Quick Navigation
Social media
Contact information
Address

Crown Buildings, Bancyfelin, Carmarthen, SA33 5ND,
United Kingdom

Email

.(JavaScript must be enabled to view this email address)

Phone

+44 (0) 1267 211345

Fax

+44 (0) 1267 211882

Chris Curtis

Chris Curtis is an English teacher and head of department with over a decade’s experience in education. Chris is forever reflecting on which aspects of his teaching work best for his students and, as an avid reader and blogger, is a big believer in sharing practical ways to tackle difficult problems in the classroom.

Chris Curtis has written a fantastic article for Creative Teaching and Learning magazine titled “From Superficiality to Well-Reasoned Arguments: Learning to Explain” you can read the full article here.


Connect with Chris


Publications by Chris Curtis

How to Teach: English

Written by Chris Curtis, How to Teach: English: Novels, non-fiction…

Author Blog

I love the smell of red herrings in creative writing

June 21 2020

I make no bones about it but I cannot stand ‘Freytag’s Pyramid’ for story writing. In fact, I loathe its very existence. It warps stories beyond all recognition. Makes storytelling a simple box ticking exercise and it is one that would put me off writing a story. For life.


Recently, I have been marking a set of Year 10 Question 5 responses. In the same week, I was looking at rewriting parts of our horror / gothic horror unit in Year 8. And, a simple case of happenstance made me join some cognitive dots. The Year 10s Question 5 responses were reasonable but they were not wowing me. Students had a picture of a beach and they were describing the sea and an island in the distance. There were some lovely bits of description and ideas, but they were flat and monotonous. They were full of bits of description and nice bits of description at that, but they were largely one tone. Flat. Now, it is easy to blame structure and a lack of ‘Freytag’s Pyramid’ but something was missing. And, for me, that was a puppeteer. Story writing is akin to being a puppeteer. You have a number of strings to pull with an impact on the overall story. Students need to have an idea of the strings and when and how to pull them. A large number of strings are not used, but one or two are. But it is the knowing when and how to pull a string that is key.


Anyway, I was planning some work for Year 8s. We spend a term looking at gothic fiction and within that I have wanted to explore how horror directors employ a number devices when filming. Here’s some of the things we are looking at.


Techniques employed by film directors and writers in horror films   


A false sense of security – the writer makes everything seem safe when in reality it is not

Anticipating the worst – the reader is expecting something terrible and they don’t know when it will happen

Dramatic irony – when the audience knows something the characters don’t

Empty space – the writer makes the setting empty so that we think nothing can affect our main character 

Jump scares – this is when –  BANG -you get a shock suddenly without any build up

Mise-en-scène – everything that is in the scene / setting –how things are placed

Nonlinear sounds – these are sound effects that don’t fit in with the story – they seem odd

Red herring – a false clue designed to put us on the wrong path of what is really happening

Slow reveal – this is when the writer reveals a key piece of information slowly and one bit at a time

Stock character – an easily recognised, and predictable, character for the genre – we can easily tell who they are from their clothes and behaviour

Subverting expectations – when the writer breaks the rules of what we expect to happen in the story

Suspense – a feeling of being anxious or excited, but unsure of the reasons why

Twist – this is a reveal and it changes everything we know about a character or story

Underexposure – where the writer using lighting / darkness to hide things

Unreliable narrator – the reader thinks they can trust the narrator but they cannot and they mislead them


We need students to be puppeteers in the writing process. Directors are puppeteers. They control the story. They help direct the story and how the story is told. That’s why I think it is important for us to develop story telling rather than, solely, story writing.  ‘Freytag’s Pyramid’ is about story writing but not about telling. Directors are focused on story telling.

Take our descriptive writing for Question 5. Here’s the picture we used:







How could you structure a piece of writing around subverting expectations?


Example 1:


Paragraph 1 – A beach is calm and quiet.

Paragraph 2 – A person steps their toe in the water.

Paragraph 3 – The reality is that they are stepping a toe in their bath at home. In a dull, tiny flat.


Example 2:  



Paragraph 1 – A beach is calm and quiet.

Paragraph 2 – A person is calm and quiet.

Paragraph 3 – Beneath the water several sharks are hunting and waiting for life.


Example 3:



Paragraph 1 – A beach is calm and quiet.

Paragraph 2 – A person steps their toe in the water.

Paragraph 3 – A person removes their headset to reveal that they are in the future – a world without light and nature.


Each of these structures would include complication, crisis and exposition but the story telling is key. How you structure the story hangs not on endless crises but around a structural device and how you use the device. That’s why I think, we as teachers, need to be thinking about how writers use a technique. Thought about how to use a device / techniques is imperative with helping students to use something effectively. The danger is that we give these devices to students and then expect them to use them without insight, understanding, knowledge, experience.


Let’s take another one of the devices employed by directors. How could you structure a piece of writing around a red herring?


Example 1:



Paragraph 1 – A beach is calm. Slowly a fin pops up.

Paragraph 2 – Something is moving in the sea while a person moves towards the sea.

Paragraph 3 – The person enters the water and the thing heads to them and dives between their legs. A herring. A waves sweeps the person out to sea.



Example 2:



Paragraph 1 – A quiet beach.  A person takes off their clothes and pile them up. They place a letter next to the pile and rest a stone on top of it.

Paragraph 2 – The person goes out into the sea and swim out to the deep.

Paragraph 3 – The person and returns. The letter has blown away.


I feel that we need to get better at talking about the structuring and creation of stories. We, often, through a lack of experience and knowledge paint story writing with big large brushstrokes. We need a more succinct and precise approach to discussing story telling. ‘Freytag’s Pyramid’ represents this exact problem. That are four billion ways to create a complication. That richness is neglected when reduced to a pretty picture.


There is an art to puppeteering. We want students to be sophisticated puppeteers when they write, but we teach them as if they have a sock puppet. They needs strings and lots of them. But, they need guidance on what the different strings do and how to manipulate the string to create a variety of effects.


We need to teach students how to use each string. In fact, we, ourselves, need to be clear about how to use each string. It is not enough to spot a string. You have to know about the length, the connection, the amount of pressure, the position of a string. 


Thanks for reading,


Xris


Read Blog

Home or remote work – why it is the school’s responsibility and not the teacher’s responsibility

June 13 2020


We love a pattern. Look at tea leaves and we try to see a pattern that reflects our future. Look at your toast and you try to see a divine image in the burnt bits. Look at the news and we try to see a conspiracy behind the patterns of events.  


We love searching for meaning in the unconnected and disjointed fluff of our lives.

Leadership teams look at the reward system to see where there are problems and issues relating to events in the classroom. They look at a spreadsheet to judge the behaviour in departments, year groups, lessons and for teachers. They look to see where support is needed or things need monitoring. They look for patterns in the behaviour.

The problem we have is that a lot of our behaviour systems clump different elements together. Behaviour is often gauged through a numerical figure. That might be a percentage. Or a simple number. We then identify types of students based on this one figure. Good student. Naughty student. Or, effective teacher. Not effective teacher. The problem is that we lump class behaviour, outside the classroom behaviour and homework. A figure combines everything. We don’t separate the three different parts of behaviour in schools. In the classroom. Outside the classroom. Work at home.

As a teacher, I am responsible for the behaviour in the classroom, but I cannot be held responsible for Tim smoking behind the bike shed - unless I lent Tim my lighter. However, as class teachers, we are expected to be responsible for the work done in the classroom and at home. So, in essence, we have a responsibility for the behaviour at home. Let me just repeat that again: we have a responsibility for the behaviour at home. Like some deity, I am expected to have power that ensures that students complete work in a bedroom that isn’t tidied, because they haven’t listened to their parents when they asked them to tidy it. My teacher powers are to be so powerful that they move through walls, buildings, gardens and get a student to work at home. At the moment, I am doing my teacher stare at the window, hoping that my Year 10s will do some of the work I have set them.

I think the way we treat and clump homework to what happens in the classroom is so problematic. My teacher power does weaken as the student leaves the classroom. How can I be responsible for what a student does at home? And, more importantly, why should I be held responsible for a child’s behaviour at home? And, even more importantly, why should I be held accountable for a child’s behaviour at home?


Remote learning has drawn this out in to the public. Teachers are setting work and not every student is completing it. Whose fault is that? Whose responsibility is it?


Homework consumes a lot of any teacher’s time, effort and energy in school. We are setting it. We are checking it. We are chasing it. We are hunting it. We are, in some cases, begging for it. Some time spent teaching is spent on homework. Some time spent planning is spent on homework. Why don’t we have a system that alleviates this burden from teachers. Why are Maths chasing the same students that the English department are chasing ? Usually, if a student is poor at doing homework for one subject, then they are usually poor for most subjects. Yes, they might be getting a repeated message, but is a time effective one. How much time has it taken?  Wouldn’t it be better if one person addressed the homework issue, rather than the English, French, PE, Geography, DT and Mathematics teacher?

Remote learning, I hope, has changed the landscape of homework. It has made homework a whole school issue. A whole school responsibility. Our school is collectively looking at students not engaging with remote learning. Then, we have a team of leaders calling home to ask if any support is needed or guidance needed. It is not blaming or accusing, but simply highlighting and helping issues. This model for me is the one we need to take forward after the lockdown. Teachers flag the patterns and it is the school’s responsibility to address and explore the patterns. That collective responsibility I think is a massive shift. It is realising that the work is not just the responsibility of the teacher, but the responsibility of the whole school. The whole school should be monitoring homework for patterns.

I also think remote learning is going to do something phenomenal in how we deal with work on top of lessons. At the moment, we have a huge data exercise. Schools are generating a massive data picture. We are, in effect, creating a data picture of the students that work outside the classroom. Aside from individual problems, we are going to see how over several months how students engage independently with work. We have a building a picture of how independent they are. Or not.

We are able to build a picture of who in Year 7, 8, 9 and 10 will need pushing and monitoring. We are able to build a picture in each year of who ‘might’ not revise for exams. We have a picture of the students who rely solely on lessons for their progress. We have a whole school picture of something we rarely have had in the past. The homework picture has always been isolated to the teacher. It is the teacher’s concern and nobody else’s. I think we need to change that.

Lots of people are talking about gaps in knowledge when the students return but maybe we should look at the gaps in engagement. Those should be the patterns we investigate when we return to school.

Make homework a whole school issue and not just an issue for the one tired teacher who is doing everything else.  Chasing homework is so time consuming. We never deal with the underlying issues. A teacher can’t do that on their own. A school can though!


Thanks for reading,


Xris


Read Blog