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Developing Language Acquisition and Reading Comprehension at Penn Wood

Before presenting a text for children to read, it is necessary to prepare for the explanations and subsequent deliberate practice that children will need in order comprehend the text. The starting point for this preparation is a simple question:

Which bits of this text are children likely to find difficult to understand?

This document provides suggestions for the teaching of reading comprehension which can be applied in:

Talk for Writing Whole class reading of books and novels Interventions carried out with groups or individuals to help children to catch up in reading One-off practice using resources such as First News, Cracking Comprehension or the comprehension boxes

Examples and appendices are provided in the context of an extract from Michael Morpurgo’s Kensuke’s Kingdom, intended for children in upper key stage 2, but the principles can be applied throughout the primary phase.

References:

Time to Talk (Jean Gross)

Developing Reading Comprehension (Paula Clarke, Emma Truelove, Charles Hulme and Margaret Snowling)

Bringing Word to Life (Isabel Beck, Margaret McKeown and Linda Kucan)

Teaching Literacy: Using Texts to Enhance Learning (David Wray)

Developing Reading Comprehension at Penn Wood

Struggling readers…

So the teacher could… Example Children could… Related appendix

…have limited general knowledge.

…teach the general knowledge required to comprehend a text.

‘There’s a boat!’ I cried. ‘The fire! Let's light the fire!’‘First, I look,’ said Kensuke and despite my protest, he went back into the cave for his binoculars.Children need to know the ‘stuck on an island’ schema –Michael is on the lookout for a boat so that he can signal to the crew and hopefully return home.

…practise remembering the general knowledge and thinking about it while reading the text.

…have a limited knowledge of basic story structures, or don’t relate events in a story to the story’s general structure.

…summarise the story briefly before the child reads;…think aloud the referral back to the summary for events in the story.

As he walked into the forest, Kensuke simply began to sing.Which section of the story does this sentence belong in?

…practise sorting sentences from the story into groups based on the main points in the original summary.



…have a narrow vocabulary and don’t know the meaning of important words.

…explain the meaning of ‘tier 2’ – tricky yet functional – words;…use multiple images to encourage more connections;…explain the words in context;…use slightly different definitions each time a word is explained to encourage more connections.

…talk in their partners, using the focus words and relating the teacher’s explanation to their own experiences: When someone reassures you,

they might give you a hug. What else might they do?

You might need reassurance when it’s your first day at a new school. When else might you need reassurance?

…provide many opportunities for children to practise remembering the meaning and application of words.

…answer varied questions which involve thinking hard about the meaning and application of words.

Appendix 2 – Language acquisition questions

…read too slowly, without fluency, or without enough expression to understand the content. (Prosody)

…model the story teller’s voice, including pauses, emphases and changes in pace, tone and volume, including the reasons for speaking in that way.

Annotate the story with pauses, emphases and changes in pace, tone and volume.Explain the reasons for given annotations.



…focus on word reading without thinking about content.

…highlight when drawing on general knowledge is appropriate rather than simply reading the words.

Stella, who was usually so calm, was barking outside the cave.Stella must be a dog. Dogs bark when they want to play, to warn others of danger or to threaten intruders etc. Perhaps she wants to play with Michael, warn him of some danger or threaten someone or something on her territory. She clearly wants to tell Michael something.

…book talk and annotate individual sentences from the focus text and from wider reading, ensuring that they are thinking about related knowledge that will aid their comprehension.

Appendix 3 – Annotations for shared reading

…model thinking aloud what a sentence is telling them.

We stayed where we were for hours.This bit tells us how long they stayed where they were.

…annotate sections of the text, saying what the phrase / clause is telling them.

Appendix 4 – Annotating adverbials

…model finding information in the text from question cues.

Kensuke sang out again louder now, more urgently.How did Kensuke sing out again?

We gathered the orang-utans together at the back of the cave and huddled in the darkness with them as the shooting went on and on.Where did Michael and Kensuke gather the orang-utans?

…find information in the text after a prompt from the teacher: ‘Point to the bit that tells us…’;…answer literal comprehension questions.

Appendix 5 – Literal comprehension questions

…make incorrect pronoun inferences.

…model referring to preceding sentence(s) to determine pronoun reference.

Only one, who was called Kikanbo, was still missing. Standing there in a clearing in the forest, surrounded by orang-utans, Kensuke sang for him again and again but he did not come.Kensuke sang out again and again to encourage the only orang-utan that was still missing - ‘him’ must refer to Kikanbo.

…answer pronoun inference questions as part of varied SPaG questioning.

…don’t make links between events in the text (the further apart the ideas, the more difficult).

…model talking about the link between two events in the story.

1. Then, we heard a motor start up somewhere out at sea - an outboard motor. They could be here any minute now.

2. Kensuke sang out again louder now, more urgently.

Why did Kensuke sing out louder and more urgently?Kensuke sang out louder and more urgently because he knew that the hunters would soon be on the island and he didn’t have much time to encourage Kikanbo to safety.

…explain the link between sets of sentences, with a question prompt.



…don’t monitor their own understanding of what they’ve read.

…model being unsure about the meaning of a word, phrase or sentence, then taking part in discussion about those bit.

…text mark to show bits that they need to have clarified, then take part in discussions about them;…annotate the text with clarifications.

…model classifying sentences that either support or contradict the story.

All of the orang-utans have followed Kensuke to the safety of the cave in the past, before the events of this story.Does this support the story or contradict the story?

…classify statements in terms of whether they support or contradict the story, explaining where necessary.

…don’t see the wider context in which the text is set.

…model predicting what could have happened outside of the timeline of the story.

We searched the island for Kikanbo, sang for him, called for him, but there was no sign of him. Kensuke was in deep despair - he was inconsolable.Tell me about what you think Kensuke did next?

…book talk using question prompts by speculating on possible events outside the timeline of the story.

…model predicting smaller details within the timeline of the story.

Scrambling down the hill, I met Kensuke coming out of the cave.What might Kensuke had been doing in the cave?

…answer questions speculating on small details within the story.

…model speculating on how the course of the story may have been different if the scenario changed slightly.

If more orang-utans than Kikanbo were still missing when they heard the outboard motor, what would Kensuke and Michael have done differently?

…answer questions speculating on new scenarios.

…don’t build up a secure understanding of the main events in a story.

…model: picking out the topic

sentences deleting unnecessary

information polishing the

summary

…finish partially completed summaries;…pick out topic sentences, delete unnecessary information and polish the summary.



…misunderstand figurative language.

…explain the meaning of idioms, similes and metaphors;…model thinking about using the figurative language in different contexts.

I had my work cut out at the back. Some of the younger orang-utans were far more interested in playing hide and seek than following.The younger orang-utans were playing, so it was hard for Michael to get them to the cave. ‘Having your work cut out’ means that something is difficult to do.

…practise using the figurative language in new contexts, in a similar way to the questioning used during the language acquisition work: Does ‘having your work cut out

mean __ or __? Example or non-example. Phrase replacement Finish the sentence

Appendix 1 – Killer men come: the text

Stella, who was usually so calm, was barking outside the cave. I got up and went out after her but at first, she was nowhere to be seen. When I did find her, she was high up on the hill, half growling, half barking and her hackles were up. I soon saw why - a small junk far out to sea! Scrambling down the hill, I met Kensuke coming out of the cave. ‘There’s a boat!’ I cried. ‘The fire! Let's light the fire!’‘First, I look,’ said Kensuke and despite my protest, he went back into the cave for his binoculars. ‘We've got to light the fire,’ I said. Kensuke caught me suddenly by the arm. ‘It is the same boat Micason. Killer men come. They kill the orang-utans and steal away their babies. We must bring them into the cave. They safe there.’

It did not take him long to gather them in. As he walked into the forest, Kensuke simply began to sing. They materialised out of nowhere, in twos, in threes, until we had fifteen of them. Four were still missing. We went deeper and deeper into the forest to find them, Kensuke singing all the while. Then three more came crashing through the trees, Tomodachi amongst them. Only one, who was called Kikanbo, was still missing.

Standing there in a clearing, surrounded by orang-utans, Kensuke sang for Kikanbo again and again but he did not come. Then, we heard a motor start up somewhere out at sea - an outboard motor. They could be here any minute now. Kensuke sang out again louder now, more urgently. We listened for Kikanbo. We looked for him. We called for him. ‘We cannot wait any longer,’ said Kensuke at last and off he went, up the track leading an orang-utan by the hand and still singing as we followed. I had my work cut out at the back. Some of the younger orang-utans were far more interested in playing hide and seek than following. I kept glancing back over my shoulder for Kikanbo and calling to him yet he still did not come. We could not help Kikanbo, but we could get the other orang-utans to safety.

The outboard motor died. I heard voices, men's voices, aggressive voices. I was running now, the orang-utans clinging round my neck. The forest hooted and howled in alarm all around me. As I reached the cave, I heard the first shots ring out. Every bird and every bat in the forest lifted off so that the screeching sky was black with them. We gathered the orang-utans together at the back of the cave and huddled in the darkness with them as the shooting went on and on.

Of all of them, Tomodachi was the most agitated, but they all needed constant comfort and reassurance from Kensuke. All through this dreadful nightmare, Kensuke sang to them softly. The hunters came ever nearer, shooting and shouting. I closed my eyes. I prayed. The orang-utans whimpered aloud as if they were singing along with Kensuke. The young orang-utans burrowed their heads into me wherever they could and clung on.

Shots, which split the air and echoed around the cave, cracked so close now. There were distant yells of triumph. I knew only too well what this must mean. After that, the hunt moved away. The forest had fallen silent. We stayed where we were for hours. Kensuke sang all the time and the orang-utans stayed huddled around us until we heard the sound of the outboard motor starting up. When at last we did emerge, the junk was already well out to see. We searched the island for Kikanbo, sang for him, called for him, but there was no sign of him. Kensuke was in deep despair - he was inconsolable.

Appendix 2 – Language acquisition questions

Urgently

Review meaning with question

Does urgent mean ‘dangerous’ or ‘needs to happen quickly’?

Cloze from all focus words

The phone call was for Alice – she was needed _______ at the office.

Example or non-example?

Ryan’s friend fell and hurt his ankle. Ryan thought he was joking so he told him to get up. Ryan’s friend fell and hurt his ankle. Ryan called for help.

Replace word Anum desperately grabbed the keys from her bag and unlocked the car.Word association A pregnant lady needing to get to the hospital.Finish the sentence

Richard needed to get hold of his mother urgently because…

Aggressive

Review meaning with question

Does aggressive mean ‘angry’ or ‘ready to fight /argue’?

Cloze from all focus words

The dog, explained her owner, was particularly _______ so it needed to be kept on a lead.

Example or non-example?

Mel broke Zac’s toy so she screamed and threw herself to floor. Mel broke Zac’s toy so she stared at him and marched towards him with her fists clenched.

Replace word From the way that she scowled at people, Jen thought that Dee was quite threatening.

Word association A driver beeps their horn and shouts out of their window at another driver.Finish the sentence

Everyone thought that Sanjay was aggressive because of the way he…

Appendix 3 – Annotations for shared reading

Stella, who was usually so calm, was barking outside the cave. Stella must be a dog. Dogs bark when they want to play, to warn others of danger or to threaten intruders etc. Perhaps she wants to play with Michael, warn him

of some danger or threaten someone or something on her territory. She clearly wants to tell Michael something. The fact that she is usually calm suggests that her barking is important in the story.

When I did find her, she was high up on the hill, half growling, half barking and her hackles were up. When dogs growl, they think there is a danger. They also raise the hairs on their back and neck (hackles) to make themselves look bigger and more threatening.

Stella doesn’t like what she is seeing.

I soon saw why - a small junk far out to sea! A junk must be a boat, and the exclamation mark shows that Michael is excited to see it. If he can get the attention of the people on the boat, perhaps they will be

able to help him get home.

‘The fire! Let's light the fire!’ Michael wants to light the fire to signal to the people on the boat that he is there and needs help. The exclamation marks show his urgency - he knows that the fire

must be lit quickly or he might miss his chance.

‘First, I look,’ said Kensuke and despite my protest, he went back into the cave for his binoculars. Michael doesn’t want to waste any time in case the boat passes. He kept protesting to Kensuke but Kensuke did not listen. He must have seen many boats and

must know which boats are worth signalling to and which are not. Because Kensuke wants to look, it seems that he is going to say no to lighting the fire – otherwise, why would the writer use so many words to describe Kensuke’s

reluctance to act immediately?

‘It is the same boat Micason... ‘ The boat must have been here before as Kensuke recognises it.

Appendix 4 – Annotating adverbials: What does the underlined bit tell you?

Stella, who was usually so calm, was barking outside the cave. I got up and went out after her but at first, she was nowhere to be seen. When I did find her, she was high up on the hill, half growling, half barking and her

hackles were up. I soon saw why - a small junk far out to sea! Scrambling down the hill, I met Kensuke coming out of the cave. ‘There’s a boat!’ I cried. ‘The fire! Let's light the fire!’

‘First, I look,’ said Kensuke and despite my protest, he went back into the cave for his binoculars.

‘We've got to light the fire,’ I said. Kensuke caught me suddenly by the arm.

‘It is the same boat Micason. Killer men come. They kill the orang-utans and steal away their babies. We must bring them into the cave. They safe there.’

It did not take him long to gather them in. As he walked into the forest, Kensuke simply began to sing. They materialised out of nowhere, in twos, in threes, until we had fifteen of them. Four were still missing. We went

deeper and deeper into the forest to find them, Kensuke singing all the while. Then three more came crashing through the trees, Tomodachi amongst them. Only one, who was called Kikanbo, was still missing.

Standing there in a clearing, surrounded by orang-utans, Kensuke sang for Kikanbo again and again but he did not come. Then, we heard a motor start up somewhere out at sea - an outboard motor. They could be here any

minute now. Kensuke sang out again louder now, more urgently. We listened for Kikanbo. We looked for him. We called for him. ‘We cannot wait any longer,’ said Kensuke at last and off he went, up the track leading an

orang-utan by the hand and still singing as we followed. I had my work cut out at the back. Some of the younger orang-utans were far more interested in playing hide and seek than following. I kept glancing back over my

shoulder for Kikanbo and calling to him yet he still did not come. We could not help Kikanbo, but we could get the other orang-utans to safety.

The outboard motor died. I heard voices, men's voices, aggressive voices. I was running now, the orang-utans clinging round my neck. The forest hooted and howled in alarm all around me. As I reached the cave, I heard

the first shots ring out. Every bird and every bat in the forest lifted off so that the screeching sky was black with them. We gathered the orang-utans together at the back of the cave and huddled in the darkness with them

as the shooting went on and on.

Of all of them, Tomodachi was the most agitated, but they all needed constant comfort and reassurance from Kensuke. All through this dreadful nightmare, Kensuke sang to them softly. The hunters came ever nearer,

shooting and shouting. I closed my eyes. I prayed. The orang-utans whimpered aloud as if they were singing along with Kensuke. The young orang-utans burrowed their heads into me wherever they could and clung on.

Shots, which split the air and echoed around the cave, cracked so close now. There were distant yells of triumph. I knew only too well what this must mean. After that, the hunt moved away. The forest had fallen silent.

We stayed where we were for hours. Kensuke sang all the time and the orang-utans stayed huddled around us until we heard the sound of the outboard motor starting up. When at last we did emerge, the junk was already

well out to see. We searched the island for Kikanbo, sang for him, called for him, but there was no sign of him. Kensuke was in deep despair - he was inconsolable.

Appendix 5 – Literal comprehension questions

Killer men comeWhere did Kensuke lead one of the orang-utans?

In the cave, how did Kensuke sing to the orang-utans?

From whom did the orang-utans need comfort and reassurance?

What part of Michael’s body were the orang-utans clinging to?

How often did Kensuke sing for Kikanbo? From where did the orang-utans materialise when Kensuke started singing for them?

When does Michael think the ‘killer men’ could be here?

Where did Michal keep glancing?

Where were Michael and Kensuke standing when they were surrounded by orang-utans?

From where did they hear an outboard motor?

Where did Michael, Kensuke and the orang-utans huddle?

Where did the gun shots echo?

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