Study type: Genre Study |
Status: Exemplar
Concepts
This study delivers 1 primary concept and 4 secondary concepts.
Primary concept: Narrative elements: setting, character and plot (EN-Y3-C048)
Type: Skill |
Teaching weight: 3/6
Pupils develop key elements of story writing including describing settings, developing characters with distinct traits, and planning and writing story plots
Teaching guidance: Teach the three key elements of narrative: setting (where and when the story takes place), character (who the story is about), and plot (what happens — including a problem or conflict and its resolution). Use quality texts as models, identifying how authors establish setting through sensory description, develop characters through dialogue and action, and structure plot with tension and resolution. In Year 3, focus on creating detailed settings and developing characters beyond simple descriptions.
Key vocabulary: setting, character, plot, problem, resolution, describe, dialogue, action, tension, narrative, story
Common misconceptions: Children may rush past setting and character development to focus on action and events. They may describe characters only by physical appearance rather than personality, feelings and motivation. Some children create elaborate settings and characters but have weak or non-existent plot structures.
Differentiation
| Level | What success looks like | Example task | Common errors |
| Entry | Writing a simple story with a clear beginning (who, where) and a sequence of events. | Write the beginning of a story. Tell the reader who the story is about and where it is set. | Starting with events before introducing the character or setting; Writing 'Once upon a time' without establishing any specific character or place |
| Developing | Writing a story with distinct beginning, middle and end, including a basic problem or challenge for the character. | Write a short story that includes a character, a setting, a problem, and how the problem is solved. | Creating a problem but resolving it too quickly or easily; Writing a 'bed to bed' story (I woke up... then... then... then I went to bed) without a real plot |
| Expected | Writing a story with developed setting, characters with distinct traits, and a structured plot with building tension and satisfying resolution. | Write a story where the main character faces a challenge. Describe the setting using sensory detail, show the character's personality through their actions and dialogue, and build tension before the resolution. | Describing characters only by appearance rather than showing personality through actions and dialogue; Resolving the story with an external rescue ('and then Mum came') rather than the character solving the problem |
| Greater Depth | Crafting stories with well-developed characters who change or learn, deliberately chosen settings that contribute to mood, and plots with complications or subplots. | Write a story where the main character learns something important. Make the setting contribute to the mood, and include at least one complication before the resolution. | Telling the reader what the character learned rather than showing it through events; Including complications that don't connect to the main story |
Model response (Entry): 'There was a boy called Sam who lived near a big forest. One day he decided to explore the forest.'
Model response (Developing): (Story with clear sections: beginning introduces Leila and the school; middle — she loses her cat; end — she finds the cat hiding in the garden shed. Problem and resolution are present.)
Model response (Expected): (Story includes: setting with sensory detail — 'The cave was cold and the only sound was dripping water'; character shown through action — she checked her map carefully and whispered encouragement to herself; plot builds tension — the torch flickered, then died; resolution is earned — she remembered her grandmother's advice and felt her way using the cave wall.)
Model response (Greater Depth): (Story where setting mirrors character mood — a grey, rainy day reflects the character's sadness after an argument. A complication occurs — the character's attempt to apologise goes wrong. Character growth — they learn that sometimes you have to be brave enough to try again. Language choices support mood and theme throughout.)
Secondary concept: Drawing inferences with evidence (EN-Y3-C027)
Type: Skill |
Teaching weight: 3/6
Pupils read between the lines to infer characters' feelings, thoughts and motives from their actions, justifying inferences with evidence from the text
Differentiation
| Level | What success looks like | Common errors |
| Entry | Identifying a character's feeling when it is stated explicitly in the text. | Guessing the feeling based on the picture rather than finding evidence in the text; Naming a feeling without pointing to where it is stated |
| Developing | Inferring a character's feeling from their actions or dialogue when it is not directly stated, with support. | Stating a feeling without connecting it to evidence from the text; Confusing what the character feels with what the reader feels |
| Expected | Drawing inferences about characters' feelings, thoughts and motives from their actions and dialogue, justifying with specific textual evidence using the PEE structure. | Making an inference that is not supported by the text; Providing evidence but not explaining how it supports the inference |
| Greater Depth | Drawing inferences about complex or conflicting character motivations, recognising that characters may have mixed feelings or hidden motives, and supporting with multiple pieces of evidence. | Identifying only one feeling when the text suggests a more complex emotional response; Assuming characters always feel one thing rather than recognising mixed or evolving emotions |
Secondary concept: Planning writing from model texts (EN-Y3-C044)
Type: Skill |
Teaching weight: 2/6
Pupils discuss writing similar to what they plan to write in order to understand and learn from its structure, vocabulary and grammar
Differentiation
| Level | What success looks like | Common errors |
| Entry | Identifying basic structural features in a model text, such as the beginning, middle and end. | Saying the beginning is just the first sentence rather than the opening section; Not being able to identify where one section ends and another begins |
| Developing | Discussing features of a model text and borrowing structural ideas for own planning, with teacher support. | Copying the content of the model rather than borrowing the structure; Planning without referring back to the model text at all |
| Expected | Analysing a model text's structure, vocabulary and grammar, and using these observations to plan and write a similar text independently. | Identifying surface features (e.g., it has pictures) rather than structural and language features; Planning a text that doesn't actually use the features identified in the model |
| Greater Depth | Evaluating why specific structural and language choices work in a model text, and adapting (not just copying) these techniques for a different purpose or audience. | Describing the differences between the models without understanding why each text type uses those features; Copying techniques without adapting them for a different purpose or audience |
Secondary concept: Oral rehearsal of sentences (EN-Y3-C046)
Type: Skill |
Teaching weight: 2/6
Pupils compose and rehearse sentences orally including dialogue, progressively building varied and rich vocabulary and an increasing range of sentence structures
Differentiation
| Level | What success looks like | Common errors |
| Entry | Saying a simple sentence aloud before writing it, to check it makes sense. | Writing without saying the sentence aloud first; Saying one sentence but writing a different one because of memory difficulties |
| Developing | Rehearsing sentences orally that include expanded noun phrases or interesting vocabulary before writing them. | Rehearsing the sentence but not actually improving it before writing; Improving the sentence orally but then writing the simpler original version |
| Expected | Composing and rehearsing multi-clause sentences orally, including dialogue, before writing them with varied vocabulary and sentence structures. | Rehearsing simple sentences rather than the multi-clause structures being practised; Including dialogue in oral rehearsal but not punctuating it correctly in writing |
| Greater Depth | Using oral rehearsal to experiment with sentence structure, word choice and rhythm, selecting the most effective version before writing. | Generating variations that are too similar to each other; Choosing the longest or most complicated version rather than the most effective |
Secondary concept: Direct speech punctuation (EN-Y3-C059)
Type: Skill |
Teaching weight: 3/6
Pupils use and punctuate direct speech correctly, beginning with introduction to inverted commas (speech marks) and basic speech punctuation conventions
Differentiation
| Level | What success looks like | Common errors |
| Entry | Recognising speech marks (inverted commas) in a text and understanding that they show the words someone actually said. | Not understanding what the speech marks indicate; Thinking the whole sentence is spoken rather than just the words inside the speech marks |
| Developing | Writing a simple sentence of dialogue with speech marks around the spoken words and a reporting clause. | Putting speech marks around the whole sentence including the reporting clause; Forgetting to open or close the speech marks |
| Expected | Punctuating direct speech correctly in own writing, including speech marks, commas, reporting clauses and new lines for new speakers. | Not starting a new line for each new speaker; Placing the comma after the closing speech mark rather than before it |
| Greater Depth | Using direct speech effectively in narrative writing, varying the position of reporting clauses and using dialogue to reveal character and advance the plot. | Using 'said' for every reporting clause rather than varying the verb or adding description; Writing dialogue that doesn't serve a purpose in the story (e.g., greetings and small talk) |
Thinking lens: Evidence and Argument (primary)
Key question: What is the evidence, how reliable is it, and what conclusions can it support?
Why this lens fits: Evaluating and editing own writing requires pupils to assess their text against criteria — using what is on the page as evidence of whether the writing achieves its purpose, then acting on that judgement.
Question stems for KS2:
What evidence supports this claim?
Is this a fact or an opinion? How can you tell?
Is this strong evidence or weak evidence? Why?
Can you structure your argument: claim, evidence, reasoning?
Secondary lens: Structure and Function — Paragraphing, narrative elements and non-fiction organisational devices are all about how structure serves meaning — pupils learn that grouping related ideas, building setting/character/plot, and using headings each fulfil a specific compositional function.
Session structure: Text Study
Text Study
A reading-to-writing cycle for primary and KS3 English. Begins with shared or guided reading of a high-quality text, moves through analysis of language features and authorial choices, builds vocabulary, then scaffolds the writing process from planning through drafting to editing and publication.
shared_reading →
analysis →
vocabulary →
planning →
drafting →
editing
Assessment: Final written outcome in the genre studied, demonstrating understanding of text features, appropriate vocabulary use, and effective application of the writing process.
Teacher note: Use the TEXT STUDY template: share a quality text and guide pupils to analyse the author's choices — vocabulary, sentence structure, and literary techniques. Build subject-specific vocabulary through discussion. Support pupils in planning and drafting their own writing, applying techniques they have identified. Include time for editing and improving their work.
KS2 question stems:
What effect does the author create with this word or phrase?
Why did the author structure the text this way?
What technique could you borrow for your own writing?
How could you improve this section of your draft?
Text type and features
Text type: Fiction
Features to teach: character description through action and dialogue, setting description using expanded noun phrases, direct speech punctuation, building atmosphere and suspense
Writing outcome: Write an adventure narrative chapter (400-500 words) with a character who enters a strange or magical world, using direct speech, expanded noun phrases, and a clear narrative structure
Grammar focus: direct speech punctuation (inverted commas), expanded noun phrases, fronted adverbials (optional introduction at Y3)
(from Y3 Appendix 2)
Literary terms: protagonist, dialogue, setting, atmosphere, suspense, narrator
Suggested texts
The BFG by Roald Dahl — Rich vocabulary, clear narrative structure, and accessible adventure plot
The Hodgeheg by Dick King-Smith — Shorter alternative with adventure elements and humour
Genre
Narrative: Extended prose fiction with characters, setting, and a plot driven by conflict and resolution. The dominant literary form across all key stages, progressing from simple retelling (KS1) through structured narrative (KS2) to literary fiction with controlled voice and style (KS3-KS4).
Why this study matters
The BFG provides an ideal model for Y3 adventure narrative because its portal-fantasy structure (child enters a strange world) is a clear, replicable pattern. Dahl's distinctive voice and inventive vocabulary inspire children's own language choices. The text naturally demands direct speech punctuation (the conversations between Sophie and the BFG) making grammar teaching contextual rather than decontextualised.
Sequencing
Follows: Traditional Tales: Myths from Around the World
Pitfalls to avoid
Direct speech punctuation taught in isolation then not transferred to independent narrative writing
Character description is a static list of adjectives rather than revealed through action and dialogue
Adventure plot is all action with no reflective or descriptive moments
Reading and writing skills (KS2)
These disciplinary skills should be woven through teaching, not taught in isolation:
How content and structure contribute to meaning — Identify and explain how information or narrative content is organised and sequenced, and how the relationships between different parts of a text — such as causes and effects, or problem and resolution — contribute to its overall meaning.
Prediction and hypothesis about texts — Form and evaluate hypotheses about a text's development, themes and intentions, revising those hypotheses in light of subsequent reading and explaining how earlier predictions were confirmed, complicated or subverted.
Comparing and contrasting across texts — Compare and contrast the content, style, purpose and viewpoint of two or more texts on related themes, synthesising evidence from multiple sources to construct an evaluative response that goes beyond listing similarities and differences.
Simple inference from text — Use clues in the text — characters' words, actions and feelings — to work out something the author has not stated directly, and begin to explain the reasoning behind that interpretation.
Language choices and their effects — Identify and explain how the author's choice of specific words and phrases enhances or shapes meaning, considering the connotations, imagery and deliberate effects created by those linguistic choices.
Sophisticated inference and interpretation — Make subtle, sustained inferences about implied meanings, attitudes and themes across a whole text, using layered textual evidence to support a considered interpretation rather than a single reading.
Vocabulary word mat
| action |
| aloud | Speaking words out loud rather than reading silently; reading so others can hear. |
| asked | The past tense of 'ask'; used in reporting speech (e.g. 'she asked'). |
| audience |
| because |
| boxing up |
| character |
| check |
| clue |
| compose |
| describe |
| dialogue | Conversation between two or more characters, shown in writing with speech marks. |
| does it sound right |
| draft | An early version of a piece of writing that will be revised and improved. |
| evidence |
| i think |
| imply |
| infer |
| inference |
| inverted commas |
| key points |
| listen |
| model text |
| narrative |
| new line |
| organise |
| partner |
| plan |
| plot |
| prepare |
| problem |
| purpose |
| rehearse |
| replied |
| reporting clause |
| resolution |
| said |
| say it first |
| sentence |
| setting |
| speech marks |
| spoken words |
| story |
| structure |
| suggest |
| tension |
| the text says |
| this shows |
| adventure |
| protagonist |
| atmosphere |
| suspense |
| expanded noun phrase |
Prior knowledge (retrieval plan)
Pupils should already know the following from earlier units:
| Prior knowledge needed | For concept | Description |
| Spelling using phonemes | Drawing inferences with evidence | Hearing sounds in words and choosing appropriate graphemes |
| Capital letter formation | Planning writing from model texts | Writing upper-case letters correctly |
| Letter sizing and proportion | Oral rehearsal of sentences | Making letters the correct relative size to each other |
| Word spacing | Narrative elements: setting, character and plot | Leaving appropriate spaces between words |
| Evaluating own writing | Direct speech punctuation | Assessing effectiveness of writing with teacher and peers |
Assessment alignment (KS2)
KS2 test framework content domain codes assessed by this study:
| Code | Description | Assesses concept |
| CDC-KS2-GPS-G5_7 | Inverted commas and other punctuation to indicate direct speech (e.g. a comma after the reporting clause; end punctuation within inverted commas) | Direct speech punctuation |
Scaffolding and inclusion (Y3)
| Reading level | Developing Reader (Lexile 150–350) |
| Text-to-speech | Available |
| Max sentence length | 14 words |
| Vocabulary | Subject vocabulary with inline glossary support. Abstract concepts grounded in familiar contexts. Similes and comparisons helpful (e.g., 'solid is like a brick'). |
| Scaffolding level | Moderate To High |
| Hint tiers | 3 tiers |
| Session length | 12–20 minutes |
| Worked examples | Required — Text + diagram narrated. Step-by-step with child input at key points ('What would you do next?'). |
| Feedback tone | Warm Competence Focused |
| Normalize struggle | Yes |
| Example correct feedback | You spotted the pattern — all the multiples of 6 end in an even number. That is a really useful thing to notice. |
| Example error feedback | That one got you — 7×8 trips up a lot of people. Here is a trick: 7×7 is 49, so 7×8 is just 7 more, which gives 56. |
Knowledge organiser
Key terms:
adventure
protagonist
dialogue
inverted commas
atmosphere
suspense
expanded noun phrase
Core facts (expected standard):
Narrative elements: setting, character and plot: Writing a story with developed setting, characters with distinct traits, and a structured plot with building tension and satisfying resolution.
Graph context
Node type: EnglishUnit |
Study ID: EU-EN-Y3-003
Concept IDs:
EN-Y3-C048: Narrative elements: setting, character and plot (primary)
EN-Y3-C027: Drawing inferences with evidence
EN-Y3-C044: Planning writing from model texts
EN-Y3-C046: Oral rehearsal of sentences
EN-Y3-C059: Direct speech punctuation
Cypher query:
``cypher
MATCH (ts:EnglishUnit {unit_id: 'EU-EN-Y3-003'})
-[:DELIVERS_VIA]->(c:Concept)
-[:HAS_DIFFICULTY_LEVEL]->(dl)
RETURN c.name, dl.label, dl.description
``
Generated from the UK Curriculum Knowledge Graph — zero LLM generation.