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Image: Excerpt from Wednesday's learning resource, Side 1 of 2.

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W1.1.A: Build character profiles of the two major characters (here: Vincent and Aaron) while viewing the stimulus text (here: 'My Brother Vinnie')

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W1.1.A: Build character profiles of the two major characters (here: Vincent and Aaron) while viewing the stimulus text (here: 'My Brother Vinnie')

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This preparatory work will help you to satisfy the KNOWLEDGE APPLICATION part of your ISMG relating to representations of people and identities.

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Image: Excerpt from Wednesday's learning resource, Side 2 of 2.

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W1.1.B.: Build 'CaVAB' profiles for the two major characters (here: Aaron and Vincent) while viewing the stimulus text (here: 'My Brother Vinnie')

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W1.1.B.: Build 'CaVAB' profiles for the two major characters (here: Aaron and Vincent) while viewing the stimulus text (here: 'My Brother Vinnie')

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This preparatory work will help you to satisfy the KNOWLEDGE APPLICATION part of your ISMG relating to cultural assumptions, attitudes, values, and beliefs ('CaVABs').

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Image: Part of data collection table printed on side 1 of Thursday's learning resource.

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W1.2.: Re-view the stimulus text, this time with a focus on challenges faced by the major characters (here: Aaron, Vincent, and Francis)

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W1.2.: Re-view the stimulus text, this time with a focus on challenges faced by the major characters (here: Aaron, Vincent, and Francis)

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This preparatory work will help you to satisfy the KNOWLEDGE APPLICATION part of your ISMG relating to events and concepts.

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Image: Fruit of in-class conversation between teacher and students. Template printed for students on Side 2 of Thursday's learning resource.

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W1.3.: Explore the five key stages of a traditional narrative arc (orientation - complication - rising action - climax - resolution & wisdom)

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W1.3.: Explore the five key stages of a traditional narrative arc (orientation - complication - rising action - climax - resolution & wisdom)

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This structure advice will help you to satisfy the ORGANISATION AND DEVELOPMENT part of your ISMG relating to conventions of the genre, as well as the role of the writer/speaker.

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Image: Opening slide of PPT introducing five phases of a traditional narrative arc.

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Image: Excerpt from Friday's learning resource, Side 1.

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W1.4.: Use your social and emotional intelligence and knowledge of the stimulus text (here: 'My Brother Vinnie') to infer how different challenges affected different characters/people.

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W1.4.: Use your social and emotional intelligence and knowledge of the stimulus text (here: 'My Brother Vinnie') to infer how different challenges affected different characters/people.

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This exploratory work will help you to satisfy the KNOWLEDGE APPLICATION part of your ISMG relating to 'CaVABs'.

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Image: record of class discussion content.

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Image: Excerpt from Friday's learning resource, Side 2 of 2.

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W1.5.1.: Select one major character (here: Aaron, Vincent, or Francis) and one challenge ('antagonistic force', be it a situation or a person's actions) to focus on. Setting the character in a particular context before the film was made (e.g. Aaron, aged 10 and living in Alice Springs), retrieve and also infer details about their CaVABs (assumptions, values, beliefs and attitudes).

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W1.5.1.: Select one major character (here: Aaron, Vincent, or Francis) and one challenge ('antagonistic force', be it a situation or a person's actions) to focus on. Setting the character in a particular context before the film was made (e.g. Aaron, aged 10 and living in Alice Springs), retrieve and also infer details about their CaVABs (assumptions, values, beliefs and attitudes).

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This exploratory work will help you to satisfy the KNOWLEDGE APPLICATION part of your ISMG relating to 'CaVABs' as well as the ORGANISATION & DEVELOPMENT part of your ISMG relating to relevant information that supports the story to move along.

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Image: Excerpt from Friday's structure resource.

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W1.5.2.: Re-view the five-phase story structure explored in Lesson 3, this time typed up. Commit to a theme and write the take-away message you wish to deliver at the very top of your page. (Note: Ms will compile class notes ahead of task distribution in Week 2)

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W1.5.2.: Re-view the five-phase story structure explored in Lesson 3, this time typed up. Commit to a theme and write the take-away message you wish to deliver at the very top of your page. (Note: Ms will compile class notes ahead of task distribution in Week 2)

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This will help you to satisfy the ORGANISATION AND DEVELOPMENT part of your ISMG relating to genre conventions, as well as the TEXT FEATURE part of your ISMG relating to vocabulary choices.

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W2.1.1.: Examine and understand your set assessment task. Write concise notes on the key details, and jot down notes on each dot point in the ISMG using your own words. In addition, review learning from Week 1, catch up on missed learning in the event of absence(s), and plan the basic structure of your five-phase story.

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W2.1.1.: Examine and understand your set assessment task. Write concise notes on the key details, and jot down notes on each dot point in the ISMG using your own words. In addition, review learning from Week 1, catch up on missed learning in the event of absence(s), and plan the basic structure of your five-phase story.

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This analytical and synthesis work will help you to plan your time and prioritise what to include in your story. This is because this activity will help you to become more familiar with your ISMG.

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Image: Cartoon graphic designed to support you to think about how to introduce yourself, state the purpose, and engage the target audience. 

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W2.1.2.: Use your contextual awareness for this task to craft a short INTRODUCTION to read out ahead of your story. 

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W2.1.2.: Use your contextual awareness for this task to craft a short INTRODUCTION to read out ahead of your story. 

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Boost your grade for "role of the speaker/writer" (part of the ORGANISATION AND DEVELOPMENT domain of the ISMG) by clearly indicating the context, point-of-view and purpose of the short story that will follow the introduction.

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public speaker introduce, cartoon, man, outline

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Image: A photograph showing parts of Alice Springs.

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W2.2.: Use a range of language features (e.g. figurative and descriptive language) and details to draft the ORIENTATION PHASE of your story. This is where you establish the main character, setting, and atmosphere.

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W2.2.: Use a range of language features (e.g. figurative and descriptive language) and details to draft the ORIENTATION PHASE of your story. This is where you establish the main character, setting, and atmosphere.

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At this stage, you are demonstrating how you organise and develop ideas using text features and the short story genre. You are also showing that you can weave in 'CaVABs' and representations of people, place and concepts.

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Image: Photograph of a knotted chain to symbolise a challenge / problem to solve / complication.

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W2.3.: Use a range of language features and inferences from the stimulus text to draft the COMPLICATION PHASE of your story.

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W2.3.: Use a range of language features and inferences from the stimulus text to draft the COMPLICATION PHASE of your story.

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At this stage, you are demonstrating how you can move a story along by referring to feelings, conversations, or events. You are using adverbs, verbs, direct speech (e.g. "What do you mean?" Mum shrieked with horror.), and contrast to show that the complication represents a major challenge for the main character.

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Image: a photo of two shadows capturing part of a conversation between two people.

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W2.4.: Use a range of language features, known details and inferences to draft the RISING ACTION phase of the story.

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W2.4.: Use a range of language features, known details and inferences to draft the RISING ACTION phase of the story.

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At this stage, you're drawing attention to pace (how quickly or slowly things were spoken, thought and/or done) and also using verbs and adverbs to support the audience to imagine the scene unfolding in their minds.

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Image: AI image conveying a feeling of suspense and anticipation in the female onlooker.

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W2.5.: Use a range of language features, known details and inferences to draft the CLIMAX PHASE of your short story. (Note: 50% checkpoint due!)

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W2.5.: Use a range of language features, known details and inferences to draft the CLIMAX PHASE of your short story. (Note: 50% checkpoint due!)

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At this stage of the story, the buildup of tension which started in the complication phase is relieved. The outcome of the challenge and rising action(s) is revealed to readers. Consider using a wide range of sentence lengths at this point. (E.g. "It was over. Forever. I looked on, feeling winded and near defeated. Gasping for breath. My life had changed. But, I quickly realised, that change was okay.")

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Image: Graphic art depicting the storyteller as distributing an idea/lesson to their audience.

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W3.1.: Use a range of language features, known details and inferences to draft the RESOLUTION PHASE of the short story. 

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W3.1.: Use a range of language features, known details and inferences to draft the RESOLUTION PHASE of the short story. 

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Work to improve your story. Make sure you not only make "use" of relevant information and details but that it is "relevant" and also "effective" (see ISMG to be reminded of the difference between a C and A grade).

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Image: Photograph of a focused feline hard at work on completing his short story writing task to the best of his ability. (Note: the internet often lies)

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W4.1.: Review teacher feedback and work towards finalising the story. Optional extra: consider choosing one slide per phase of the story to reinforce the mood of each stage of the story.

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W4.1.: Review teacher feedback and work towards finalising the story. Optional extra: consider choosing one slide per phase of the story to reinforce the mood of each stage of the story.

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Know that your attitude towards receiving feedback will affect how valuable it is to you. If you ignore it, it's like buying plant food and then keeping it in the garage far from the plants that might benefit from it...

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Image: Photoshopped photograph included to inspire you to re-work parts of your story.

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W3.2.: Elaborate on relevant details, consider using alternative vocabulary, and check for logic and flow. (Work towards completing the full draft)

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W3.2.: Elaborate on relevant details, consider using alternative vocabulary, and check for logic and flow. (Work towards completing the full draft)

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Boost your grade for ORGANISATION AND DEVELOPMENT by making sure that your sentences and paragraphs are well sequenced and logical. Include details from the film on the basis of them being relevant and helping to move the story along while revealing 'CaVABs' to the audience.

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Image: A photograph of a man with a smiley face cushioned mask on. Note: I think I could have used better search terms and found a better photograph, but at least this one is very uplifting! :-)

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W3.3.: Review the ISMG. Pair up for peer feedback. Take turns reading the story aloud and providing/receiving constructive, ISMG-relevant peer feedback.

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W3.3.: Review the ISMG. Pair up for peer feedback. Take turns reading the story aloud and providing/receiving constructive, ISMG-relevant peer feedback.

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Just as you wouldn't try to sell a house with photographs of bedrooms looking messy, you need to make sure that you submit clean and clear prose to your teacher. Tidy it up after review it by 'reading aloud in your head' and making edits as you go. Swap laptops with a trusted peer who can give you reminders and insights into how well your story flows and matches the task requirements. Provide them with helpful feedback in return and thank them for their effort. #engagement #courage #gratitude

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Image: A photograph designed to inspire students to highlight where they have included their protagonist's 'CaVABs', including their core values.

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W3.4.: Check over the length of the short story. Build in the words "assume", "believed", "belief", "attitude", "values" and "valued" to make your character's relevant 'CaVABs' clear to all audience members. (Note: full draft due ... for review!)

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W3.4.: Check over the length of the short story. Build in the words "assume", "believed", "belief", "attitude", "values" and "valued" to make your character's relevant 'CaVABs' clear to all audience members. (Note: full draft due ... for review!)

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This will help you to get a better grade for the 'CaVABs' part of the KNOWLEDGE APPLICATION domain of your ISMG. Remember to both 'show' AND 'tell'. You can convey information about how beliefs and attitudes are changing by using explicit language (e.g. 'My attitude changed for the better that day!') or by being more subtle with implicit allusion to a changing attitude (e.g. 'What was the worst that could happen? Looking down, I kicked a stone, took a deep breath and then ventured forward. No more excuses.')

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Image: Photograph of an adolescent girl writing her aspiration for her life.

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W4.2.: Refine story; make sure it takes you 4-6 minutes to recite it; consider what language features could be used to enhance the story. Ensure the take-away message is clearly related to your theme (hope or courage) and is relevant to everyone in the audience. Keep the message general and broad. Don't make it only apply to a particular time, interest or place!

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W4.2.: Refine story; make sure it takes you 4-6 minutes to recite it; consider what language features could be used to enhance the story. Ensure the take-away message is clearly related to your theme (hope or courage) and is relevant to everyone in the audience. Keep the message general and broad. Don't make it only apply to a particular time, interest or place!

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This process will help you to make sure that your story has a clear purpose to it. You want to reward your reader for investing their time into listening to what you have to say. You never know; if your audience feels really empowered after listening, they might be motivated to read more stories and develop their emotional intelligence, empathy and general wisdom along the way (and without having to make mistakes or go through the hardships themselves in order to learn life lessons from them).

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Image: Photograph of a male actor rehearsing for an adaptation of 'The Adams Family.'

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W4.3.: Rehearse reading your story with emotion and conviction. Build in thoughtful, powerful pauses and add more emotive language in if you think the story could be more heartfelt. 

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W4.3.: Rehearse reading your story with emotion and conviction. Build in thoughtful, powerful pauses and add more emotive language in if you think the story could be more heartfelt. 

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Presentation matters. After improving your story, it's time to use pitch, volume, pace, tone and inflexion to bring the story to life. Deliver it with energy and interest. If you sound bored and like you're being held hostage by an assignment, your audience could feel unmotivated to listen to you - especially if they were feeling upbeat before hearing the presenter. While the story centres on a difficult challenge, the purpose of the story is to help build emotional strength in audience members. Because of this, keep them interested until the very end of the presentation when you make the life lesson you're offering very clear.

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W4.4.: Perform and/or record your short story. Check that it does not run over time (requirement: 4-6 minutes). Attach audio recording under 10MB to an email to your teacher and send. Alternatively, upload file to OneDrive and share the file with your teacher. 

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W4.4.: Perform and/or record your short story. Check that it does not run over time (requirement: 4-6 minutes). Attach audio recording under 10MB to an email to your teacher and send. Alternatively, upload file to OneDrive and share the file with your teacher. 

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Avoid getting stuck with IT issues on the due date. Practice uploading and/or sharing a file while you're at school and can ask clarifying questions. Usually what works well is: 1. download OneDrive app to your phone. 2. Record the story as a voice memo, in one take only ('live'). 3. Open OneDrive using your school email and click "+" and "upload file". 4. Upload your short story recording. 5. Click "share" and enter your teacher's name. Your script (and slides if you've made some to reinforce the tone of your story!) needs to be submitted as well.

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Image: Photograph depicting a writer holding onto their story. Instead of doing this, please share your story with your teacher ahead of Friday evening. This will prevent her from worrying that you might not get your work in on time.

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W4.5.: The last chance to complete and submit the assignment during class time. (Note: the assessment is due by midnight, but that doesn't mean you have to hold onto your story until 11:59PM...)

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W4.5.: The last chance to complete and submit the assignment during class time. (Note: the assessment is due by midnight, but that doesn't mean you have to hold onto your story until 11:59PM...)

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Check that the story is not too long, that the life lesson you're offering is clear and relevant to everyone, that there is one speaker per line if you've used direct speech, that there's a title at the top of your story page, and that the work reflects what you are capable of producing... :-)

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W.3.5. Submit your annotated story draft to your teacher for review. 

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W.3.5. Submit your annotated story draft to your teacher for review. 