask 3 or 4 students to read out their reviews, and elicit constructive criticism from the rest of the class. Complete reviews for homework if necessary.

))
-8T %1 +e!iew
Read the following review of Chapter 2 (What Lucy Found There). The annotations explain the purpose of each paragraph.
Chapter 2 describes how Lucy meets Mr Tumnus in Narnia, and what happened when she went back to his cave for tea. Mr Tumnus tells Lucy about the White Witch and how he has been forced to capture a human for her. nstead he takes Lucy back to the wardrobe to escape from Narnia. The only characters in this scene are Mr Tumnus and Lucy. !owever, one other important character is described for the first time " the White Witch. Mr Tumnus is a #aun $half%human and half%&oat', so he(s a ma&ical character. !e(s also very funny, as he calls Lucy )*au&hter of +ve( and thinks that she comes from a land called ),pare -om(. The idea of a #aun with an umbrella in the snow, carryin& parcels, is also very amusin& and interestin&. Later in the scene he &ets very upset, because he has been told to capture Lucy. !is tears make him seem very human. !e(s basically a &ood character, who wants to help Lucy. We e.perience the scene from Lucy(s point of view " everythin& is unusual and fascinatin&. /ut we don(t &et a very &ood picture of Lucy herself " she(s 0ust a &irl who has this ama1in& adventure. Thou&h she does for&ive Mr Tumnus at the end, which is important. The scene be&ins in the woods, then moves to Mr Tumnus(s cave, which is described in detail. The author makes it seem very cosy " it contrasts with the snowy cold of the woods outside. #inally it ends in the woods a&ain, which are more threatenin& now that the dan&er of the White Witch has been described. This chapter is very important, because it is the first time that we are told about Narnia, the White Witch and the four thrones at Cair 2aravel. ,ome of this we understand, and some is only hinted at $the four thrones'. /ut we want to know more about it all because it is so fabulous. We learn that there are &ood characters $like the #aun' and evil characters $like the White Witch'. The #aun wants to betray Lucy, but can(t " the theme of betrayal is also important to the story. liked the contrast between the cosy teatime scene and the dan&er that Lucy is really in. -ther readers may feel that the scene &oes on too lon& $all those stories and tunes', but it worked for me. t &ave a &ood idea of the passin& of time in the cave.
/rief description of the action =what happens> in the scene. <ake it clear at the start "hich scene it is "he characters in the scene are listed and described. :nclude personal response to the characters "he discussion of ,uc is gi!en a separate paragraph, as she is a different character "he setting is described briefl . ;ote that there ma be more than one setting "he purpose of the scene, for e#ample, how it de!elops the plot andEor the characters, and how it treats the main themes A final summary, concentrating on our personal response. Allow for different !iewpoints
)3
Wor#sheet &1 +e!iewing a scene

Use the planning frame below to write brief notes for your review.
Name: Action (2 or 3 main points only) My scene is (page numbers):
Characters (include how you feel about them)
Setting
Purpose (how does this scene move the story forward? Does it develop the characters, introduce a new one, etc.?) Summary (your overall feeling about the scene)
Remember: Try to refer to other peoples views somewhere in your review

"his page ma be photocopied for use in the classroom )che*e of Work 3 &arperCollins %ublishers 011-.
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Lesson 61 %aragraphs
S8 Recognise the cues to start a new paragraph and use the first sentence effectively to orientate the reader
tarter
Write the following anagrams of names from The Lion, the Witch and the Wardrobe on the board: S0//- (Aslan) *=*02. (Edmund) T#)2> T#>)? (White Witch) 0=T=S. (Tumnus) )3?/ @3/A/-2 (Cair Paravel) 3/)0/0 (Narnia) Students race to unscramble the letters.
Introduction
Emphasise the importance of paragraphs as a structural tool. Then read the biography of C. S. Lewis on OHT 10, and point out how it has been organised into paragraphs. In particular: each paragraph starts on a new line each paragraph deals with a separate topic, or a new ti!e period the first sentence of the paragraph (called the topic sentence) tells the reader what the paragraph is a'out(
2e4elopment
Students then write a short piece about three fantasy writers: C. S. Lewis, J. R. R. Tolkien and J. K. Rowling, using three separate paragraphs. Begin by brainstorming information about these authors and/or their books, either as a class or in groups. Point out to the class that the topic of a paragraph is often stated in the first sentence (called the topic sentence). This makes it clear to the reader what new topic/idea/character is being written about. Refer to examples of topic sentences on OHT 10, and encourage students to include them in their own writing. Encourage higher ability students (or classes) to add two extra paragraphs one as an introduction and one as a conclusion to the piece.
7lenary
Ask several students to read out their passages. The rest of the class should listen carefully and put their hands up when they think the reader is beginning a new paragraph, explaining why. Highlight good topic sentences that have been used, and write them on the board.

)*
-8T '(1 9ood paragraphing

C. S. Lewis, or Jack Lewis, as he preferred to be called, was born in Belfast, Ireland (now Northern Ireland) on 29 November 1898. He was the second son of Albert Lewis, a lawyer, and Flora Hamilton Lewis. He had an older brother, Warren, known as Warnie. Lewis's early childhood was happy. He lived in a large house called Little Lea. It had dark passages and a large overgrown garden, which became playgrounds for him and his brother. The house also had a library with a huge collection of books. Lewiss mother became ill and died of cancer in 1908. This unhappy event marked the end of his childhood, because only a month after her death the two boys were sent to boarding school in England. Lewis hated the school, but he was able to return to Ireland two years later. In 1916 Lewis went up to Oxford University. This was the middle of the First World War, however, so very soon he volunteered to join the British Army, and served in the trenches of northern France. After the end of the war in 1918, Lewis returned to Oxford, where he proved to be a first-class scholar. In 1925, he became a teacher in English at Magdalen College, Oxford. He taught and lectured at Oxford for twenty nine years, where his friends included J. R. R. Tolkien, author of The Lord of the Rings. During this period Lewis began to publish books. These were of three very different kinds: books about Christianity, which was always important to him; scholarly books about English literature; and, of course, childrens fantasy novels. Although some of his friends (including Tolkien) tried to persuade him against writing childrens books, they became extremely popular. The seven Narnia stories began with The Lion, the Witch and the Wardrobe and ended with The Last Battle in 1956. They have sold more than 100 million copies. In 1954 Lewis moved to a new teaching post at Cambridge University. Two years later he married Joy Davidman, but she died in 1960. After her death, Lewis's own health got worse. He died on 22 November 1963.
Paragraph 1 5ntroduction 6 family
Paragraph 2 +arly childhood Paragraph 3 &chool days
Paragraph 4 7s a young man
Paragraph 7t 1xford ,niversity
Paragraph # 8is /oo2s
Paragraph $ -inal years

)6

Lesson $1 %ortra ing a character
R12 Wr6 Wr14 Comment, using appropriate terminology, on how writers convery setting, character and mood through word choice and sentence structure Portray character, directly and indirectly, through description, dialogue and action Describe and object, person or setting in a way that includes relevant details and is accurate and evocative
tarter
Brainstorm with the class what the important features/ingredients of a story are. Characters should come up at some point. Then brainstorm what an author can do to make the characters interesting or exciting. Focus on three main methods for doing this, and write them on the board.
Introduction
The class read the description of the Queen of Narnia (pages 3436) again (this is provided on OHT 11), and explore how the characters of both the Queen and Edmund are built up. Either as a class or in groups, ask them: what !a$es the description of the 5ueen effecti&e9 (for eBa!ple, detail, adCecti&es, the si!ile) how the words of the 5ueen and 2d!und add infor!ation a'out their character (for eBa!ple, the 5ueens ;uestions and co!!ands, 2d!unds hesitancy) how their actions add infor!ation a'out their character (for eBa!ple, loo$ing hard at 2d!und, the -ady frowned)( Emphasise how it is often more effective to show aspects of a character through their words and actions rather than by stating it baldly (for example, Edmund was nervous and hesitant).
2e4elopment
Tell the class that in Lesson 8 they are going to write a story about a character who goes through a portal into another world. They first discuss briefly in pairs: what the portal is (gi&e eBa!ples, if necessary, such as an understairs cup'oard, a !anhole in the street) where the portal leads (for eBa!ple, to the future, to the past, to a fantasy world)( Then, on their own, students use Worksheet 12 to think about and build up a description of their main character, in preparation for writing the story.
7lenary
Ask several students to read out what mood they have given their character. Have they written down some words, or an action, that reveals that mood? If not, encourage them or the class to do so orally.

)$
-8T ''1 %ortra ing characters

Read the following extract from The Lion, the Witch and the Wardrobe, Chapter 3. Notice how the author builds up a picture of both characters (the Queen and Edmund) in three ways: by description by their words and how they say them by their actions.
But behind him, on a much higher seat in the middle of the sledge sat a very different person a great lady, taller than any woman that Edmund had ever seen. She also was covered in white fur up to her throat and held a long straight golden wand in her right hand and wore a golden crown on her head. Her face was white not merely pale, but white like snow or paper or icing-sugar, except for her very red mouth. It was a beautiful face in other respects, but proud and cold and stern. The sledge was a fine sight as it came sweeping towards Edmund with the bells jingling and the dwarf cracking his whip and the snow flying up on each side of it. Stop! said the Lady, and the dwarf pulled the reindeer up so sharp that they almost sat down. Then they recovered themselves and stood champing their bits and blowing. In the frosty air the breath coming out of their nostrils looked like smoke. And what, pray, are you? said the Lady, looking hard at Edmund. I'mI'mmy name's Edmund, said Edmund rather awkwardly. He did not like the way she looked at him. The Lady frowned. Is that how you address a Queen? she asked, looking sterner than ever. I beg your pardon, your Majesty, I didn't know, said Edmund. Not know the Queen of Narnia? cried she. Ha! you shall know us better hereafter. But I repeat what are you? Please, your Majesty, said Edmund, I don't know what you mean. I'm at school at least I was it's the holidays now.

)%
Wor#sheet ')1 $escribing a character

Imagine the character in your story. Think about how they look, and what sort of person they are. Fill in the columns below with your thoughts. Your character will grow in your mind the more detail you add.
Feature
Detail
How could description/ speech/action show this? Give examples.
Name Age Appearance: face Appearance: body Clothes How she or he moves Mood (character)
What is your character thinking and feeling? You need to get under their skin. Write your ideas below.
What does your character think and feel when s/he goes through the portal into the new world?
How could you show this when writing about the character?
"his page ma be photocopied for use in the classroom )che*e of Work 3 &arperCollins %ublishers 011-.
)&
3(

Lesson %1 4tructuring a stor
R7 Wr5 Identify the main points, processes or ideas in a text and how they are sequenced and developed by the writer Structure a story with an arresting opening, a developing plot, a complication, a crisis and a satisfying resolution
tarter
Hand the students the sequence cards on Worksheet 13, individually or in pairs or groups. Their task is to rearrange them to reveal the full sequence of the novel.
Introduction
Remind the class that a story often follows the following form: introduction, developing plot, complication, crisis, resolution. Write this basic narrative skeleton on the board (or use Worksheet 14 as an OHT) and ask the class for a single sentence that would describe each section of the narrative structure of The Lion, the Witch and the Wardrobe. Write this on the board. Students then think in similar terms about their own story. Give each of them a copy of Worksheet 14 to help them plan their story. Go around the class, helping students to think of possible complications and crises to fit their basic scenario (worked out in Lesson 7).
2e4elopment
Students use their plan, and the notes they have made about their main character in Lesson 7, to write their story.
7lenary
When they have finished their writing, give each student a copy of Worksheet 15 so that they can work in pairs and assess each others writing. They can then redraft according to suggestions.

3'
Wor#sheet '31 4e5uence cards
*our children =%eter, 4usan, 2dmund and ,uc > are sent to a large house during World War "wo to li!e with a kind old professor.
2dmund can onl be forgi!en b AslanFs sacrifice. "he Witch kills Aslan at the 4tone "able.
"he children find a wardrobe in an empt room, which leads to the land of ;arnia.
Aslan rises from the dead, following the law of deeper magic from before the dawn of time.
"he children learn that ;arnia is controlled b the White Witch, and it is alwa s winter. "he true ruler of ;arnia, Aslan the lion, will return to rescue ;arnia from its eternal winter. 2dmund betra s his brother and sisters to the White Witch. 4he is afraid of the prophec that ;arnia will return to its true form when four kings and 5ueens sit on the four thrones at the castle of Cair %ara!el. Aslan returns to ;arnia and the Witchs spell begins to break. Winter slowl changes into spring.
"he children and Aslans arm defeat the White Witch and her followers in battle and sa!e ;arnia.
"he children are appointed the 7ings and Gueens of ;arnia.
<an ears pass. Ane da , while hunting the White 4tag, the find the wardrobe again, and return to the %rofessorFs house, as children.

3)
Wor#sheet '41 %lanning our stor
Add details to this narrative skeleton to help you plan the outline of your story.

%. Co&#!ic'tion
Sets scene
1. Introduction
. Reso!ution (. Crisis ". Deve!o#in$ #!ot

33
Wor#sheet '*1 ' Assessment sheet

2ate1 999999999999999999999999 :ame1 999999999999999999999999999999999999999999999999999 +lass1 99999999999999
The assignment involved writing
What main text-type features were included in the writing?
What were the good points about the writing?
What needs to be improved?
Writing overview
.-+; 7oor ,4era/e <ood = <ood
Sentence structure and punctuation (the way the sentences are put together; the accuracy and effect of the use of punctuation) Text structure and organisation (the way the writing is organised; for example, whether the paragraphs help the reader to follow what you want to say) Composition and effect (the particular choices of words and phrases used to fit the sort of text that is being written) plus how well you interest the reader.

34

Lesson &1 Writing from a characters point of !iew
W2 Wr7 Pluralisation, including es endings and words ending in y, f and vowels Use a range of narrative devices to involve the reader
tarter
Write the following words on the board (all come from the novel): majesty, wolf, study, witch, knife, icicle, fox, zoo, centaur, dwarf. Give the class a quick test on plurals. You may want to remind them of the basic rules first (or reinforce them afterwards), for example: add es to for! the plural in words that end in sh, ch, ss and ! add s to words that end in a &owel D y, for eBa!pleE way change y to ies in words that end in consonant D y(
Introduction
Explain to students that a narrative passage is often written from a particular characters point of view. Display OHT 16 and point out how C. S. Lewis makes us experience the scene from Edmunds point of view. In each case, ask how else the author could have written the scene (for example, he could have told us straightaway what the whizz whizz sound was). Ask what advantages this narrative device might have over simply describing the scene from the point of view of the author who knows everything that is going on (avoid using the term omniscient narrator in all but advanced classes). Elicit responses such as: )t gi&es readers the sense of actually 'eing there, eBperiencing the scene( )t deepens the readers sense of what the character is li$e, as they eBperience the scene as the character does( )t adds tension 'ecause, li$e the characters, the reader doesnt $now what eBactly is going on, or what is going to happen(
2e4elopment
Students then write the scene from the point of view of the dwarf. Write the following pointers on the board: Possible events to include Tying 2d!und to the tree Areparing 2d!und for sacrifice The attac$ 'y the rescue party (noteE centaurs, deer, unicorns, 'irds) %eing turned into a stu!p 'y the >itchs !agic #ints and techni;ues )!agine you are the dwarf and thin$ a'out how he would feel, hear and see the scene( .ention the dwarf often in the writing( Show confusion 'y a Cu!'le of words and punctuation(
7lenary
Ask 3 or 4 students to read out their passages and invite constructive comment. Is there a contrast in the writing between the first half (when the dwarf knew exactly what was going on) and the second half (when he didnt)?
3*

36
-8T '61 2dmunds point of !iew

Read this extract from Chapter 13. The annotations show how C. S. Lewis allows us to experience the scene from Edmunds point of view.
Author makes clear at start that this is 2dmunds e#perience of e!ents
Edmund found himself being roughly forced to his feet. Then the dwarf set him with his back against a tree and bound him fast. He saw the Witch take off her outer mantle. Her arms were bare underneath it and terribly white. Because they were so very white he could see them, but he could not see much else, it was so dark in this valley under the dark trees. Prepare the victim, said the Witch. And the dwarf undid Edmund's collar and folded back his shirt at the neck. Then he took Edmund's hair and pulled his head back so that he had to raise his chin. After that Edmund heard a strange noise whizz whizz whizz. For a moment he couldn't think what it was. Then he realized. It was the sound of a knife being sharpened. At that very moment he heard loud shouts from every direction - a drumming of hoofs and a beating of wings a scream from the Witch confusion all round him. And then he found he was being untied. Strong arms were round him and he heard big kind voices saying things like Let him lie down give him some wine drink this steady now you'll be all right in a minute. Then he heard the voices of people who were not talking to him but to one another. And they were saying things like Who's got the Witch? I thought you had her. I didn't see her after I knocked the knife out of her hand I was after the dwarf- do you mean to say she's escaped? A chap can't mind everything at once what's that? Oh, sorry, it's only an old stump! But
*ocus on the senses ( what 2dmund felt, saw and heard
"he dialogue hints at something that the Witch and dwarf know but 2dmund doesnt. As readers we are wondering, like 2dmund, what it means
$arkness is important ( implies that 2dmund doesnt full know what is going on
Author could ha!e simpl told us what the sound was, but he lets us follow 2dmunds train of thought instead
Again, the scene is described from 2dmunds e#perience ( hearing and feeling
4peakers are not named ( we dont know who the are because 2dmund doesnt either
"he short phrases and punctuation =dashes> con!e 2dmunds sense of things happening around him
$ifferent peoples speech Humbled together in one paragraph ( represents how 2dmund e#periences it
%assage ends with 2dmund, Hust as it began, to reinforce it is all about what happened to him

3$
just at this point Edmund went off in a dead faint.
3%

Lesson '(1 2dmund
R7 S&L10 Identify the main points, processes or ideas in a text and how they are sequenced and developed by the writer Identify and report the main points emerging from discussion
tarter
Explain to the class that in this lesson they will focus on the character of Edmund. Divide students into groups of 4 or 5 and give each group a set of the cards from Worksheet 17. These cards reproduce short passages from the novel, and the students task is to put them in the correct order. (The cards are printed in the right order on the worksheet pages 30, 33, 44, 81, 91, 106, 109, 126, 128, 165.)
Introduction
Groups should then discuss what each extract says about Edmunds character, and summarise this in a short phrase or sentence. In completing this activity, they should come up with a ten-point character log for Edmund. (For example, the first card could be summarised as: Edmund is spiteful.) Each group should appoint a spokesperson to feed back their responses to the class.
2e4elopment
Groups then select four shots for Edmunds photo album. These are the four key moments in his life (as narrated in the novel). They could include some of the moments on the character cards, but may also include others, such as his first meeting with the White Witch. The group must come to a consensus about the photo album and choose a different spokesperson to explain their decision.
7lenary
Initiate a class discussion on the following topic: Edmund is by far the most interesting of the four children. Steer the discussion to explore two key points: that we are interested in characters who arent all good, and that we are interested in characters who develop.
8ome"or#
Students s$etch the four photographs for 2d!unds al'u!(

3&
Wor#sheet '$1 Character cards

Soon he was wet to the skin. And oh, how miserable he was! It didnt look now as if the Witch intended to make him a King He would have given anything to meet the others at this moment even Peter! Oh, dont, dont, please dont, shouted Edmund, but even while he was shouting she had waved her wand and instantly where the merry party had been there were only statues seated round a stone table on which there were stone plates and a stone plum pudding.
He sneered and jeered at Lucy and kept on asking her if shed found any other new countries in other cupboards all over the house.
I say, Lu! Im sorry I didnt believe you. I see now that you were right all along. Do come out. Make it Pax. Still there was no answer. Just like a girl, said Edmund to himself, sulking somewhere, and wont accept an apology. Edmund was already feeling uncomfortable from having eaten too many sweets, and when he heard that the Lady he had made friends with was a dangerous witch he felt even more uncomfortable. But he still wanted to taste that Turkish Delight again more than he wanted anything else.
After that Edmund heard a strange noise whizz whizz whizz whizz. For a moment he couldnt think what it was. Then he realised. It was the sound of a knife being sharpened.
Dont you understand? said Mr Beaver. Hes gone to her, to the White Witch.
Edmund shook hands with each of the others and said to each of them in turn, Im sorry.
He took a stump of lead pencil out of his pocket and scribbled a moustache on the lions upper lip and then a pair of spectacles on its eyes. Then he said, Yah! Silly old Aslan! How do you like being a stone?
He had become his real old self again and could look you in the face. And there on the field of battle Aslan made him a knight.

4(

The Lion, The Witch and The Wardrobe: Teacher's Resource

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The Lion, the Witch and the Wardrobe

Worksheet 1(: Character cards