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DRAFT Cambridge Lower Secondary

English
LEARNER’S BOOK 9
Graham Elsdon

Second edition Digital

access

Original material © Cambridge University Press 2021. This material is not final and is subject to further changes prior
to publication.
 We are working with Cambridge Assessment International Education towards endorsement
of this title.

DRAFT

Original material © Cambridge University Press 2021. This material is not final and is subject to further changes prior
to publication.
 We are working with Cambridge Assessment International Education towards endorsement
of this title.

DRAFT Cambridge Lower Secondary

English
LEARNER’S BOOK 9
Graham Elsdon

Original material © Cambridge University Press 2021. This material is not final and is subject to further changes prior
to publication.
 We are working with Cambridge Assessment International Education towards endorsement
of this title.

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DRAFT
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Introduction

Introduction
Welcome to Stage 9 of Cambridge Lower Secondary English.
We are delighted to introduce you to a variety of fiction, non-fiction, poetry

DRAFT
and drama texts, all of which have been selected to appeal to readers of
your age. You will encounter texts from different countries and time
periods, extend your English skills and develop your knowledge of
literature.
You will read a dramatic tale set below the streets of Paris, perform your own
drama scene and write a speech about an issue you feel strongly about. You
will study thought-provoking poems about the passing of time, read about
lost tribes and analyse a science-fiction story about a strange journey.
There are two complete short stories in this book. The first one, ‘The
Red-Headed League’, is a mystery story featuring Sherlock Holmes. The
second, ‘The Journey Within’, is a fantasy tale about a girl discovering her
inner strength. Both of these stories will help you to understand structural
patterns, and allow you to explore themes in a very detailed way.
We hope you will enjoy writing stories in a variety of genres, such as
mystery and fantasy, as well as practising your persuasive and
analytical skills. There are many opportunities to create drama scenes,
write poetry and refine your ability to use language in expressive and
impactful ways.
You will have many opportunities to work in groups and pairs, exploring
reactions to texts and issues affecting the world we live in. The projects
at the end of each unit are designed to help develop the skills you
have acquired, and allow you to practise the key skills of research
and presentation that are essential for future study and work.
Reflecting on your own learning is an essential part of
your development, so make use of the assessment and
reflection features. They will allow you to see just how
much progress you are making and help you to become
a thoughtful and independent learner.
Good luck on the next stage of your learning journey.

Graham Elsdon

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Contents

Contents
Page Unit Text type Reading
8 1 Going Contemporary fiction; contemporary Darkparis (prose); Darkparis (drama);

DRAFT
underground drama; non-fiction (travel writing) ‘Coober Pedy: Getting below the
surface’

33 2 Law and order Non-fiction (explanatory and ‘The importance of conscience’; ‘To
persuasive); autobiographical do – or not to do . . . ’; ‘Why should
account; personal blog; young adult you become a police officer?’;
fiction ‘Confessions of an art detective’;
The Case of the Missing Masterpiece;
‘The thrill of
the dark’
57 3 ‘The Red-Headed Pre-20th-century short story ‘The Red-Headed League’
League’

82 4 Time Pre-20th-century poetry; newspaper Poetry by Su Tung P’o; ‘To Make

articles; contemporary fiction Much of Time’; carpe diem poetry;
‘Outside world still a mystery to
tribe that time forgot’; Tanglewreck;
‘The future is bright’

108 5 That’s Contemporary drama; contemporary Small Island (play); The Boy Who
entertainment prose fiction; non-fiction Harnessed the Wind; ‘How to be
(explanatory and argument articles) a K-pop idol’; ‘Why we
shouldn’t use
animals for entertainment’; ‘Why
zoos are good’

135 6 A sense of place Contemporary prose; travel writing; If Nobody Speaks of Remarkable
poetry (sonnets); personal writing Things; ‘A love letter to the Grand
Canyon’; ‘Chasm’; ‘Ozymandias’;
‘Vermont’; Tales from the Riverbank
159 7 ‘The Contemporary short story (fantasy) ‘The Journey Within’
Journey
Within’

187 8 Different lives Contemporary drama; autobiography; I Want to Fly; ‘Just crash through
speech; contemporary science fiction it . . . ‘; ‘Gender equality is
your issue too’; Binti

214 9 Strange and Contemporary poetry; pre-20th-century ‘This Landscape, These People’;
unusual drama; non-fiction (review and Macbeth; ‘A poetic retelling of
interview articles); pastiche; science- Macbeth in a new India’; ‘Call Me
fiction short story Mac’; Interview with Christina
Koch; ‘To Serve Man’

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Contents

Writing Speaking/Listening Language focus 21st-century

skills

DRAFT
Writing contemporary Discussion work; reading Punctuation for Creativity;
fantasy; writing a formal prose and drama aloud; rhetorical effect; collaboration
review; writing a drama listening to and discussing extended metaphors
scene; producing travel opinions
writing
Summarising views; using Discussion work; performing a Combining sentence Critical thinking;
colons and semi-colons; note scene; listening to and discussing types for effect; communication
taking; writing descriptively; opinions; colons and semi-
making deductions; colons
analysing character

Comparing characters; Discussion work; Working out the Collaboration;

analysing structure; writing a improvising a meaning of unfamiliar creativity
report; writing a story conversation; listening to words; different types
ending; descriptive writing a playscript; dialogue of imagery
reading
Writing different types of Discussion work; giving a speech; Tenses, conditionals Creativity;
poems; personal response; listening to an account and modals; verb critical
writing a speech; writing a choices thinking
story opening; writing a new
chapter; making predictions

Analysing dramatic Discussion work; reading Asides and dramatic Social

structure; exploring contrast; and performing a play; irony; layers of responsibility;
writing a comedy scene; listening to an account meaning in figurative collaboration
summarising structural language
patterns; imaginative
writing; note taking;
personal response; writing a
discursive response
Analysing a poem; describing Discussion work; exploring Rhyming couplets and Critical
the natural world; analysing opinions; listening to thoughts imperfect rhyme; thinking;
spatial metaphors; writing and feeling pathetic fallacy learning to
sonnet lines; homecoming learn
writing
Writing a short fantasy Discussion work; reading in Motifs; levels of Social
account; analysing dialogue parts; exploring and formality responsibility;
formality; describing a giving opinions creativity
fantasy setting; imaginative
monologue; analysing
theme; writing a fantasy
story
Note taking; analysis of Discussion work; performing a Dramatic conflict via Learning to learn;
language; writing a dramatic scene; exploring agreement language; pronoun communication
scene; writing a feature and disagreement; listening to choices
article; writing a persuasive personal accounts; giving a
speech; writing part of a speech
science-fiction story
Poetry analysis; Discussion work; reading Ambiguous endings; Creativity;
translation of soliloquy; listening to account of puns and double collaboration
Shakespearean English; genre meanings
summarising; note
taking; adapting
Macbeth; writing
biography; writing a
feature article; writing a
final scene;
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writing
of athis
short story with a
title.
twist

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How to use this book

How to use this book

This book contains lots of different features that will help your learning. These are explained below.

DRAFT
This list sets out what you will learn in each In this session, you will:

session. You can use these points to identify • explore the effect of structure and language choices

the important topics for the lesson. • consider how punctuation choices can be used to
present a character
• write the continuation of a story in the style of an
author.

Getting started
This contains questions or activities to help
In pairs, discuss mysterious characters from books and
find out what you know already about the films that you know. What makes them seem mysterious
and how do you react to them?
topics in this session.

Important words are highlighted in the text Key words

when they first appear in the book. You will theme: the
find an explanation of the meaning of these main subject of
a talk, book,
words in the margin. You will also find film, poem, etc.
script: the
definitions of all these words in the glossary words and
actions from a
at the back of this book. play written
down for the
actors to use

Activities give you the opportunity to 4 Most of the time, the writer addresses the reader using the plural
pronouns ‘we’ and ‘us’. This suggests that readers share his opinions
practise and develop the skills that you learn about detective fiction.
in each session. Activities will involve Write a brief analysis of the effect of this grammatical choice in
the text. Why might the writer want to imply a link with the reader,
answering questions or completing tasks. and how is that related to the purpose of the text?
This includes listening activities where 14 5 You are going to listen to some readers talking about detective
fiction. As you listen, make notes on each reader’s preferences
you hear a sound recording. These and experiences of the genre. Then write a summary of these
recordings can be played from the digital different views, explaining how each reader’s experiences affect
their opinions.
edition of the Learner’s Book.
Language focus

Punctuation can be used for rhetorical purposes. This

means that punctuation marks such as question marks,
exclamation marks and ellipses can shape an argument
This will provide you with explanations or suggest something about a character or situation.
of important content relating to grammar A question mark can be used to signal a rhetorical
question. It can also create a variety of tones, such as
and language. making a speaker sound slightly threatening or
surprised (‘Why on earth did you make that choice?’).

Listening tip

Each tip will help you to develop a technique When listening to texts in which speakers explain and
justify their ideas, stay alert for the detail of their
or skill connected to reading, writing, answer. Often, speakers give several reasons for their
opinions, so listen carefully to their full response to get
speaking or listening. a complete understanding.

6
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How to use this book

After completing an activity, this provides Self-assessment

DRAFT
you with the opportunity to either assess Review your contribution to the group discussion.
• How thoroughly did you explore the points raised?
your own work or another learner’s work. • Which of your comments did you feel helped to
develop the discussion most effectively?

• What were the challenges of synthesising information?

• What other methods of finding and recording
This contains questions that ask you to look information in several different texts could
you use? How would these help you?
back at what you have covered and reflect
on your learning.
Summary checklist
I can analyse the effect of structural choices in
a piece of travel writing.
This list summarises the important skills that I can discuss and give a personal response to themes
and ideas across a text.
you have learnt in the session. I can write, evaluate and edit a piece of travel writing.

These questions look back Check your progress

at some of the content you Answer the following questions.

learnt in each session in this Check

1 yourdescribe
Using examples, progress
some of the ways in which fiction stories can be structured.
Answer
2 the examples,
Using following explain
questions to check
how what you
punctuation can have
createlearned
effectsinsuch
this unit.
unit. If you can answer these, as tension
1 What or features
are key excitement.
of adventure stories?
you are ready to move on to 3 ‘People’s
Give someexperiences
examples ofandevents
preferences affect in
that happen theadventure
way they choose
stories. and respond
2 to texts.’
What typeExplain what this
of characters do means,
you findusing your ownstories?
in adventure words.
the next unit. 4 Describe
Are the different
they ordinary ways
people or you can have
do they use your voice
special and gesture
skills? to
What happens to them?
convey character in a drama script.
3 Name three ways you can keep an audience interested when relating an anecdote.
5 Describe the purposes and intended effects of travel writing.
4 Using examples, explain what alliteration and sibilance are.

Project
At the end of each unit, there In detective stories, the main character can be a private investigator,
is a group project that you can someone working for the police or even a normal person.
In groups, you will research detective figures in fiction from around the
carry out with other learners. world. You will explore how detectives are presented and what features
they have in common.
This will involve using some As a group, make a list of detective figures in stories you have read.
of the knowledge that you Then do some research into stories from a range of times and
cultures. You could find out about detectives in adult fiction such as
learnt during the unit. Your Auguste Dupin (the first detective character in literature), Bhaduri
Moshai, Philip Marlowe, Mme Ramotswe or Miss Marple. Remember to
project might involve creating look at detectives in children’s literature too, such as the Diamond
Brothers or Young Sherlock Holmes. Try to read some extracts from
or producing something, or books that these characters feature in.
you might all solve a problem Next, explore the qualities and styles of these detectives. You could
consider:
together. • Gender – are there typical characteristics of female and male
detectives?
• Details of their personal lives – are they generally happy, satisfied
people?
• Attitudes to authority – do they follow rules or do they challenge
authority?
• Their motivations for fighting crime.

7
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1 Going
underground
In this unit, you will read prose and play versions of a modern fiction

DRAFT
text set in a mysterious place beneath a city. You will practise your
drama and reviewing skills and will read and discuss a piece of travel
writing.

1.1 Relic
In this session, you will:
• read a story opening and discuss genre
• explore how key information helps readers
understand
Getting started a character’s actions
• consider the effect of story structure
What makes an exciting opening chapter in a story?
• pairs,
In discuss and summarise
discuss your ideasyourand
impressions of asome
talk about story
opening.
opening chapters in books that you have enjoyed.

8
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1.1 Relic

Darkparis
In this session and the next, you are going to read the opening of a
novel called Darkparis. The story is set in Paris. The main character,
Louis, finds himself in the mysterious catacombs below the city streets,
led by his new companion, Relic. Catacombs were originally mines that

DRAFT
were later used as storage tunnels. The catacombs are a popular tourist
attraction in Paris today.

01 Extract 1
Louis stood just inside the entrance, watching the
shadows from the flickering torches dance on the walls. flickering:
This was the first time he’d been inside the ancient shining
catacombs and the situation felt unnatural. He could see unsteadily
Relic begin to make her way through the narrow naïve:
tunnels, and despite his hesitation, something – he lacking
didn’t know what – made him trust her. Somehow, she experience
was the key to this. He started to follow her.
Darkparis. How did he end up here – and why?
He was bored. Bored with work, bored with e
home, bor with life. Louis was 17 years old andd
living in a small apartment in northern Paris.
That much sounded like a dream, but Louis
had soon discovered how dull life in the world
beyond childhood could be. His job in the local s
supermarket hardly filled him with joy. Yes, he
wa bored. Lonely, actually. So when a dark-
haired girl he’d never met before had nc
approached him as he left work the previous e
day and asked him how to find the entra to the
catacombs, he was pleased to have a brief
distraction.
‘I’ll show you,’ he found himself saying. ‘I’m
heading that way.’
The girl smiled and introduced herself as she
began walking alongside him. ‘I’m Relic,’ she
said.
As they navigated the back streets of Paris, d
Louis foun himself in an easy conversation with
Relic. She had a kind face and seemed a little
too naïve to live in the city. At the same time,
though, there was something odd about her – as
if she belonged to another time.

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1 Going underground

They arrived at the catacombs quicker than he would

have liked. ‘Thanks, Louis,’ Relic said, turning towards
the entrance. And it
flashed through Louis’s mind that he had never told her
his name. ‘By the way, The Doorkeeper thinks you’re the

DRAFT
one. Be back here at nine o’clock tomorrow night.’
With that, she was gone.
But he knew he’d be there the following evening. Key words
1 Which genre of fiction do you think Darkparis belong genre: a
to? Discuss your ideas in pairs. Consider: particular type
of text –
a the title for example,
b the names of the characters adventure,
comedy,
c the setting crime,
d the events of the story so far science
fiction
e the picture below from the front cover of the book. fiction: stories
about
imaginary
characters and
events

2 Writers often give explicit information, which helps

readers to understand events as the story develops. In the
Key words
first three
paragraphs of Darkparis, you find out that Louis is bored explicit
and lonely, and that he likes Relic. Write a paragraph information:
explaining: ideas and
details that
a how this information helps you to understand and a writer states
interpret Louis’s decision at the end of the extract directly
b what you think might happen later in the story.

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1.1 Relic

3 The structure of a story affects how readers experience and

understand it. For example, a writer makes deliberate choices
about the order of events, how time is presented and when
characters are introduced.
In pairs, discuss the following structural choices in Darkparis and

DRAFT
the effect they have on the reader:
a the description of the catacombs in the opening sentences Key word
b the use of Rashback to show Louis’s first meeting with flashback: a
Relic and his feelings about his life part of a story
that goes back
c the mention of The Doorkeeper at the end of the extract. in time to
4 In groups, discuss your reactions to the opening of Darkparis. explain an
Talk about: event

a whether the story interested you and why Speaking tip

b what you thought of the structure It is important
c whether or not you were interested in the two main characters. to make
appropriate
and well-
Self-assessment
judged
Review your contribution to the group discussion. contributions
to a group
• How thoroughly did you explore the points raised?
discussion. That
• Which of your comments did you feel helped to means always
develop the discussion most effectively? trying to
develop the
discussion.
5 Write a summary of the different viewpoints expressed by You can do
members of your group. Structure your writing using a this by
subheading for each of the three bullet points you discussed. building on a
point that
Summary checklist someone
else has
I can identify a fiction genre based on a story’s key
features.
I understand how explicit information helps a reader
understand a character’s actions.
I can comment on the effect of story structure.
I can express my opinion of a story opening and
summarise my own and others’ ideas.

11
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1 Going underground

1.2 The Doorkeeper

In this session, you will:
• explore the effect of structure and language choices

DRAFT
• consider how punctuation choices can be used to
present a character
• write the continuation of a story in the style of an
author.

Getting started

In pairs, discuss mysterious characters from books and

films that you know. What makes them seem mysterious
and how do you react to them?

Read another extract from Darkparis.

02 Extract 2
And so here he was, in Darkparis, following Relic
through the tunnels. They seemed to shift . . . was that
real, or just an effect caused by the flaming torches and rebounded:
low ceilings? bounced back
It wasn’t long before they came to The Fork, where the scurrying:
tunnel split three ways. There, in the yellow light from moving quickly
the torch flames, stood The Doorkeeper. As he spoke, with short steps
his words rebounded off
the walls.
‘And so young Louis visits us!’ he
declared. ‘And what is he discovering I
wonder? He is discovering Darkparis – a
world that few see, but a world which
sees many!’
Louis and Relic said nothing, and the
silence was filled with the unpleasant
sound of an animal scurrying along the
tunnel.
‘Paris is for the fearful,’ boomed The
Doorkeeper, ‘but Darkparis is for the
fearless.

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12

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1.2 The Doorkeeper

You do know there is no going back to your old life, don’t

you, Louis? You know you must prove yourself, don’t you,
Louis? I don’t think you are weak, but I’m not yet sure if
you are strong. Or strong enough, at least.’
A low mist was creeping into the tunnel.

DRAFT
‘I’m not weak,’ responded Louis, trying to hide the quiver quiver: a shake
in his voice. piercing:
‘Let us see,’ continued The Doorkeeper, his eyes piercing cutting
Louis. ‘We define ourselves through the choices we make, through
even when the mist of indecision lingers.’ lingers: hangs
around
‘Welcome to . . . The Test!’ proclaimed The
Doorkeeper. There was a split second of
inaction, and then . . .
They were off! Relic disappeared down one tunnel and
The Doorkeeper down another. The third tunnel stood
there, beckoning Louis.
He was deep in Darkparis; buried in the catacombs,
with their foul-smelling passageways and strange
mist.
1 In this extract, the writer tells the story in chronological Key words
order. The effect of this is to focus on the present action in
the catacombs, to develop the reader’s understanding of chronological
situation and character. order: the
order in which
Copy and complete the following table to show the effect of other events occur
structural choices in this extract. by time
dialogue:
Structural choice Effect conversation
Focusing on the setting in the between two
first three paragraphs or more
Making The Doorkeeper more people or
central characters,
Using dialogue to show the written as direct
interaction between Louis and speech
The Doorkeeper cliffhanger: a
Ending on a cliffhanger dramatic
ending which
leaves the

13
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1 Going underground

2 Writers choose language carefully to support their purpose and

Key words
the effect they are trying to achieve. In pairs, analyse how the
following language choices create a sense of mystery: aural image:
an image that
a aural, olfactory and visual images such as rebounded off appeals to the
the walls, foul-smelling tunnels and aming torches sense of

DRAFT
b the use of symbols such as The Fork and the mist hearing
olfactory
c the use of antithesis in The Doorkeeper’s dialogue (for example, image: an
a world that few see, but a world which sees many). image that
appeals to the
Language focus sense of smell
visual image:
Punctuation can be used for rhetorical purposes. This an image
means that punctuation marks such as question marks, that appeals
exclamation marks and ellipses can shape an argument to the sense
or suggest something about a character or situation. of sight
A question mark can be used to signal a rhetorical symbol: a literal
question. It can also create a variety of tones, such as object that
making a speaker sound slightly threatening or stands for or
surprised (‘Why on earth did you make that choice?’). represents
Exclamation marks can also create different effects, such something else
as excitement (‘Welcome to your new life!’) or anger (‘I antithesis: the
insist you leave now!’). use of opposites
Ellipses may suggest a variety of emotions or moods, or contrasting
such as nervousness/hesitation (‘Please . . . can I leave ideas
now?’) or a sense of drama (‘And now . . . here it is!’). ellipsis: a set
of three dots (
. . . ) used to
3 The Doorkeeper is presented as an unusual, powerful character. indicate that
One method the writer uses to achieve this is punctuation choices words have
in The Doorkeeper’s dialogue. For example, the exclamation mark been left out,
in And so young Louis visits us again! conveys the confidence and or to mark a
volume of the character’s voice. pause in
speech
In pairs, discuss what the following punctuation choices suggest rhetorical
about The Doorkeeper. question:
a the use of question marks in phrases such as You do know a question
designed to
there is no going back to your old life, don’t you, Louis?
make a point
b the ellipsis in Welcome to . . . The Test! rather than
expecting an
answer

14
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1.2 The Doorkeeper

4 Look at the following notes, which the writer made when

Key words
planning the next part of the story.
sequence: the
Louis follows The Doorkeeper. After travelling through order of events
a dark, winding tunnel, he catches up with The in a story
Doorkeeper, who advises him to turn back and follow his voice: the
own path. When he arrives back at The Fork, he takes the way a
third tunnel. particular

DRAFT
character
It leads him to a huge maze.
speaks or
Using these notes, write the next part of Darkparis. Write in the thinks in fiction,
same style as the extracts you have read, using similar language and or the writer’s
structural techniques. For example, you could use a chronological tone and point
sequence or a flashback. Use punctuation and other language
techniques, such as antithesis, to present the voice of The
Writing tip
Doorkeeper.
Planning
Start by deciding whether you want to develop the writer’s plan.
before you
Write 200 words, making sure your spelling is accurate and your write can be
handwriting is fluent. useful, but
remember
Peer assessment that ideas
may come to
In pairs, read your stories aloud. Give your partner
you as you
feedback on the effectiveness of their language and
write, so you
structural choices. Comment on:
may only
• how similar the language choices are to need a basic
those used in Darkparis plan.
• the sequence of the story – did it help to Be confident in
maintain your interest? deciding how
much planning
you need to do
Summary checklist based on the
amount of
I can analyse the effect of a writer’s structural and
language choices.
I can comment on how punctuation choices help to
create a distinctive character.
I can use specific language, structural and grammatical
techniques to write in the style of another author.
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1 Going underground

1.3 Reviewing Darkparis

In this session, you will:
• make some book recommendations

DRAFT
• explore how personal context affects the
reading and writing of texts
• synthesise information from different sources
• write a formal review.

Getting started

In pairs, make a quick list of books you have read and

enjoyed recently. Then discuss:
• why you chose those books
• whether the settings in the books were similar or
different to the world you live in.

1 People often ask for or offer recommendations for books to read.

When suggesting a book to a friend, it is useful to know what
genres and types of text they like. In groups, share your ideas from
the Getting started activity, then make some recommendations for
books you think other group members would enjoy.
Key word
People’s personal experiences and preferences affect the way they
choose and respond to texts. A reader’s personal context – their context: the
background and beliefs – can also lead them to interpret stories in situation within
different ways. Consider the readers’ reactions to the first few which
something
chapters of Darkparis below.
exists or

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1.3 Reviewing Darkparis

Ayesha, 14
I enjoyed this. I like books with mysterious characters and strange
settings, mainly because they seem very different to normal life.
For me, reading is a chance to escape reality, so I enjoyed

DRAFT
reading about the character of The Doorkeeper because he seems
powerful and mysterious at the same time. I like characters who
have some type of secret knowledge. In comparison, Louis seems
dull and a bit disappointing as a character. I’d like to read a bit
more of this book to find out what happens and why The
Doorkeeper is testing Louis. I think this is a story about how
people do’nt realise that there are ways of living differently to
their own.

Vanessa, 13
I thought Darkparis was okay. The best bit about it was the
character of Relic. She seemed to be intriguing, not only to Louis,
but to the reader. There were lots of unanswered questions
about her, so I’d like to know who she is and how she develops in
the full novel. I like novels with strong female characters, mainly
because these days I think girls can do anything that boys can.
That’s why
I usually choose books where the main character is a girl. I found
the opening of Darkparis disappointing because Relic does’nt really
feature much – it’s mainly about male characters.

Alexei, 18
This is the type of book I would have read a few years ago and
enjoyed. At that age, I used to like books set in underground
places. Now that I’m older, it did’nt appeal as much, but it did
have interesting characters. The character I most identified with
was Louis. I know how it feels to be bored. I live in a small
village in Russia and would like a more exciting life! The other
thing I liked was the setting. Last year, my family went on holiday
to Paris and
I visited the catacombs, so I could imagine the setting of this
book. It’s fun to read books set in places you know.

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1 Going underground

2 Answer the following questions.

a What type of texts does Ayesha prefer, and how has this
influenced her reaction to Darkparis?
b Explain why Vanessa has a slightly negative reaction
to the novel.

DRAFT
c Alexei has mixed views about the novel. What factors
have informed his reactions?
03 3 Stories – even ones set in unusual locations – may
reflect the experiences and values of the writer. You are
going to listen to the author of Darkparis discussing
why she wrote the book. As you listen, make notes on:
a why she chose the setting
b why she chose Louis as a central character
c what she says about the message of her book.
Think about the best way to record your notes so they
will be clear when you refer back to them later.

Listening tip
When listening to texts in which speakers explain and
justify their ideas, stay alert for the detail of their
answer. Often, speakers give several reasons for their
opinions, so listen carefully to their full response to get a
complete understanding.
Key words
4 Synthesising information means combining details from different
summarise: to
sources, usually to find links and make an overall point. To do
explain the
this, you need to be able to locate, track and summarise particular main points of
information. a text in a few
Look at the following comment about Darkparis: ‘Louis is words
a character who appeals to all readers.’ Is this an accurate skimming:
statement? Begin by looking through the notes you made on the reading a text
quickly to get
views of Ayesha, Vanessa and Alexei. Use reading strategies such
the overall
as skimming and scanning to locate relevant information. Make idea
notes as you go, then in small groups discuss these ideas as well
scanning:
as your own views and decide whether or not Louis appeals to looking through
all readers. a text quickly to

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1.3 Reviewing Darkparis

Reading tip
• What were the challenges of synthesising information?
• What other methods of finding and recording When reading
information in several different texts could multiple texts,
you use? How would these help you? use techniques
such as

DRAFT
scanning to
5 Imagine that you are a professional book reviewer whose job is locate key
to advise companies whether or not a book should be published. information
A book company has asked you to write a formal review of the and then
read this
opening chapters of Darkparis. You should give your own views
closely to
and any others you have encountered in this session. Your review interpret the
should comment on: details. Use
a the choice of the characters and settings a table or
other visual
b the appeal of the storyline layout to
c whether the novel is likely to be popular with 12–18-year-olds. record the
information
Your audience is the head of children’s books at the book so you can
company. Use formal language and standard English. Read some see
formal online book reviews to see how they are written and to get
some ideas for extending your own vocabulary and language. Key words
Use features of review writing such as subheadings and bullet formal
points where appropriate. Write 250 words. language: the
form of English
Summary checklist used in more
‘serious’ texts
I can listen to the type of books people are interested in and situations,
and make some recommendations. such as news
I understand how personal context influences writers’ reports or
choices and readers’ reactions to a text. official
I can use different strategies to synthesise information speeches
from a range of sources. standard
I can write a formal review using standard English. English: the
most widely
accepted form
of English that

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1 Going underground

1.4 The second test

In this session, you will:
• use voice and gesture to convey character and

DRAFT
theme in drama
• explore a theme across several texts
• explore the effect of structural choices in a script
• write a dramatic scene.

Getting started Key word

In how many ways can you use your voice to convey pace: the
power? speed at which
In pairs, practise different ways of delivering the line someone
‘What’s this about? I want to leave!’ Vary the volume and speaks or how
quickly events
Darkparis – the play take place in a
story
Read the following scene from the play version of Darkparis. It
takes place after Louis has completed his first test, in which he
entered the third tunnel and found his way through a maze.

04 Scene 4: The Second Test

The scene takes place in a large, cave-like underground area, lit
with flaming torches. There are two people in the shadows at the
back of the stage. The sound of rushing water can be heard.
LOUIS emerges from a tunnel.
THE DOORKEEPER Well done, young Louis. You completed n
the Movi Maze. Not many do. Well, not g
alive anyway.
LOUIS looks up at THE DOORKEEPER.
LOUIS What’s this about? I want to leave!
Pause.
THE DOORKEEPER We both know you can’t. You chose the
third tunnel, Louis. You chose your own
route. You chose. Why was that, Louis?

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1.4 The second test

LOUIS gets to his feet.

LOUIS I don’t know.
THE DOORKEEPER You followed your instincts. Trusted yourself
. . . the sign of a strong person. You are strong.
Pause.

DRAFT
THE DOORKEEPER Now prove yourself in your next choice.
The rear of the stage lights up. We can see RELIC, suspended
above a fast-moving river. She is gagged. There is also an gagged:
OLD MAN standing very still. He is looking into a glass ball. having a
OLD MAN (to LOUIS) There you are, master Louis – at covering over
school. And you’re unhappy. Deeply the mouth so
unhappy. someone
Something happened. Bad choices – but cannot speak
they weren’t your choices to make. And
now you’re in a supermarket. You’re
unhappy there, too. You want more . . . you
want a new life.
THE DOORKEEPER This is why you’re here, Louis. To prove
yourself through the choices you make.
To choose your new life.
THE DOORKEEPER takes off RELIC’s gag. The river below her
crashes along.
RELIC Help me, Louis! Help me! Don’t die
let me Please! !
LOUIS looks confused.
THE DOORKEEPER Listen to her, Louis. Listen.
RELIC You’ve got to help me! If I go in ver
the ri I die. You can’t let me die. ,nl
That river o flows one way, and y
there is no return.
LOUIS What do I need to do?
OLD MAN It’s you or her.
Pause.
THE DOORKEEPER One of you enters the river.
It’s you or her. You choose.
RELIC Please, Louis!
THE DOORKEEPER Time to choose, young man.
LOUIS (to THE DOORKEEPER) I have. I refuse.
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1 Going underground

1 In groups of four, read the scene aloud, taking one speaking

Key words
part each. You do not need to act it out, just concentrate on
reading the words accurately and understanding what is theme: the
happening. main subject of
a talk, book,
2 This scene explores the theme of power. The Doorkeeper and film, poem, etc.
the Old Man have power over Louis. Relic seems completely script: the

DRAFT
powerless and so does Louis, although in the last line he seems to words and
be challenging The Doorkeeper. actions from a
play written
In your groups, discuss how you could perform this scene to
down for the
highlight the theme of power. The script does not give any ideas actors to use
about tone of voice, gesture or movement, so start by considering gesture:
how you might speak your lines to show your character’s power. movements of
Perform the scene, using a range of movement and gesture the hands or
appropriate to your character. arms to add
emphasis or
Speaking tip
Use the range of your voice to create a strong sense of
drama. Actors vary the volume, tone and pace of the
voice throughout a performance. It is this variety that
helps to show the emotions of the character they are
playing and to maintain the audience’s interest.

Peer assessment
Give some feedback to another member of your group.
• How well did they use the range of their voice?
• How convincingly did their movements and gestures
Key words
convey their character’s power?
prose: the form
of language
3 Look back at this scene and at the prose chapters (Extracts 1 and found in novels
2). In pairs, discuss the theme of power in these texts, exploring and non- fiction
how Louis develops from a powerless character to one who has texts such as
power. Find examples to support your ideas and sustain the articles, written
discussion by talking about them in depth. in paragraphs
rather than
4 Playwrights decide the order of events and the information they verse
reveal to the audience at different points in a scene. They do this mood: the
to create different effects, such as establishing a mood of mystery feeling created
or tension. by the words,

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1.4 The second test

Here are three structural choices the writer has made in this scene:
a At the start of the scene, the audience can see two people at
the back of the stage (but they cannot see who they are) and
can hear the sound of water.
b In the middle of the scene, a new character – the Old Man

DRAFT
– is introduced.
c At the end, Louis challenges The Doorkeeper’s authority,
creating a cliffhanger.
What effect do each of these choices have on you as a reader?
Write a brief explanation of how you react at each point.
5 Write the next scene of the play. Start by thinking about
Writing tip
the structure:
Always begin
a What will happen between Louis and The Doorkeeper? scriptwriting
b How will Relic’s problem be resolved? by planning
the sequence
c Will the Old Man play a more important role? of events.
d Will you introduce a new character? Think about
the large
e Will you end the scene with another cliffhanger? blocks of the
Try experimenting with the order of events and the content of story – what
happens and
the scene. You are writing for teenagers who enjoy mysterious,
in what
dramatic fiction, so make sure your scene will appeal to them. order.
When you write the words for each character, maintain their voice Before you
and personality from the scene you have read. Your finished scene start to write,
should be 250 words. you should
know how the
Summary checklist
I can use voice and gesture to convey character and
emotion in a dramatic performance.
I can analyse how a theme is presented and
developed in different texts.
I can comment on the effect of different structural
choices in a script.
I can write a dramatic scene, maintaining the voice and
personality of the characters.

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1 Going underground

1.5 Visiting Coober Pedy

In this session, you will:
• explore the implications of explicit information

DRAFT
• consider how extended metaphors contribute
to the purpose and effect of a text
• analyse a writer’s language choices.

Getting started

In pairs, describe an interesting place you have

visited. Explain what made it memorable – was it
the people, the buildings or an unusual event?

Coober Pedy Key word

Travel writing is a non-fiction genre in which the writer describes a non-fiction:
place they have visited. The purpose of travel writing is mainly to writing that is
entertain the reader by describing interesting locations and people. But about real
travel writing is also meant to make the reader think and reflect upon events and
facts
different lifestyles and human experiences.
The article below describes a visit to Coober Pedy, a town in Australia
where most of the people live under the ground.

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1.5 Visiting Coober Pedy

05 Extract 1
Coober Pedy: Getting below the surface

DRAFT
I spent three days travelling to Coober Pedy. The nearest
town is 400 miles away, there’s no wi-fi, and I’ve just spent
the night sleeping in what is effectively a hole in the
ground. When I decided to be a travel writer, I was
expecting something much more glamorous than this . . .
Coober Pedy is in the middle of the South Australian desert.
It’s 1,800 miles from Canberra, Australia’s capital city, but it
might as well be on Mars. As you approach by car, your vision
is filled with otherworldly images: the long stretches of dusty
red landscape, strange hills of white soil and randomly otherworldly:
scattered mining holes make this place look like something from relating
science fiction. It’s a little bit unnerving.
to a
The weather is otherworldly too. Summers are hotter than strange,
the sun and the winters are colder than Mars. That’s why
most of the townspeople live under the ground in dugouts, alternative world
trying to make a living in this place of extremes. People unnerving:
started coming here in the 1920s, attracted by the precious causing a loss
opals to be found buried here.
They sought their riches by blasting and digging their way
of confidence
through the rocks in a desperate attempt to get rich quick. opal: a precious
The harsh surroundings were just something they had to put stone
up with. Living below the surface was the best option.
blasting:
When I first arrived in the town, it struck me just how unreal
the whole place seemed – like a deserted film set for a blowing up or
Martian movie where I was the unwilling heroine. The red dust breaking apart
and mine shafts of this new reality didn’t seem real at all.
But it did make for some nice photos.

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1 Going underground

1 In pairs, discuss:
a what the writer states about the area and what is being implied
about Coober Pedy
b your initial impression of the writer’s voice and attitude.

DRAFT
2 The writer explicitly mentions how long it takes to reach Coober
Pedy and the reason why people settled there in the 1920s. What
effect does this have on your impressions of the town and its
inhabitants? Discuss your ideas in small groups.

Language focus Key words

Writers often make comparisons to help readers picture simile: a

or understand a topic. Literary techniques such as simile type of
and metaphor are particularly effective ways of making figurative
comparisons, and writers may repeat and develop a language in
comparison throughout which one
a text as an extended metaphor. Look at this example thing is
from a piece of travel writing. The writer uses water- compared to
based comparisons to show the heat of a desert town: something
else using the
• The haze of heat distorted Mandora, making the words ‘as’ or
town look like it was under water. In the dazzling ‘like’
light, the shape of human bodies seemed to shift as
waves of heat rippled. People swam slowly towards metaphor: a
me, their limbs flailing and their faces made wide type of
by the watery midday world. comparison
that describes
Notice how the references to water and swimming one thing as if it
contribute to the overall purpose of the description. The is something
comparison shows the reader clearly how hot it is in the else
3 The writer makes language choices to present Coober Pedy as extended
an unusual place. Write a 100-word paragraph analysing the use metaphor: a
and overall impact of the comparisons with Mars in the article.
Be precise and perceptive in your analysis. Choose quotations
carefully to support your ideas.

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1.5 Visiting Coober Pedy

4 Read the following example response to Activity 3. In pairs,

Reading tip
discuss what makes it perceptive.
Perceptive
By referring to the ‘long stretches of dusty red landscape’ and
analysis of
a‘ deserted film set for a Martian movie’, the writer not only language
describes the physical appearance of the town, she also shows means showing

DRAFT
that it is so unusual that it could be on another planet. The that you have
implication is that Coober Pedy seems alien – as if it is not understood
normal. The writer implies that Coober Pedy is out of touch what a writer
means by their
and perhaps empty, and suggests that she does not really want word choices.
to stay there. There is a sense that the writer thinks the To achieve this,
town and its people are strange. try to ‘stand
back’ from the
Self-assessment language and
see its
Reread your own paragraph from Activity 3. implications
• How effective is it compared to the example for the whole
response in Activity 4? piece. Do the
words suggest
• How could you improve your answer?
anything about
the bigger
issues in the
Summary checklist
I can identify explicit information and comment on its
implications in a travel article.
I can explain how imagery, including extended
metaphors, can be used for purpose and effect.
I can analyse the effect of a writer’s language choices
precisely and perceptively.

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1 Going underground

1.6 Living under the ground

In this session, you will:
• explore the effect of structural choices in travel writing

DRAFT
• discuss and give a personal response to themes and
ideas
• produce and edit a piece of travel writing.

Getting started

What is your impression of Coober Pedy so far? Would

you like to visit it or even live there? Explain your views
to a partner.
Read the next part of the article about Coober Pedy. Here, the writer
meets Alinta, one of the town’s inhabitants. Notice how the writer
has structured the article so that this conversation comes after the
description of the town (Extract 1 in Session 1.5).

06 Extract 2
Alinta rolls her eyes when I ask her how she manages to live
here. She’s a bright-eyed, funny 17-year-old who has big plans
for the future. For now, she tells me, she’s helping to run her
parents’ small tourist dugout, but next year, she’s going to
Melbourne to study computing.
‘It’s all normal to me,’ she says. ‘It’s not like we’re living at the
Earth’s core. We’ve got electricity, you know!’ She says this
comically, but I suspect she gets a bit tired of outsiders like me
assuming that the people of Coober Pedy are a long way
behind the times.
The family’s electricity comes partly from diesel and partly behind the
from solar power, but as it turns out, the diesel is expensive, so
they need income from tourists. It seems to me that Alinta and times: not
her family must have to be careful with the way they use modern; stuck
electricity, and in the past
also live in hope that enough curious travellers decide to visit.

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1.6 Living under the ground

They do seem an inventive family,

making the best of the resources they
have, but still I wonder how long they
can last.
The town feels like it is living in the
past rather than looking to its future.

DRAFT
The main appeal for tourists is Coober
Pedy’s mining history, but there’s only
so much interest there. What will the
Coober Pedy of 2060 look like? Is it
possible
for humans to continue to live in such
extreme landscapes?
The journey back to Canberra was long.
I felt exhausted as I sat in my modern
apartment looking through photos of
the
red landscape and tried to write this article. The drone of
traffic and the continuous pinging of my phone seemed alien
to me now and made me wonder if a life under the ground
wasn’t such a bad idea after all. inventive:
creative
drone: a low
sound
pinging:
1 Why do you think the writer introduces Alinta at this point in the making a
article? How does the interview with her change your impression short high-
of life in Coober Pedy? Discuss your ideas in pairs.
2 The concluding paragraphs are a key structural feature of travel
writing. This is where a writer usually reflects on what they
have learnt from their travels.
In your pairs, explore the effect of the last part of this article,
including:
a the writer’s feelings about Coober Pedy
b how she feels as she returns to her room
c the effect that the last paragraph of the article has on you
– how do you react to the author’s final judgement about
Coober Pedy?

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1 Going underground

3 Good travel writing gets a reader thinking about broader issues.

Reading tip
For example, this article shows that:
Giving a
a there are many different ways of living, and they all have personal
good and bad points response
b it is difficult to live without modern facilities means thinking

DRAFT
about how a
c people who live privileged lives often look down on others piece
d wherever they live, most people have the same feelings of writing
has
and ambitions
affected
e modern living is destroying old ways of living. you. Start
by
In pairs, use the prompts above to discuss what you have read,
considering
choosing language carefully to express your ideas. At the end of your emotional
your discussion, sum up your personal response to the ideas in response – for
the article. example, does
4 You are now going to produce a piece of travel writing of about
300 words describing a visit either to the underground town of
Matmata in Tunisia or to a place you have visited yourself that
you would like to write about.
If you want to write about Matmata, you can use the following
facts and pictures to help you. You could also do some independent
research. If you are writing about a place you have really visited,
start by creating a fact file of your own like the one below.

Matmata fact file

• There are around 2000 people living in
Matmata.
• They live in houses that are formed by
making a large pit in the ground and
then creating linked underground
rooms.
• Most of the people living there rely on
money from tourism.
• The town was used as a location in the film

3
0
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1.6 Living under the ground

Think about the structure of your writing. You could start by

Writing tip
describing the journey, then meeting a local person and then end by
reflecting on your experience. The voice you use and the viewpoint When editing,
you express are also important. What attitude will you adopt? Make focus closely
on the
suitable language choices and use techniques such as metaphor
opening and
where appropriate.

DRAFT
closing
sections of
Peer assessment your work.
Swap articles from Activity 4 with a partner and They are
give them feedback. essential to
the
• How effectively is their article organised – does it structure of
have a clear structure? your writing,
• How effective are their language choices – do they and the parts
help you picture the town? that readers
connect with
most strongly.
5 Edit your article before creating your final draft. Think carefully Make sure
about the effectiveness of your language and structural choices. they serve the
Make changes that will achieve your overall purpose.

Summary checklist
I can analyse the effect of structural choices
in a piece of travel writing.
I can discuss and give a personal response to themes
and ideas across a text.
I can write, evaluate and edit a piece of travel writing.

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Check your progress

Answer the following questions.
1 Using examples, describe some of the ways in which fiction stories can be structured.
2 Using examples, explain how punctuation can create effects such
as tension or excitement.

DRAFT
3 ‘People’s experiences and preferences affect the way they choose and
respond to texts.’ Explain what this means, using your own words.
4 Describe the different ways you can use your voice and gesture to
convey character in a drama script.
5 Describe the purposes and intended effects of travel writing.
6 Explain some features of effective travel writing.

Project
Humans are fascinated by what happens below ground. Many stories
and films are set below the earth or feature characters who live
underground.
In groups, you are going to make a collection of fictional texts that
feature aspects of underground life. For example, you might explore
novels such as the Middle-Earth books by J. R. R. Tolkien, Neverwhere
by Neil Gaiman and Artemis Fowl by Eoin Colfer. There are many
Marvel comics and films, such as Journey to the Centre of the Earth and
How to Train Your Dragon, which also use underground settings.
Once you have read and researched
these and other texts, work as a
group to discuss them and
choose the most interesting or
descriptive passages from them.
Then, prepare a presentation for
your class in which you discuss
these texts. In your
presentation, you should:
• introduce the texts you
have chosen
• read some passages from
the texts about life
underground
• analyse why these texts
appeal to readers.
Your presentation should last ten minutes and should feature
visual aids if appropriate.
 32
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2 Law and order

DRAFT
In this unit, you will read an account of how people understand right
from wrong, and will read texts about various real-life investigators.
You will also explore an extract from a detective novel and consider
why many readers enjoy this kind of fiction.

2.1 Right and wrong

In this session, you will:
• consider the implications of key
information in an explanatory text
• explore the effects of different sentence types
• compare language, purpose and context in related
texts.

Getting started

In pairs, discuss times when you have felt guilty about

something you have – or have not – done. Why might
guilt be a useful emotion for us to feel?

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2 Law and order

Understanding right and wrong

Read the following extract from a book aimed at learners at secondary
school. It explains how humans understand right from wrong.

The importance of conscience

DRAFT
07

Feeling the difference between right and wrong

A conscience is like a voice in your head that tells you

whether your actions are good or bad. It’s not actually a
voice, of course. It’s your emotions. Emotions are powerful
feelings, and although emotions can be positive things, such
as joy, empathy and compassion, it is negative emotions empathy:
that warn us about our thought and actions. For instance, the ability to
have you ever felt guilt, shame or a fear of how others might understand and
judge you? It is these negative feelings that tell humans to share the
stop what they are doing, or to think carefully before they feelings of
act. But how did humans develop a conscience? others
Human needs compassion:
Humans are social beings. We live in groups and work concern and
together to get things done. We help each other, not just pity for others
because we’re kind, but because we need each other in order cooperate:
to survive. Since ancient times, we have learnt that if we work together
cooperate, life is easier and better, and we have also learnt anticipatio
that when we help someone, we are rewarded. Humans are n: the
very good at remembering who has helped us, and who feeling of
hasn’t. We like those who help. We don’t like selfish people. expecting
When we do good things, we feel good. If we share and help, something
we feel positive emotions. If we don’t cooperate or if we
cause problems, we feel guilt and embarrassment. It is these
feelings – or anticipation of these feelings – that are what
we call a conscience.
Brain networks
Scientists have discovered that three different networks of
the brain contribute to our conscience. The first is concerned
with understanding other people – the ability to imagine
what others are thinking. The second network is connected
with pain. Understanding the pain of others helps us to
empathise with people’s feelings. Finally, the decision-
making network in our brain helps us to judge what is the
right course of action. This network balances our needs with
the feelings of others and tells us what to do.

34
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2.1 Right and wrong

1 The writer says: It is these negative feelings that tell humans to stop
Key words
what they are doing, or to think carefully before they act.
simple
Make brief notes on: sentence: a
a what this statement means sentence with
one main

DRAFT
b how it links to the ideas and explanations shown in the rest of clause
the article. compound
sentence: a
Language focus sentence with
two main
Remember that there are four main sentence types:
clauses joined
simple, compound, complex and compound-complex.
by ‘and’,
Writers choose and position different sentence types
‘but’, ‘or’
carefully to support their purpose. Look at the example
below, where a compound sentence is followed by a complex
complex sentence: sentence: a
sentence with
• Humans rely on others and they benefit from one main
cooperation. Although humans can sometimes be clause and
selfish, working together is essential for human one or more
survival. dependent
The first sentence provides key facts for the reader clauses
to focus on, then the second sentence develops and compound-
extends the point, providing an explanation. complex
Together, they help the reader understand the point sentence: a
and convey the information in a gradual way. sentence
Now look at this example, in which a compound-complex containing a
sentence is followed by a simple sentence:
• Although humans can sometimes be selfish,
working together is important for human survival
and also for social well-being. Cooperation between
humans is essential.
Here, the detail is given in the first sentence and the

35
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of this title.
2 Law and order

2 Reread ‘The importance of conscience’. What is the effect of

the different sentence combinations the writer has used? Choose
two examples and write a paragraph explaining how it helps the
purpose of the article.
3 Here is an extract from another text on the same topic. This comes Key word

DRAFT
from the end of a personal blog written by a learner. blog: a web
page where
In pairs, discuss:
someone writes
a the purpose of the text and posts
regular articles,
b the intended audience
like an online
c why the audience might choose to read this text journal
d the structure of the text – how it is organised and linked
e whether this structure is likely to appeal to the audience
and why.

Home Blog Photos About

08 TO DO – OR NOT TO DO . . .
Okay, so is there a right way to decide
what to do? What’s more important?
My feelings or the feelings of others? I
ask myself this every day. Here’s what
I know, friends:
• Don’t do anything that harms other people.
• Don’t forget that your own
wishes are important.
• Remember to listen to your
emotions – let them guide you.
Easy? Maybe!

36
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2.1 Right and wrong

4 Write a paragraph explaining the purpose of the choices of

Key words
simple and minor sentences in the blog, and the effect they
have on the reader. minor
sentence: a
5 The two extracts in this session are aimed at similar audiences, sentence that
but they were written in different contexts. ‘The importance of does not

DRAFT
conscience’ is a detailed text by a professional writer and published contain a main
by a well-respected and successful publisher. Before being
published, it would have been legally checked and professionally Reading tip
edited. ‘To do – or not to do . . . ’ is a short, personal, self- When
published online blog with a much smaller number of readers. assessing the
value and
In pairs, discuss:
content of a
a the differences in language and punctuation choices and how text, think
they contribute to the overall effect about who has
written it, why
b the attitudes of the writers towards the topic in both texts and where
c how readers might respond to and value the content of it is published.
both texts. Remember that
a text’s
popularity
• How confident do you feel about doesn’t always
understanding the influence of context on mean that the
texts? information
• How could this skill help you in later life? is useful

Summary checklist
I can use reading strategies to identify key
information in a non-fiction text and discuss its
implications.
I understand how the placement of different sentence
types supports the purpose of a text.
I can analyse language and purpose in related texts,
and explain how context affects reader reaction.

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2 Law and order

2.2 Join the police

In this session, you will:
• identify the purpose, audience and structural

DRAFT
features of a text
• explore the views of others on a complex topic
• use colons and semi-colons for effect.

Getting started

In pairs, discuss occasions when authority figures

have helped and guided you. They might be c
teachers, poli officers and other adults. What doe you
think are the challenges and rewards of being an
authority figure?

A rewarding
career
Read the following informative text, which comes from a UK police website.

Home Your Local Police Join the Force Latest News Safety Guidelines Contact Us

09 Why should you become a police officer?

Joining the police will change your life; it will also change the lives of the
community you serve. When you become a police officer, you are given
power: the power to help people.
You will help people by protecting them.You will help people by reassuring
them.You will help communities to be safe.You will help communities by
preventing and solving crime.
When you join us, you will learn new skills; skills that will stay with you for life.
Is it the career for me?
Becoming a police officer is one of the best careers you can choose, but it
isn’t for everyone. Keeping people safe is a physical, mental and emotional
challenge, but we will help you learn how to:
• handle difficult situations in a calm, confident manner
• develop excellent people skills and help all members of the public

38
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2.2 Join the police

• solve problems in a decisive way and take on new challenges

• work as a team and use your powers effectively
• investigate and solve crimes, and give evidence
in court. If that sounds appealing, we want to hear
from you!

DRAFT
What are the rewards?
The main reward is job
satisfaction. There is nothing
more fulfilling than helping to
protect the community, but you will
also do a job where every day is
different. Officers often say that no
two days are the same, and the
variety and unpredictable nature of
policing is what keeps it interesting.
In practical terms, you will also
receive a competitive salary,
private healthcare and discounts
from many shops and restaurants.
What training is offered?
Over three months, we will train you to the highest standards. You will
learn in a classroom situation, but you will also spend time with trained
officers, accompanying them and learning how to handle real-life
situations. We will teach you how to:
• handle public safety and dangerous events
• use intelligence and investigative skills to solve crimes
• use technology to protect the public
• apply the law correctly.
If you want to make your community a safer and happier place,
come and join the police.

decisive: being able to make decisions quickly

job satisfaction: the feeling of enjoyment that a person gets from
their work
competitive salary: a rate of pay that compares well to other jobs

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39

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2 Law and order

1 In pairs, discuss:
a what the purpose (or purposes) of the text might be
b who the intended audience is Reading tip

c why the audience might choose to read the text When scanning
(searching for

DRAFT
d the structure of the text – how it is organised and linked. key
2 Use an appropriate reading strategy to find examples in the text that information),
present being a police officer as a highly positive choice of career. use the
headings and
3 Use your notes from Activities 1 and 2 to discuss the implications subheadings of
of what you have read in pairs. Base your discussion on whether or a text to break
not you agree with the three views below. Give reasons for your your scanning
opinion. into

The text is very

persuasive and offers highly
convincing reasons to join the Like many adverts,
A B
police. It is perfectly the text misses out any
structured to appeal to its negative points about
intended readers. becoming a police officer –
it is not a fully accurate
description of the job, so
it is therefore a bit
Most people
reading this will be attracted C
by the idea of serving the
community – any personal
benefits are secondary.

This is a complex topic, so choose language carefully to express

ideas. Focus on keeping the discussion going and exploring points
in detail. Make sure you allow each other opportunities to speak.

Peer assessment
Feed back to your partner on their speaking and listening
skills. Comment on:
• whether they spent enough time exploring the
given views in detail
• how clearly and confidently they discussed complex
ideas.

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2.2 Join the police

Language focus

Colons and semi-colons are mainly used to help organise

information in sentences. However, these punctuation
marks can also be used for deliberate effect. For
example, consider the difference between these two

DRAFT
sentences:
• Police officers are very aware of one key thing
about applying the law and that is fairness.
• Police officers are very aware of one key thing
about applying the law: fairness.
Both sentences are correctly punctuated, but the colon in
the second sentence strongly emphasises the word
‘fairness’ by making the reader pause before saying it.
Semi-colons can also suggest a relationship between
ideas and give different shades of meaning. For example:
• Police officers are there to serve their community.
Looking after people is the key part of their job.
• Police officers are there to serve their community;
looking after people is the key part of their job.
The full stop in the middle of the first example gives the
statement a factual tone. It invites the reader to stop,
creating a ‘distance’ between the two ideas. In the
second example, the semi-colon functions like the word
‘because’. It brings the ideas closer together and
emphasises the link between service, community and
4 Choose one of the three views from Activity 3 and write a
paragraph summarising your thoughts about it.
Use colons and semi-colons for organisation and effect. Use
standard English to make your points in a formal, logical way.

Summary checklist
I can identify and comment on the purpose, audience
and structural features of a text.
I can contribute to an effective discussion on different
views of a complex topic.
I can use colons and semi-colons to organise my writing
and create different effects.

41
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2 Law and order

2.3 The art detective

In this session, you will:
• read aloud with confidence and expression

DRAFT
• discuss your own and others’ views about an article
• summarise points of agreement and
disagreement from a discussion
• write a descriptive account.

Getting started

Think about any detective stories you know. How is the

job of detective presented in books and films? Would you
like to be a detective in real life? Discuss your thoughts in
pairs.

Confessions of an art detective

Arthur Brand is an art detective. One of his most famous cases involved
finding a famous painting by Pablo Picasso, which had been missing
for 20 years. In the article below, by Joseph Bullmore from Gentleman’s
Journal, he describes his experiences. He explains what happens when art
is stolen.
1 Read the article aloud in pairs. Read alternate paragraphs,
concentrating on reading ahead and pronouncing the words
accurately. Use your voice to express the entertaining and
exciting parts of the article.

Speaking tip
Varying the volume, pace and pitch of your voice can
help bring a text to life. Use pauses to create drama,
and speed up at moments of excitement. Spend time
experimenting with different volumes to create
different effects.

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2.3 The art detective

10 Confessions of an art detective

W
ithin two years of a piece of art going missing, the
police give up. And that’s when I step in. My goal is
to get the art back – and quickly, because I know gangsters:
there are gangsters criminals
driving around with priceless paintings in the boots of their sheikh: an Arab
cars, which isn’t exactly the best place to keep them. leader
I start to ask around and I call all the people I know. Finally, possessor: owner

DRAFT
when I’m certain that somebody has the piece I call them and
listen to their reaction. Usually they say: ‘What are you talking auction house:
about?’ and then they hang up. But in a couple of days, a company that
when they’ve had time to think about it, they’ll call me back. holds public sales
And then the talks begin. where goods
are sold to the
It’s sometimes scary, but it’s also great fun in these
situations. Most of these people have a pretty good sense of highest bidder
humour.
The Picasso I found is considered to be one of his very best –
he kept it in his own home. It was sold to an art dealer who
sold it to a sheikh who put it on his boat, and it was stolen
from there. Only a few people have ever set eyes on it.
I started to ask around, and after four years of work I found
the current possessor – a businessman, who got it as a
payment, and had no idea it had been stolen. He was very
nervous. Eventually I managed to get it back. And for one
night, I put it on my wall before handing it over.
An auction house then told me it could be worth more than
$70m. But I don’t make any money on these big cases.
Nobody hired me, after all. But I don’t do it for the money. I
do it for the love of art. And the love of the job. I stopped
watching action movies as soon as I became an art detective.
Nothing is as exciting as real life.

Arthur Brand,
the Dutch art
detective
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2 Law and order

2 The article reveals a lot about Arthur Brand’s experiences.

In groups, discuss what this information suggests about him. Use
the statements below to begin your discussion, exploring points of
agreement and disagreement. Use information from the article to Listening tip
support your own views and challenge other people’s. As you talk,

DRAFT
Making notes
make brief notes on the points made by group members.
as you listen
Arthur Brand: to
other people can
a is driven by a love for art
be challenging.
b enjoys the glamour of his job Before you
begin, make a
c does a useful and helpful job table showing
d seems to live a very privileged life people’s names
with a space to
e is someone to admire record their
f has a job that many people would like to do views. Keep your
notes brief,
g is not a proper detective. using key words
3 Using your notes from Activity 2, write a summary of the different
views expressed within your group. Start by summarising the points
you agreed on, then focus on areas of disagreement. Explain why
you disagreed on these points.

• How useful are your notes from Activity 2 in

recording people’s views?
• What were the challenges of Activity 3?

4 Imagine you are Arthur Brand, sitting in a chair in your

apartment late at night. On your wall is an extremely valuable
print that you have spent years looking for and have finally found.
The print uses shapes and colours to present an odd version of
people’s faces. You can see a copy of the print here.
Describe the print and your feelings as you look at it. Give some
details about how you found it. Remember to think carefully about
the character of Arthur Brand to convey his voice convincingly.
Take care with your spelling. Write 250 words.

44
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2.4 Young detectives

You could start like this:

Writing tip
There it was. After all this time, it hung on my wall. I
Descriptive
relaxed in my leather chair and looked at its striking red
writing relies
and black imagery and the strange faces. Their eyes partly on
seemed to float as they looked at me: they were both sensory

DRAFT
alarming and amazing. descriptions –
often what you
Summary checklist can see. But it
is also about
I can read a non-fiction text aloud with the feeling
confidence and expression. and
I can contribute effectively to a group discussion, atmosphere
exploring my own and other people’s views. you are
I can summarise points from a discussion and explain trying to
areas of disagreement. create, so
I can write an imaginative descriptive account in make sure
a particular voice. you think
about the
emotions you

2.4 Young detectives

In this session, you will:
• give a dramatic performance of a scene from a
detective story
• explore the characters, events and tone of a detective
story
• consider the effect of story structure.

Getting started

Here is a list of some elements of the story you will read

in this session. In pairs, guess what will happen in the
story, how it will end and what the various characters
might do in the story.
• a valuable painting
• a large building called Old Park House
• Dan Robinson, a student

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2 Law and order

Continued

• Dan’s three friends – Jeff, Liz and Mickey

• Sir Jasper Ryde, owner of Old Park House
• a group of tourists
• a large, unnamed man

DRAFT
• a small, unnamed and nervous man.

The Case of the Missing Masterpiece

You are going to read an extract from The Case of the Missing
Masterpiece by Terrance Dicks. It is a fictional story is about a
group of young detectives who try to solve the mystery of a painting
(a
masterpiece) that has been stolen from a museum called Old Park House.
The main character is Dan Robinson. He and his friends, Jeff, Liz and
Mickey, visit Old Park House, hoping to find some clues. Dan plans
to use the same methods that the famous fictional detective Sherlock
Holmes uses to find out what happened.
The extract starts with the four friends looking at the blank wall where
the painting used to hang. They then perform a reconstruction of the
crime – a common police investigation technique used in real life. In
a reconstruction, the crime is acted out to help people remember key
events and details.

11 Extract 1
‘Well, there it is,’ said Liz.‘Or rather there it isn’t!’
Jeff nodded.‘Well, don’t just stand there, Sherlock.
Detect something!’
Dan knew they were only teasing, but his heart sank all the same.
Here there was nothing. Just a light patch of unfaded unfaded: fresh,
wall where the picture had once hung. Even Sherlock
not showing
Holmes wouldn’t have been able to make anything of
signs of fading
that.
oak-panelled:
Or would he?
made up of
An oak-panelled door had opened and a man stood flat wooden
looking at them. He was tall, and thin, he wore a pieces
baggy brown suit,

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46

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of this title.
2.4 Young detectives

and there was a plaster across his balding forehead. balding:

This was Sir Jasper Ryde – owner of Old Park House and having lost
ex-owner of the stolen painting. some hair
due to age
They all gave embarrassed grins. All except Dan.
His heart was pounding, but he forced himself to
speak up.‘I know this sounds daft but we were
thinking about investigating this crime.’

DRAFT
Sir Jasper stared at him in astonishment, and Dan
struggled on. ‘I expect you’re sick of the whole business
by now. But if you could spare a minute or two to talk
about it . . . ’
Sir Jasper was delighted.‘I shall be happy to assist your
investigations in any way I can. Shall we go into my
study?’
Dan found he couldn’t think of anything sensible to ask.
A sudden inspiration came to his rescue.‘Since we’re
right here on the spot, why don’t we reconstruct the
crime instead of just talking about it?’
Sir Jasper jumped up enthusiastically, and immediately
took charge.‘You all go outside and pretend to be
stealing the painting. I’ll be sitting here reading, just as
I was on the actual night.’
He bustled them out into the gallery, where by now a
few tourists were wandering about. robbers: thieves
‘What do we do now?’ whispered Jeff. flung: moved or
‘You heard him,’ said Dan cheerfully.‘Steal the pushed forcefully
painting. You and Mickey can be the robbers.’
Jeff made vague cutting motions, and
Mickey jumped up and down making
great slashing sweeps that would
have had the painting in shreds. The
door to the study was flung open,
and Sir Jasper appeared
shouting,‘Aha, caught in the act!’
Dan thought it was time to
intervene. ‘Did you actually say
that?’
‘Well, no,’ confessed Sir Jasper.‘I think I
probably said something brilliant like “Er .
. .”’
‘And what did you see?’
‘The small one was at the painting,
and the big one was holding a torch.g
The one cuttin seemed to be working
very carefully.’
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47

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2 Law and order

1 Most of this scene is written as dialogue, which shows the

different characters’ personalities, as well as adding some humour.
Perform this extract in groups of three. Choose one each of
the three speaking roles – Dan, Jeff and Sir Jasper. Begin your
performance from the second line of the story.

DRAFT
Start by identifying the lines you will speak. Learn them if you
can, or write them out as notes for when you perform. Think how
you can use your voice and movement to bring out the ideas and
personalities in the scene.
Here are some prompts for each character:
Dan: You feel under pressure because you have told your friends
you could solve the case, but now you are not sure. You are a little
afraid when Sir Jasper arrives, but soon become confident and
enjoy yourself as the scene develops.
Jeff: You have come along with Dan. You like him, but doubt he
can solve the crime. You like to make jokes, but become a little Speaking tip
embarrassed as the scene develops. When acting
Sir Jasper: You are polite and a little shy, but very pleased and out a scene,
excited to help Dan and his friends. You become more animated as remember to
use gesture
the scene develops.
and
action to
Self-assessment suggest
Assess your performance as a group: character. Plan
how you will
• How effective was your planning and move in each
performance of the scene? part of the
• Did your use of movement and voice convey the scene, using
personality of the character? the words to
help you

2 Most detective stories rely on mystery to entertain the reader, but

this story also uses humour. In pairs, discuss and make notes
on:
a which events and characters seem comic and which seem serious
b how and why the characters and story might appeal to its
audience.
3 Detective stories often follow a similar structure. For example,
near the beginning of the story, there may be a chapter where the
detective visits the scene of the crime and talks to witnesses.

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2.5 Making deductions

Write a paragraph analysing the sequence of events in Extract 1

and the effect this creates. Write about:
a how Dan’s character develops during the scene
b what the introduction of Sir Jasper adds to the story.
4 Detection is often about making deductions – working things out deductions:

DRAFT
from clues. At the end of the extract, the actions of the thieves are things that
briefly described. have been
worked out
Write a paragraph explaining: using logic
a the thieves’ actions and what they suggest about the kind of
people they are
b how this information affects what you have already read –
does it make the story less humorous, for example?

Summary checklist
I can give a dramatic performance of a scene from a
detective story, using voice, gesture and movement to
express character.
I can comment on characters and events in a story
and identify its tone.
I can analyse the effect of structural choices in a

2.5 Making deductions

In this session, you will:
• explore the implications of information in a story
• consider the process of deduction as a structural
feature
• write a character study
• compare characters and ideas in two texts.

Getting started

In pairs, discuss how detectives are normally presented in

stories. What personal qualities and skills do they usually
have?

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2 Law and order

Now read another extract from The Case of the Missing Masterpiece.
Sir Jasper has explained to Dan that the thieves took him through to
his library.

12 Extract 2
Dan leaned over Sir Jasper,‘Imagine it’s all happening
again. Try to see the men again. How were they

DRAFT
dressed?’
‘Dark clothes,’ said Sir Jasper, struggling to
remember.‘They wore masks. Oh yes and the one
who helped me was worried
about his hat. He was wearing one of those woollen
caps sailors sometimes wear. He kept fiddling with it, fiddling:
pulling it down to meet his mask.’ adjusting or
‘Anything else? His voice? His hands?’ moving
‘The voice was just ordinary. There was something
something
about his hands though . . . His hands were very white around
. . . and there was something else . . . a smell . . . ’ shoved: pushed
Suddenly Dan shoved Mickey out of the way.‘Jeff, let
him smell your hands.’
Puzzled, Jeff obeyed, and Sir Jasper said,‘Yes, that’s it.
That’s it exactly.’
Jeff drew his hands back guiltily, and Dan stood up.
‘I think that’s all for now. Can I come back if I think of
anything else?’
‘Yes, of course.’ Sir Jasper seemed almost disappointed
that the demonstration was ended.‘It would be
marvellous if you could find it,’ he said.‘I was relying on
selling it to save the old place.’
‘Save it?’ asked Liz.‘Save it from
what?’ ‘Being sold.Torn down for flats
and offices.’
Liz was horrified ‘You wouldn’t let them do that, surely?’
Old Park House had been part of their lives for as long
as they could remember, and they suddenly realized
how much they would miss it.
They were all in a much more serious mood. Solving the
mystery had been a kind of exciting game up till now –
the realization that Old Park itself was in danger had
made it all much more important – and more
worthwhile.
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2.5 Making deductions

Jeff looked at Dan.‘All right, mastermind, this is where

you amaze us with a stream of brilliant deductions I
suppose?’
‘All right,’ said Dan.‘The crime was carried out by two
men. One is a professional criminal with several

DRAFT
convictions for robbery, the disposition: a
other has no previous convictions, a fairly junior job in the person’s
antiques business, and a very nervous disposition.’ Dan manner and
looked round at their astonished faces.‘Oh yes, and one personality
1 At the end of the extract, Dan makes some deductions about the
thieves. Later we find out that the smell on Jeff’s hands was from a
type of cleaning product that is often used to clean antiques. This
helps Dan work out that one of the thieves has a fairly junior job
in the antiques business.
In pairs, look back through both extracts and work out how Dan
made his other deductions. Remember to organise your discussion
so you take turns to suggest ideas.
2 Fictional detectives often have special intelligence and abilities.
Why do you think that writers portray their main characters in
this way? Write a paragraph explaining:
a what skills Dan has and what impression this creates of him
b what it suggests about the process of solving crimes.
3 Deductions are a key part of the structure of detective stories
(e.g. Dan’s deductions here are the first step towards solving
the mystery). Moments like this are also used for deliberate
effect, such as changing the way the reader sees a central
character.
Here is what one learner has said about this effect.

Rather than seeing the

story through Dan’s eyes,
it places the reader in the
position of Dan’s friends –
amazed at his skills, rather
than being like him. It makes
Dan seem like a hero.

Do you agree? Why, or why not? Use quotations from

the extract to support your ideas.

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of this title. 51

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to publication.
 We are working with Cambridge Assessment International Education towards endorsement
of this title.
2 Law and order

4 Compare how the fictional Dan Robinson and the real-life

Writing tip
Arthur Brand (the art detective you read about in Session 2.3) are
presented. Make notes on: When writing
account of
a why each detective wants to solve the mystery – a character,
what motivates them remember

DRAFT
b what this suggests about the values of the detectives. that as well
as
5 Write an account of the character of Dan Robinson. Give a commenting
summary of Dan’s actions and motivations based on both extracts on the
from the story. Explain why Dan is likely to appeal to the novel’s character’s
intended audience. actions, you
should also
Write 200 words. Use any strategies you know to ensure your consider how
spelling is accurate, and take care with your handwriting. they develop,
and how
Summary checklist readers are
I can analyse the meaning and implications of
information in a story.
I understand the effect of structural choices such as
the steps of deduction in detective fiction.
I can write a character study, exploring actions and
motivation. I can interpret and compare characters
and ideas in two texts.

2.6 Detective fiction

In this session, you will:
• identify the conventions of detective fiction
• consider the purpose of a text and whether it is biased
• explore a writer’s language and grammar choices
• listen to and summarise opinions on detective
fiction, and express your own.

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2.6 Detective fiction

Getting started

Why do people enjoy detective fiction and TV shows

that feature police and detectives as the main
characters?
In pairs, discuss the appeal of the genre.

DRAFT
Selling detective fiction
The following text appears on the homepage of an online
bookstore that specialises in detective fiction. It has been written
by the owner of the bookstore.

Home Blog Photos About Search

13
THE THRILL OF THE DARK

deeds: actions

Detective fiction is the most satisfying genre of them all – it’s also the
most popular! After all, nothing beats reading about dark deeds and
shadowy mysteries from the safety of our sofa. But what else is it about
detective fiction that appeals to us?
Well, I think it’s because we like to challenge ourselves with seemingly
impossible puzzles. We enjoy following super-smart detectives as they
shine a torch into the shadows and bring light to the darkness. And, of
course, we love to see the good guys beat the villains in the end! At the
conclusion of a detective tale, a mystery is solved. It’s very satisfying for
the reader. These type of endings are very neat, with loose ends tied up
and the feeling that the world is a safe and fair place after all.
So in many ways, the genre is satisfyingly predictable. As well as a
detective with a great mind and slightly odd personality, there’s often
an assistant who, like us, is puzzled by the detective’s methods.

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to publication.
 53

Original material © Cambridge University Press 2021. This material is not final and is subject to further changes prior
to publication.
 We are working with Cambridge Assessment International Education towards endorsement
of this title.
2 Law and order

We also expect to meet villains driven by greed and explore some

memorable settings, such as tough cities or old houses. There are clues for
the detective (and us) to solve, as well as clues that turn out to be
misleading but are all part of the fun.

DRAFT
Customers say they like the familiarity of detective fiction, but they also
like those stories that end unexpectedly or that feature unusual characters.
What type of detective stories do you like? Check out some of the new
titles we have in store – there’s plenty to choose from!

1 Read the text.

Key words
a Make notes on the conventions of detective fiction that
conventions:
are mentioned in the text. the ‘rules’ of
b List any of these conventions that you can find in the extracts how a story is
from The Case of the Missing Masterpiece from Sessions 2.4 told or a piece
and 2.5. of writing is set
out
2 In pairs, discuss the purpose of this text. Consider: bias: prejudice
a who has written it, why they might have written it, and where for or against
it is published a particular
person, group
b whether the text shows bias.

Reading tip
Remember that there is a difference between an opinion
based on a range of evidence and a biased opinion.
Biased writing gives opinions based on personal
viewpoints and some facts, but it deliberately ignores
any facts that contradict the view it takes.

3 The writer uses an extended metaphor based on ideas of dark

and light in the title and the first two paragraphs of the text.
Analyse what this metaphor suggests about:
a the themes of detective stories
b the morals of the detectives and the villains that they beat . . .
in the end.

54
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2.6 Detective fiction

4 Most of the time, the writer addresses the reader using the plural
Key word
pronouns ‘we’ and ‘us’. This suggests that readers share his
opinions about detective fiction. pronoun: a
word that
Write a brief analysis of the effect of this grammatical choice in stands in for a
the text. Why might the writer want to imply a link with the reader, noun to avoid

DRAFT
and how is that related to the purpose of the text? repetition (‘I’,
‘you’, ‘him’,
14 5 You are going to listen to some readers talking about detective
‘hers’, ‘its’,
fiction. As you listen, make notes on each reader’s preferences
and experiences of the genre. Then write a summary of these Listening tip
different views, explaining how each reader’s experiences affect
Use a
their opinions.
system to
6 As a class, describe some detective stories you have read and keep notes
enjoyed. Make some recommendations to each other – which when
stories do you think other learners would enjoy? listening to
people’s
Summary checklist views. You
could use a
I can recognise and comment on the table
conventions of detective fiction. to summarise
I can analyse the purpose of a text and assess multiple
whether it shows bias. views, but
I can analyse the meaning and effect of a writer’s make sure
language and grammar choices. that you
clearly label
I can understand and summarise a variety of speakers’
attitudes towards detective fiction.

55
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Check your progress

Answer the following questions.
1 Explain how the context in which an 4 Explain different ways you can use
article is written and published can movement and gesture in a drama scene
influence a reader’s reaction to it. to convey character and action.
2 Using examples, explain how colons 5 Explain how detectives are shown

DRAFT
and semi-colons can create different in crime fiction. What qualities do
effects. they have?
3 Give some tips about reading aloud. 6 Summarise the conventions of
How can you use your voice to crime fiction.
make a text interesting to listen to?

Project
In detective stories, the main character can be a private investigator,
someone working for the police or even a normal person.
In groups, you will research detective figures in fiction from around the world.
You will explore how detectives are presented and what features they
have in common.
As a group, make a list of detective figures in stories you have read. Then
do some research into stories from a range of times and cultures. You
could find out about detectives in adult fiction such as Auguste Dupin
(the first detective character in literature), Bhaduri Moshai, Philip
Marlowe, Mme Ramotswe or Miss Marple. Remember to look at
detectives in children’s literature too, such as the Diamond Brothers
or Young Sherlock Holmes. Try to read some extracts from books that
these characters feature in.
Next, explore the qualities and styles of these detectives. You could consider:
• Gender – are there typical characteristics of female and male detectives?
• Details of their personal lives – are they generally happy, satisfied people?
• Attitudes to authority – do they follow rules or do they challenge authority?
• Their motivations for fighting crime.
As you work in your group, allocate roles for your research. For example,
one of you might focus on children’s literature, or one of you may
have detailed knowledge of the genre already and could be the
‘expert adviser’.
Once you have discussed your findings as a group, prepare a five-minute
presentation for the class.
Decide what level of visual support you might need. For example, you
could show some illustrations from the texts. Explain what you have
discovered and read brief passages from the texts.
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publication.