Exploring the use of time in Galloway's ‘The Cellist of Sarajevo’

English

Developing reading skills by responding to Murakami's 'After Dark'

'After Dark': selecting evidence to support language analysis

‘After Dark’: exploring Murakami’s extended metaphor

Exploring structure in Murakami's ‘After Dark’

Emulating Murakami’s craft to write a descriptive opening

Analysing Saramago's use of structural devices in 'Blindness'

Emulating Saramago's use of structure in 'Blindness'

Using inversion and asyndeton to craft interesting sentence structures

Using onomatopoeia and alliteration to craft interesting sound imagery

‘Suite Française’: forming opinions on fiction

‘Suite Française’: evaluating ideas about a writer’s craft

Exploring and emulating character description in Nemirovsky's 'Suite Française'

Analysing images of hope and destruction in Galloway's 'The Cellist of Sarajevo'

'The Cellist of Sarajevo': expressing a personal and critical response to a text

Exploring and emulating Galloway's use of symbols in ‘The Cellist of Sarajevo’

Structuring paragraphs effectively in creative writing

Crafting an engaging narrative

In 'Fiction: Read Around the World', pupils identify and comment on a range of language devices in extracts from texts. In 'Fiction: Science Fiction Writing', pupils identify and comment on recurring images and symbolism in texts.

In 'A World at War: Short Stories', pupils read short stories, analysing how authors structure full texts. In 'Fiction: Read Around the World', pupils analyse structural choices in smaller extracts of texts.

In this unit, pupils read extracts from four novels from around the world, and use them to develop their narrative writing. In particular, pupils explore writers' use of structure. At the end of the unit, pupils consider their own use of paragraphs for effect and write an engaging narrative.

Fiction: read around the world

Depiction of war, threats of war, death or the aftermath of war.

Depiction or discussion of violence or suffering

Which of these does Galloway *not* use in the opening of 'The Cellist of Sarajevo'?

Which moment does Galloway *not* flashback to in the opening of 'The Cellist of Sarajevo'?

make the flashback contrast with the present moment

make the flashback similar to the present moment

What can you do to make your flashback more powerful in a piece of creative writing?

He conveys the inevitability of destruction and grief.

How does Galloway use a flashforward in the opening of 'The Cellist of Sarajevo'?

Which phrase might be useful to help you transition into a flashback?

to help ensure a seamless transition in your narrative

to make the time shift clear to the reader

Why is it important to plan the phrases you will use when you shift time in your narrative writing?

Which of these is not a structural feature?

Which of these is a structural feature involving the writer's use of time?

when a writer shifts to a moment in the future

when a writer shifts to a moment in the past

when writer sets their narrative in the past

when a writer sets their narrative in the future

when the writer describes a futuristic world

What does it mean if something is inevitable?

The old man sat on the bench looking at a photograph.

The old man chuckled as he looked at the photograph.

The old man clutched the photograph, tears trickling down his face.

Which of these sentences has a poignant tone?

Exit Quiz

Which of these does Galloway not use in the opening of 'The Cellist of Sarajevo'?