Lesson video

Hi everyone, how are you doing today? It's really great to see you again.

This is our next, "Highwayman," lesson and we're going to be planning the first part of the buildup today, which I am sure you're going to work really, really hard at doing.

I hope that you're feeling comfortable.

I hope you're feeling confident.

I hope you're feeling ready to learn.

Let's get started.

In this lesson, you will need an exercise book or some paper, a pencil or something else to write with, and, of course, your brain.

If you haven't got everything that you need, that's okay.

Pause the video, go and collect everything, and I'll see you in a second.

So we will do our writing warm up.

Then, we will order the buildup.

Then, we will plan really precise language for each part of the buildup, and then we will finish with some oral sentence practise, which means saying our sentences out loud.

So our writing warm up is investigating non-finite complex sentences.

Whoa, there are a lot of tough words in that.

Should we say a few of them? Non-finite.

Complex sentences.

Good job.

So here's an example.

Listen really carefully whilst I read it.

"Catching sight of the inn up ahead, comma, the highwayman felt a surge of relief." Which means that when he saw the inn, he felt [Sighs] Thank goodness, I'm there.

I've made it at last.

Thank goodness.

A surge of relief refers to a rush of feeling relieved, that you finally got somewhere or finally done something.

So, let's have a look at the clauses in this sentence.

The bit in pink, "Catching sight of the inn up ahead," that's a non-finite clause, which just means it's a type of subordinate clause.

Now just remind me, do subordinate clauses make sense on their own, or not? Do you think yes or do you think no? One, two, three, no.

They don't make sense on their own, do they? I couldn't have this as a sentence, "Catching sight of the inn up ahead." That wouldn't make sense would it? So my pink clause is the non-finite clause.

Okay, that's a type of subordinate clause.

What's the other type of clause that I need in a complex sentence? So the bit in green, what's that? "The highwayman felt a surge of relief." That must be, let's say it together, there, main clause.

Well done.

So your task is, I'll tell you that in a second, but let's just think about this question as we go through your task.

Do both clauses need to be about the same person or thing? And just have that question in your head and we will come back to it when we've done our task.

So, you have got to match the non-finite clause, which is a type of what kind of clause? Subordinate or main? Subordinate.

To the correct main clause.

Can you see the clauses in pink? You can see those non-finite clauses.

Number one says, "Hurtling into the inn-yard." Number two says, "Tapping subtly on the shutters, comma." Number three says, "Whistling a familiar tune." Now, you've got to match those clauses to the correct main clause.

Here are the main clauses.

A says, "He hoped they would open." B says, "He willed she'd be there." Now that means he wished that she would be there.

The highwayman wished that Bess was there.

And C, "He felt relieved he'd finally made it." So what you need to do is pause the video and match the non-finite clause to the main clause.

You don't have to write the full sentence, you can just write number one, B, number three, A, whatever you think.

Pause the video now.

Have you had a go? Should we check? So, this first one, "Hurtling into the inn-yard." What did you get? Tell me.

"Hurtling into the inn yard.

." This is what I got, "He felt relieved he'd finally made it." So he's entering the inn and he feels that sense of relief.

[Sighs] Finally, I've got here.

I was on long journey.

"Tapping subtly on the shutters.

." What did you get? Tell me.

"He hoped that they would open." "Whistling a familiar tune, he willed she'd be there." Really good job.

Well done for that.

So let's go back to this question.

Do both clauses need to be about the same person or thing? Because remember when we did Adverbial as complex sentences, you could write about two things, couldn't you? We wrote about the canals and the Mouk, or the trees and the wind, didn't we? But let's just check in these sentences.

How many people is each sentence about? Let's just check.

"Hurtling into the inn-yard," who's doing that? The highwayman.

Who feels relieved they finally made it? The highwayman, so it's about one person.

Let's check with the next one.

Who is subtly tapping on the shutters? Who is it? The highwayman, and who's hoping that they would be open? That's the highwayman as well.

So this sentence is also just about one person.

"Whistling a familiar tune," who's doing that? The highwayman.

Who is willing that she'd be there? The highwayman, so it's about one person again.

I think you did a really good job in the writing warm up.

Let's move on to ordering the buildup.

So, we've got each part here written, but they're not in order, you got to order them in a minute.

We've got A, "He knocked on the door." B, "He arrived at the inn." C, "He saw Bess." D, "He whistled up to the window." And again, you don't have to write down the words.

You can just write the letters in the correct order.

So what was the first thing that he did? What was the second thing, third thing, and the final thing? Pause the video now and write down the order of the letters.

Have you done it? Have you had it go? Should we check? So the first thing that happened, of course, was he arrived at the inn, then, A, he knocked on the door.

He tapped on the shutters with his whip.

Then the next thing that happened was that he whistled a tune up to the window, and the final thing must be that he saw Bess.

Did you get that order right? Well done.

So, for the next part of this lesson, which is the main part of the lesson, we're going to plan precise vocabulary to help us write the buildup.

So you need to get your piece of paper and draw a table that looks a little bit like this.

So it has three columns going along and one, two, three, four, five rows.

So you need to write, "Order," "Precise descriptive language," and "Show, not tell," as each of the column headings.

And then you've got number one, "Arrived at the inn." Number two, "Knocked on the door." Number three, "Whistled towards the window," number four, "Saw Bess." Each of those rows should be about 10 centimetres.

It does not matter if you haven't got a ruler, you can just use your best guess.

Show me what 10 centimetres looks like, I think it looks a bit like that.

So pause the video and please set out your table like the one on this screen.

And you can resume when you've done that and I'll see you in a few moments.

So this is the first thing that we're going to think about.

The highwayman arriving at the inn.

Over the cobbles he clattered and clashed in the dark inn-yard.

That's the line from the poem that this bit of our writing is going to be about.

Let us just reflect on our vocabulary that we generated in the last lesson.

So we had some time conjunctions, so thinking about when he arrived.

Finally, after a tiring journey.

Can you say the last two? Well done.

Eventually, [Sighs] at last.

We also planned some prepositional phrases to tell the reader where the inn actually was.

At the edge of the road, just off the path.

You tell me the next two.

Well done.

And then we also thought about really precise verb choices.

These were the ones that we said we could use.

We could use crashed, hurtled, careered.

Now that last one is a really fun one to say, "Careered," which means he sped into the inn-yard almost in a bit of an uncontrollable way, because he was so desperate, so excited to be there.

Just got some thinking time questions for us.

Are these fast paced verbs or slow paced verbs? Do this if it's really fast, or this if you think it's really slow.

Ready? One, two, three.

They're fast paced verbs, aren't they? And our next question.

Why are these precise verb choices? So we've talked a lot about being precise.

Why are they precise verb choices? Why are they good choices of verbs for us for this part of the story? Well, I think it shows how desperate he is to get to the inn.

If you're travelling in this way, if you're crashing in you, hurtling in, careering in, it means you're travelling quickly because you want to get somewhere.

You're really keen and eager to get there.

This next question for us to think about.

What adverbs could work with these verbs? Have a little bit of thinking time.

He crashed, he hurtled, careered.

Could have something like swiftly.

Should we say that? Swiftly.

Could have something like rapidly.

Rapidly.

You could have something like eagerly.

He hurtled eagerly, meaning he really wanted to be there.

Eagerly.

Well done.

So let's go back to our table and here are some questions that will prompt you to plan some great vocabulary.

So, you need to think about when he arrived at the inn.

You need to think about where the inn was, and you need to think about how he arrived there.

And hopefully our recap on our vocabulary has triggered a few words and ideas that you can use in your plan.

Now, I want this column, the, "Show not tell." How did the highwayman feel? How did the highway men feel? Think about some really precise verb and adverb choices to show his emotions.

So you need to pause the video now and take a few minutes to write down your ideas and I'll see you in a few moments.

Have you had a good go? Should we see some of the ideas that I came up with? And you can check that you've got some really fantastic ideas as well.

If you want to write down anything you see on the screen, then that's totally fine too.

So first thing I thought was about was the when, our time conjunctions, and I wrote, "After several hours." And I expanded that's a bit more, "After several hours of riding through the dark moors after a relentless journey," which means after quite a long and difficult journey.

What was your when detail? What were your time conjunctions? Tell me.

Well done.

And then the where, so thinking about where the inn is.

"A little further ahead, on the edge of the road.

What did you get? Good job.

And then how did he arrive at the inn? "He careered into the inn-yard." What was your, "Show, not tell?" This is mine.

"Relief surged through his body, we had that in our writing warmup.

Now that shows just how happy he is and how relieved he is to get there, that we're talking about relief is surging, which means moving through his body.

And he couldn't believe that he'd made it.

If you'd like to pause the video and write down anything that is on the screen that you haven't got, then that's totally fine.

And if not, we are going to move on to the next bit.

So the next one is him knocking on the door.

Let's recap, in a second, our vocabulary, but I'm just going to read the line from the poem that this bit is about.

He tapped on the.

Sorry.

He tapped with his whip on the shutters, but all was locked and barred.

Remember, we planned some, "Show, not tell," for this part.

We've talked about the adjectives, disappointed, frustrated, surprised, and we planned some, "Show, not tell," to go with each of those emotions.

So instead of saying disappointed, what could you say? Yeah, his heart sank.

Instead of saying frustrated, what could you say? [Grunts] He sighed in annoyance.

Instead of saying surprised, you could say? His mouth gaped open.

So here are some questions to help you plan your ideas for this section.

How did he knock on the door? What did he use? What did he realise when he tried to knock on the door? What did he realise? And then your, "Show not tell," for how the highway man felt Pause the video now and take a couple of minutes to plan your ideas for this section.

Pause the video now.

Have you had a go? Should we see what I came up with? And you can add in ideas if you need to.

I thought he tapped firmly with his whip.

He knocked hopefully.

So I've chosen those adverbs quite carefully there to show a little bit more detail about how he did those things.

What were your verbs and adverbs? How did he knock on the door? Tell me, and show me.

It could be tapping firmly.

It could be knocking.

I hope he's.

I hope she's.

I hope she's there.

I hope that door's open.

What did he use? Tell me.

He used his whip, didn't he? And what did he realise? What did you write down? This is what I wrote down, that the door was locked.

He realised no one stirred, which means no one was awake.

No one woke up to answer the door.

No one stirred, stirred.

That sounds like I'm stirring something, doesn't it? But in this case, it refers to just no one being awake, no one getting up to answer the door for him.

There was no noise there.

So how did the highwayman feel? What was your, "Show, not tell?" Can you show me? Well done.

This is what I thought, disappointment consumed him, which is a way of saying that he felt really, really disappointed.

If something consumes you and emotion consumes you, that's all you can feel.

So he felt really disappointed.

And I also chose some of the ones that we had in our last lesson.

His heart sank [Sighs] and he sighed out loud.

Can you do that? Sigh out loud for me? One, two, three.

[Sighs] He feels really disappointed that the inn is locked.

So the next part is that he whistled towards the window.

Can you just do a whistle for me? Should I do one? [Whistles] So this part of our writing refers to this line in the poem.

He whistled a tune to the window.

Okay, let's reflect on our vocabulary from the last lesson.

We had a few different words for saying, "Whistled." We had some synonyms and some other verbs that we could have used here.

Here they are, called, signalled, gestured.

Let's just say those last two.

Signalled, gestured.

Which kind of means you use your hands to kind of gesture or signal in some way to catch someone's attention.

And we use these adverbs, didn't we? Quietly, subtly, eagerly.

Let's say those last two.

Subtly, eagerly.

Do you remember what subtly means? Does it mean that you do something so that loads and loads of people notice, or just the one person that you watch to catch their attention of? Yeah, you do it so that lots of people do not notice.

You just want the attention of someone, of the person you're trying to get the attention of.

And eagerly, what does that mean? If you do something eagerly, do you really want to do it or not want to do it? Really want to do it, don't you? So here are the questions that will help you plan some amazing ideas.

Where did he look? Okay.

Well, think about where the window is.

Where did he need to look? He was on the ground and the cobble's ground and he looked up towards the window, okay.

So where did he look? What did he do? And then, of course, how did he feel? So, pause the video now and take a few minutes to note down your vocabulary, and I'll see you when you're ready.

Have you had a go? So where did he look? Just show me, where did he look? Ah, he had to look up, didn't he? He had to look up towards the window, so we could say something like, "He cast his eyes upwards." Cast just means moved, moved his eyes upwards.

Well, he looked above him.

What did he do? What did he do? He let out a subtle whistle, a familiar whistle.

He eagerly signalled, and those are lots of words that we just had a look at earlier.

What was your verb or adverb for what he did? What did he do? Well done.

And how did the highwayman feel? Well, he was really hopeful, wasn't he? He hasn't seen her yet, so he's not feeling really happy, but he's feeling really hopeful.

And remember, we had a word in our writing warmup that meant he wished she was there.

Can you remember what it is? It's on the screen.

Yeah, he willed that she was there.

He really wanted her to be there.

So he willed that she was there.

He had hopeful expectations and he wished with all his energy.

If you'd like to pause the video and write down anything that I've got that you want to add into your plan, that's totally fine.

Let's move on to our final part.

The part that he saw Bess.

So this refers to the line in the poem, "And who should be waiting there, but the landlord's black eyed daughter." So here is a little bit of vocabulary that we planned in our vocabulary lesson.

We thought about how he felt.

We came up with these words, elated, relieved, jubilant.

And then we thought about the, "Show, not tell," that goes with those.

So he could beam, show me a beam.

Beam is a really big smile on your face to show that you're feeling really happy, really elated.

[Sighs] I'm just so, so happy.

And how would you show relief? Let that out, a sigh of relief.

[Sighs] It's a different sigh, isn't it? To sigh of disappointment.

[Sighs] But it's a sigh of relief.

[Sighs] Yes.

And then how would you show this word? Jubilant, which means, again, really happy, really ecstatic.

We planned to say his heart soared.

Did his heart really soar? Did his heart really fly out of his chest? No, it didn't but it's a really precise, "Show, not tell," so that the reader gets an impression of how the highway men felt at this.

Here are the questions that will help you with this part of the plan.

Who did he see? Describe Bess.

What was she doing? And you can think about what she was doing from the poem, but also think about other things that she might have done when she saw the highwayman.

And then some, "Show, not tell." Pause the video now and have a go writing down your ideas, and I'll see you in a few moments when you're ready.

Should we have a look at what I got? So, who did he see? He saw Bess.

Another way of referring to her could be something like his true love.

Describe her.

What adjectives did you write? Tell me.

This is what I wrote, "dark-eyed," which is straight from the poem, and I wrote it with beautiful because in the poem she was described as Bonnie, which is an old fashioned word for beautiful.

Now what was she doing? In the poem, it said she was plaiting her hair, but the other things I thought about her doing, maybe she waves at him, maybe she smiles.

And how did the highwayman feel when he saw her? Let's think about some, "Show, not tell." His heart soared, an elated beam spread his face.

And there was a gleam in his eye.

A gleam is like a twinkle in your eye.

So you might have a beam in your eye if you're feeling really happy about something.

Pause the video now and note down any words or ideas that you want to from the screen.

Okay, so our final part of the lesson is to practise full sentences orally which means practising them out loud with our voices.

Here's my own.

"After a relentless journey through the dark moor, comma, the highwayman finally caught sight of the inn." And that is a sentence with the first part of our plan, when he arrived at the inn.

Pause the video now, look back at your plan on the first row and say the sentence out loud.

Pause the video now.

And for number two, this was my sentence.

"Feeling hopeful, comma, he tapped his whip on the shutters." So I've used some vocabulary there that I planned, feeling hopeful, I've used the word, "Tapped." Pause the video now and have a go at practising a sentence out loud for number two, the bit where he tapped on the shutters, he knocked on the door.

Pause video.

So for number three, this is my one, which is where he whistled up to the window.

He tried to get Bess' attention.

He cast his eyes up.

Sorry.

"He cast his eyes towards the upstairs window and let out a subtle whistle." He cast his eyes upwards, he cast his eyes towards the upstairs window, and let out a subtle whistle.

Pause the video now and say your sentence out loud.

And finally, this is my sentence for the last bit of the plan, when he saw Bess.

"His heart soared in joy when he saw Bess wave eagerly back at him." So I've got some, "Show, not tell," for how he felt, and I've got what Bess was doing back to him, waving eagerly back at him.

Do you think that means that she was happy to see him? Who thinks yes? Do you think no? I think it means she was really happy to see him there, if she's waiting eagerly back at him.

So pause the video now and say your sentence out loud.

Well done.

Oh my goodness.

You've worked so hard and we've done so much in this lesson, and I hope you feel really, really proud of the amount of work that you've done.

Did a writing warmup, then we ordered the buildup part one, and then we planned really precise language, and then we orally practised some sentences.

So, well done.

You worked really, really hard.

If you'd like to, please share your work with your parent or carer, and I bet they'd be so impressed with your plan from today.

And I'm really looking forward to seeing you very soon.

Have a lovely rest of your day.