Writing Characters In Key Stage 2

My new year 5 team and I sat down to plan together for the first time last week. Our class novel is Cosmic by Frank Cottrell-Boyce and the teachers decided they were going to focus on character both in reading and writing lessons. With a view to having children write their own piece of narrative involving a character of their own invention we set about planning how we would teach them to introduce their character to the reader.

I have lost count of the number of times I've taught children to write character descriptions but I know that every time I've done it there has been a niggle. A paragraph describing what a character looks like and what they like is not something we come across that often in the books we read. I have seen numerous requests from teachers for passages from books which contain good character descriptions and whilst there are some out there, I haven't noticed it to be that common, especially not for a main character,.

So, my team and I discussed how we might teach children to write about their characters in the way a real author might. Looking at Cosmic we found that information about Liam's character was scattered throughout the first few chapters. To begin with, the information about his character is explicit, then the information becomes more implicit, then, crucially, no new information about his character is given - all his actions, thoughts and feelings for the rest of the book are congruous with the character that has been introduced in the first few chapters, apart from instances of the events of the story changing an aspect of his character. I don't know if that's how Frank Cottrell-Boyce planned it to be, but that's certainly how it seems to have panned out.

I suppose what we were looking at teaching was characterisation - how a writer portrays their character. In Cosmic we found examples of both direct and indirect characterisation but what we didn't find was a big chunk of direct characterisation, which is what children are often taught to do (which is probably fine at an earlier age).

Our first port of call was to read the book in order to be inspired both by the character and by the organisation of the text. Reading lessons focused first on retrieving information about the characters (as well focusing on the all-important vocabulary that is foundational to understanding how characters are being described). They then moved on to being focused on inferring information about the character based on their actions. Examples of these comprehension questions can be downloaded from my TES resources page. These, and the accompanying book talk (discussion), gave the children the chance to see how authors pepper the text with carefully-placed pieces of information about their character.

Next came the task of developing characters for their own stories. This was done in the usual way - nothing too innovative or fancy here - if it ain't broke, why fix it? Children drew their characters and annotated them with phrases that they wanted to use to describe them.

It was the next part that was going to be difficult. How were we going to get children to use the information about their characters in a piece of narrative without writing up as one paragraph of character description? We decided to focus on one thing at a time: the inclusion of descriptive phrases and not the creativity that would have had to go into writing a piece of narrative. To achieve this, one of the teachers wrote a short piece of narrative devoid of any description, direct or indirect, of the characters mentioned. She double-spaced it and provided a copy for each child. The children then edited the piece to include, in relevant and suitable places, phrases of description of their character.

An example of the provided narrative and the edits made in an attempt to add character description.

At the point of writing this children have had a first attempt at completing this activity. After reviewing a few books it would seem that the children need to revisit their original characters, develop some more details and then ensure that when they edit the narrative that they have included the information that conveys to the reader what their character is like. For example, one child's character is a snail, but nowhere has he mentioned its shell, its tentacles (yes, apparently that's what they actually are) or its single, slimy foot. All children have also missed the opportunity to add a direct piece of description after the character catches sight of their reflection in the control panel - this will be a simple, whole-class starting point to modelling how they might further include character description in the narrative.

What Do Authors Say About This?

But what do I know? I've only read a load of books. So I asked a few people who've actually written books how they go about describing their characters. Their replies provided food for thought for further lessons (bring on PPA!).

Writing Dialogue To Convey Character

Lisa Thompson, author of The Goldfish Boy and The Light Jar, says that she has 'never written a character description', which is pretty much why I've written this blog post - published authors don't really seem to do it.

She advocates conveying the character's personality through the things they say - how they 'speak, their mannerisms and gestures'. This is definitely a good starting point for an interesting sequence of key stage 2 writing teaching.

Lisa also talks about how she just writes and the character appears - I'm not sure this would happen naturally with less experienced young writers.

Writing a Letter From The Character To Discover Characteristics

Author of both Bubble Boy and All The Things That Could Go Wrong, Stewart Foster, found, when writing his second book, that he got to know one of his main characters when he wrote (in first person) a letter (click here to see the letter in a Twitter thread from Stewart) from the boy to his brother. This would be an excellent exercise for children to undertake in order to help them think like the character would think. As in ATTTCGW this letter could be included as part of the narrative, making for a more varied and interesting text. Cosmic begins with Liam speaking (from space) a monologue to his parents - this is very similar in style to the letter.

Compare And Contrast Instead Of Direct Description

Victoria Williamson, the author of The Fox Girl And The White Gazelle, mentions the idea of sprinkling bits of description 'through the first few paragraphs or pages... so it's not just an info dump. She also mentions avoiding the use of any direct description, instead she chooses to point out similarities and differences between two characters in order to bring them to life. Perhaps a technique to try out with greater depth writers in upper key stage 2.

As well as this Victoria suggests that writers can describe a character through another character's eyes, which works especially well when writing in first person. As she wrote in her guest post on my blog though, this can lead to a skewed perspective on 'reality' because characters see things only from their point of view.

Describe Interactions With Other Characters

As we explored in our reading sessions on Cosmic we can often infer lots about character by the way they act and behave, particularly, as Tom Palmer (whose book Armistice Runner is published today) points out, the way they interact with other characters. This might include their gestures and stances as well as the things they say and do.

I think that to help children to do this in their writing it might be useful to go back to a text and analyse how authors have done this themselves. Children could make a list of what a character does and make inferences about what this tells us about their character. Again, another skill perhaps for the children who write fluently already.

In addition to this, more confident writers might want to use character description to signify something important in the story - a turning point in the plot, or to show how a main event has affected and changed a character. I can imagine teaching this to a small group and modelling how this might be done.

Click here to read about how Tania Unsworth, author of The Girl Who Thought Her Mother Was A Mermaid, writes her characters. Tania Unsworth mentions many of the techniques already covered - her answer to my question would be a great one to study with the children.

Hopefully our attempt to do something a little different, and the hugely helpful insights from the professionals might inspire one or two of you to try some new things out when you next teach characterisation. I'd love to hear from you if you've tried something like this before - please leave a comment here or on Twitter!

If you would like Aidan to work with you on developing writing at your school, please visit his website at https://www.aidansevers.com/services and get in touch via the contact details that can be found there.

Tania Unsworth On Conveying Character

Tania Unsworth, author of the wonderful The Girl Who Thought Her Mother Was A Mermaid describes the process she goes through when writing her characters:

For my main characters, I try not to present a physical description, unless it's important for the story or it reveals something significant about them (perhaps they have bitten nails, for example). I think leaving the physical description somewhat vague allows the reader to conjure up a much richer, more flexible image in their mind's eye, and thus involves them more fully in the creative process. Hopefully it makes the character feel personal to each reader. The kind of writing I admire and aspire to is what I think of as 'generous' - it leaves as much as possible to the imagination of its readers. I have a different approach to minor characters, often describing their appearance in detail - they tend to be more two dimensional as a whole, mostly seen through the lens of the main character.

So how do I convey character? I try and do it in terms of their reaction to things. I aim to put them as quickly as possible into a situation where their responses begin to reveal how they see the world, their fears, hopes etc. Dialogue is another useful way of doing this. I love dialogue! How they talk, how they respond to the person they're talking to. As an exercise, it can be fun to take a chunk of dialogue from a book and without knowing anything else about the story, try to see what can be deduced about the protagonists simply from their conversation.

I tend not to start a book with a very clear idea of my main character. I learn about them as I go along, through their responses to things that are happening in the plot. By the end of course, it's turned the other way around - the character has formed to such an extent, that THEY are shaping the story.

It's a strange sort of paradox that I can never quite get my head around - how my characters grow out of the needs of the story, but at the same time how they ARE the story itself...does that make any sense?

In terms of teaching character writing - you are the expert! I'm not sure I can offer anything new that you haven't thought of. I suppose I would suggest as an exercise that pupils not start with a character at all, but with a situation. Something has happened to someone. Then perhaps they could simply ask themselves a series of questions. How does that person respond? Why? Is it different from how other people might respond? What are they thinking? What do they feel? I do think that just like the reader, the writer has no idea of their own characters at the start - they must find out by asking a lot of questions. Sometimes it's only at the end of writing a story that the writer achieves an understanding of their own characters...which means more often than not, that they have to write it all over again!

For more on teaching character writing click here for my blog post Writing Characters in Key Stage 2.

Diary of a Deputy - Week 1: False Start?

It's Friday, I'm on the coach on the way back from year 5's first trip - the first trip I've organised as Deputy Head. We are coming back early because it happened. That thing we all fear will happen did happen.

I booked this trip back in June. But when we turned up today they didn't know we were coming. In fact all of the staff who work at the facility were on annual leave. The facility in question is housed within a local college building and, hats off to a variety of college staff, we managed to make something of the morning. Whilst I tried to work out what on earth had gone wrong and how we were going to make it all right the children had an enjoyable hour and a half learning. Next job: reschedule and work out how to explain it to the parents of the class who certainly won't be making the afternoon visit. Oh, and work overtime to remind myself that this wasn't my fault.

- - -

I'm now sitting in the waiting room of the doctors' surgery. It's Friday afternoon. This week promised to be difficult from the off, I suppose. 

I set off on my bike on the first day and, two minutes away from home, realised that cycling one-handed on account of a shoulder problem I developed on holiday was not going to cut it. These Yorkshire hills require a whole-body approach to cycling. 

I headed back home (where my wife was busy broadcasting live baking on BBC Radio Leeds) to think through my options. I couldn't take the car - the lease company were picking it up later that day. We weren't getting a replacement until the day after. Public transport requires multiple vehicles and lots of walking and a journey time of over an hour (it takes 15 minutes in the car). Taxi it was. After setting off in the wrong direction I set the driver on the right course and once I'd handed over the princely sum of £13 I was through the school gates for my first day as deputy head.

After 12 minutes on hold to the doctors' (during which time I was informed that I'd moved from caller number 6 to the heady heights of caller number 5) I walked into a dead zone (the HR office) and lost my connection. My lovely wife, now finished with her brush with radio stardom, then spent a further half hour on the phone to secure me a physio appointment, hence my current location.

But, looking back, it's not at all been doom and gloom. In fact, I've been able to see the 'amusing' side of the less desirable events of my first week in post. It's been a brilliant week.

The first day, once I'd managed to get myself there, kicked off, predictably, with a whole staff meeting. My new school is a through school: nursery to 6th form = huge student body and a large staff. One apparent tradition is to welcome new staff at these well-attended meetings. When my name was called (and I wouldn't usually share this kind of thing for fear of sounding arrogant) the whole of the primary staff gave a huge cheer - louder than they had for any other. So, as long as they weren't taking the mick, and this wasn't some cruel joke, that welcome meant more to me then they might have intended. And the feeling of belonging it gave me has carried me through the week, even providing comfort when I turned up with 30 children and 4 members staff to a trip that wasn't even booked (wasn't my fault).

And it's not just that that means I'm finishing my first week as a Deputy Head feeling elated. My new year 5 team is showing all the signs of gelling and the children arrived glowing and smiley on Thursday morning, positive and ready to learn. We are trying out some new things: an out-of-class studio area where children have permanent access to a wide variety of resources, ways of teaching and timetabling that respond to the exact needs of the children and a holistic approach to learning that goes beyond the typical upper key stage two focus on maths and English, and beyond a focus on academic results. And the children have responded really well, particularly in how well they have used the studio to practise and demonstrate their knowledge and skills in a variety of ways. The teachers too have demonstrated adaptability, filling me with confidence that we will absolutely make a success of this year.

- - -

False start? Not really. Barely even bumps in the road. It'll take a lot more than that to make me downhearted! Plus I now have a long piece of stretchy stuff, a suite of exercises for my possibly torn supraspinatus and a follow-up appointment in three weeks - hopefully I'm on the mend.

Lessons to be learned?

Phone ahead to make sure the trip venue know you're coming, preferably a few days in advance.

Don't be too optimistic about health - you might actually just need to admit you can't do certain things and that the advice of a professional needs to be sought (this is a told-you-so moment for my wife).

Book Review: 'Dave Pigeon' by Swapna Haddow, Illustrated by Sheena Dempsey

Funny books. That's what our children get these days when they move off the reading scheme books at school and begin to read whole chapter books themselves. And thankfully when the books are as good as 'Dave Pigeon' that's more than OK.

Swapna Haddow has balanced the funniness with good quality writing in a way that perfectly introduces young readers to the concept of reading a longer book. The story is engaging (and funny - did I mention that?) and in this way reading stamina is really encouraged. The accompanying illustrations contribute to this - some pictures take up most of the page, allowing children to experience the feeling of having read a decent chunk of a book. The speech bubbles included in the pictures are also bound to be loved by young readers - children will feel great accomplishment as they read the text and the pictures together.

Dave and his mate Skipper are taken in by a kind human lady when Dave injures his wing. Unfortunately she also has a mean cat who, of course, must be got rid of so that the pigeon duo can live in the lap of luxury in the house, rather than the shed. Their catbrained schemes are, predictably, wildly unsuccessful until, accidentally, one of their plans does work. Even then they are faced with a further dilemma - they have to share their bounty with all the other birds in the neighbourhood. This amusing story of perseverance and resilience is a great way to introduce young children to the concept of never giving up and always trying again - who'd have thought two daft pigeons could be such good role models? 

Another huge plus for this book is that it is the first in a series. So if it hooks your child in, you can build on the momentum by getting the two follow-up books for them to read too. And as Tom Fletcher picked this for his WH Smith Book Club 2 you should have no problems getting hold of this excellent (and hilarious) book.

Book Review: 'Armistice Runner' by Tom Palmer

The World Wars have provided many an author with fodder for their fiction and there are some truly brilliant books out there as a result. The best are the ones that take a slightly different angle and explore one of millions of individual lives that were affected by those conflicts. 'Armistice Runner' is one such book. Tom Palmer focuses in on one soldier, Ernest, originally a fell runner from the Lake District, and lets him tell his story of running messages between British army positions in the lead up to the signing of the Armistice in the Great War.

This isn't just historical fiction, though. Palmer has skilfully woven in a modern story of a young girl, also a fell runner, who is a descendent of the World War 1 soldier. Lily is fighting her own battles - Abbie, her rival, always seems to beat her, and her beloved Grandma has Alzheimer's.

On a visit to her grandparents' in the Lakes, and in the run up to a very important race, Lily is given a box containing some of Ernest's things. In the box are some running logs which, Lily discovers, contain much more than just details of her great-great-grandfather's exercise regime: she discovers a commentary of Ernest's time in France and she's desperate to find out what happens.

However, things keep preventing her from reading more - like the disappearance of her Grandma. Through both stories Palmer brilliantly brings together and draws parallels on the themes of family, friendship, rivalry, revenge and loss. The mirrored issues never seem forced - both stories are believable. Many children will identify with Lily's love of her sport, how annoying her little brother is and how worried she is about her grandma. At the same time they will be introduced to the horrors of trench warfare at the beginning of the twentieth century - without going over the top (pun not intended) Palmer describes the smell of a rotting flesh wound in a way that will make the reader physically recoil. For teachers looking for a story set in World War One, this book provides a good starting point to explore both the bigger picture of the war, as well as how individual lives were changed as a result.

The story concludes optimistically with a strong but implicit moral message about putting aside differences and showing kindness to others. In fact, all the way through there is much to develop empathy in the reader, making this a great book to share and discuss with children. The fact that a book with sports and war themes centres around a female character is also a plus point - too often these topics see males take centre stage.

But this isn't only a book about sports or war - it's a just a great story, expertly told, and one that every child should have a chance to read. As with all truly great children's books it's one that adults will enjoy sharing too, potentially prompting grown-ups to share their own family's history and involvement with the World Wars with their children, thus preserving those stories for another generation.

Book Review: 'The Girl Who Thought Her Mother Was A Mermaid' by Tania Unsworth

I'm just going to come right out and say it: this is a perfectly told story which twists fantasy into reality in an oh-so satisfying way. Dealing with themes of loss, grief, friendship and discovery this book, I would go so far to say, is a must read.

The pain experienced by a grieving husband, the love and wisdom of a grandparent with alzheimers, the way that a child tries to deal with memories of a lost parent, the desparation of an abused employee, the delight of new friendship, the terror of being kidnapped, the bitterness and cruelty of someone who can't let go, the rushing sensation of elation when a remarkable discovery is made - this book has all the feels. Who'd have thought all of that would come from a tale about mermaids?

After the death of her mum Stella sets out on a dangerous voyage of discovery to find out more about who her mum really was. She makes brave and daring decisions but finds herself in grave trouble as she seeks to find the truth behind her mum's past. So compelling is the story, and so believable, I found myself reading the whole book in the space of day - Tania Unsworth draws in the reader with her beautiful writing and intensity of plot - an intensity that nevertheless still feels perfectly paced.

With the mention of mermaids in the title, this very well may get left on the shelf by some who assume its going to be too girly, but this real-world fantasy is far from it - it's a thrilling adventure which I would have no qualms about reading with, or recommending to, anyone (including boys). Sometimes books can really be a very pleasant surprise - 'The Girl Who Thought Her Mother Was A Mermaid' is very much one of those books.

Book Review: 'Once Upon A Wild Wood' by Chris Riddell

There are many, many retellings and rehashings of popular traditional fairy tales, but this isn't one of them. Children who love fairy tales will love this but they will enjoy it in its own right. And that's because Chris Riddell, with his own inimitable sophisticated and dry humour, has told a new story, albeit with a whole host of favourite characters.

Know a child who's stuck on their favourite Disney princesses, and only ever wants to read those quite terrible picture book versions of the movies? This book could very well be the book that turns them onto some reading material of a little higher quality. The writing is wonderful, with seemingly more text than the average picture book, and, as is usual with Riddell, it never seems like he is talking down to his younger readers - he treats them in a grown-up way and gives them opportunities to think about new words and new concepts.

Existing fans of Riddell's books for younger readers, such as the Ottoline books, will recognise the style of storytelling and the kind of characters that are portrayed. The story's protagonist is a young girl, vastly more sensible and practical than the traditional Little Red Riding Hood, prone to solving problems but also demonstrating kindness and thoughtfulness - a great role model, in other words.

The illustrations, it really goes without saying, are incredible: the sort children pore over and return to again and again. Amusing details and such accurately drawn facial expressions provide excellent opportunities, along with the text and the plot, for adults and children to discuss the book at great length, making this a perfect book for parents or teachers to share.

Children will love spotting their favourite fairy tale characters, and may even be introduced to new ones, giving opportunity to explore classic tales which Disney haven't yet (to my knowledge) got their hands on. Rather like the Ahlbergs did with The Jolly Postman and Each Peach Pear Plum, Chris Riddell has brought new life to old stories and characters in this fantastically illustrated new tale.