Inside the scheme: Jekyll and Hyde

Transcript

Introduction0:00

This is Between the Lines, and this is the walkthrough of our Jekyll and Hyde scheme of learning. I'm Hannah. If you're teaching this scheme this term, the next half hour is for you. If you lead the department, it's for your whole team, and it's the simplest way I know to make sure that every class doing Jekyll and Hyde gets the same lessons, the same support and the same assessment, whoever is standing at the front. We'll go through the scheme as a whole, then into one lesson, so you can see Know, Apply and Master working in practice. We'll look at the three levels of support, Securing, Strengthening and Soaring, and how you move students between them in a real classroom. We'll go inside a Feedback Loop kit, the independent practice booklets, the end-of-unit essay, the Soaring stretch booklet, the catch-up sheets for missed lessons, and the inclusion guide for students with SEND, students with English as an additional language and pupil premium students. Nothing in this video is a sales pitch. You already have the files. This is the staff meeting you'd have if I could come in and run it, so pause it, open the folders alongside it, and make notes on anything you want to change, because every

The scheme at a glance1:07

file is editable and we'd encourage that. Start with the file called Start here, because that is where I'd start a new member of staff. Jekyll and Hyde is written for Literature Paper 1, Section B, the nineteenth-century novel. It's 34 lessons of sixty minutes, which is about seven to nine weeks, with three levels of support throughout. The lessons run in five sequences: Context and Chapters 1 and 2, lessons 1 to 7; Chapters 3 to 5, lessons 8 to 13; Chapters 6 to 8, lessons 14 to 21; Chapters 9 and 10, lessons 22 to 29; Themes and the exam, lessons 30 to 34. There are five assessment points. Four of them are Feedback Loop kits, in lessons 6, 12, 20 and 28, each followed by a feedback lesson, and the fifth is the end-of-unit essay in Lesson 33, with its own feedback lesson after it. The folder list on page two tells you what every file is and who it's for. The teacher handbook, the slides and the Feedback Loop teacher guides are yours. The student packs, the independent practice booklets, the stretch booklet and the catch-up sheets go to students. The inclusion guide is for you, and the key words list beside it is for them. Page two also has getting started in four steps: read Part 1 of the handbook, print the student packs or share the PDFs, open the slides for Lesson 1, and look ahead to the kit lessons so you know when the progress checks fall. The last pages are the unit at a glance, every lesson with its big question and its assessment point. If you only pin one page to the department noticeboard, pin that one, because it's the map every teacher of this scheme is following. And one line to notice at the top of page two: every file is editable. The handbook and the booklets come as Word and PDF, and the slides come as PowerPoint

The teacher handbook2:52

with a PDF copy of each deck. The teacher handbook is the long document, and it's built so that nobody has to read all of it before Lesson 1. Part 1, about this unit, takes ten minutes. It opens with the big question the whole scheme is answering: What did Stevenson's readers fear was hiding behind respectable faces, and how does he make them feel it? Then the intent, and what students can do by the end: things like explain the Victorian code of reputation, and the scientific and religious ideas that made Hyde frightening, use at least 15 quotations from memory, with the methods they show, and plan and write a 30-mark essay in about 50 minutes. It sets out the exam, Literature Paper 1, Section B, with the marks, the timing and the assessment objectives, and it points out that there are no marks for spelling and punctuation in this section, so the writing practice goes on precision and structure. Part 2 is the unit map, the five sequences and then every lesson in a table. Part 3 is the lesson notes, and this is the part a teacher opens every day. Every analysis lesson has the same layout: the big question and outcomes, a lesson at a glance table with timings and the slide numbers for each phase, the Do Now answers, the vocabulary and the reading, the exploded quotation, the hinge question with a note on what each wrong answer tells you, the Master task at three levels, a model, the exit ticket, and then teacher notes: subject knowledge, common misconceptions, how to adapt the lesson, and the inclusion notes for that lesson. Part 4 is the assessment guide and Part 5 is the knowledge bank, which runs to several pages, because we think the person at the front should know more than the slide says. We wrote these notes with two readers in mind. The experienced English teacher who wants to check the reading of a quotation before they teach it, and the teacher who didn't train in English and has been given a Year 11 class in September.

How a lesson works: Know and Apply4:44

Both get the same page, and both get what they need from it. Every lesson that studies the text closely runs the same way: Know, Apply, Master. Students learn the shape in the first week, and after that their effort goes into the thinking, because they already know what's coming next. Let me show you with Lesson 3, Story of the door. The big question is: How does Stevenson make Hyde's first act shocking? Know takes about fifteen to twenty minutes. The Do Now is five quick questions from memory, on earlier lessons and the reading, and students self-mark from the answer slide. Then vocabulary. We teach four words explicitly, not twelve. Here it's trample, Juggernaut, hellish and callous. Four words a lesson, taught properly and retrieved in the Do Nows, is how the vocabulary builds across the scheme. Then the reading: Enfield's story of the door in Chapter 1, the man who tramples a child at three in the morning. It is printed exactly, with word help underneath, and it is in the student pack as well as on the slide. Apply is about fifteen minutes, and it has two parts. First you explode one quotation together. In this lesson it's "like some damned Juggernaut". Before you reveal anything, students try the four empty boxes on the first explode slide: method, zoom in, effect, purpose. Then you think aloud through the full version. The method is a simile, because Enfield cannot describe Hyde as a man, so he compares him to a crushing force. The word to zoom in on is "Juggernaut", a noun for a huge force that crushes whatever is in its path, with the adjective "damned" adding hell to the image. The effect: readers picture something heavy and unfeeling rolling over a child, which is more horrifying than anger would be. The purpose: from Hyde's first act, Stevenson suggests he may not be fully human. That is the whole analytical move the exam rewards, done out loud, once a lesson, for the whole scheme. Then the hinge question, on mini-whiteboards. Enfield says Hyde was "like some damned Juggernaut". What does the simile suggest about the attack? The right answer is A: Hyde crushed the child like an unstoppable force that feels nothing. And this is the bit I'd ask every teacher to use. The handbook tells you what each wrong answer means. A student who picks B, that Hyde was driving a heavy cart, has read the simile literally, so you remind them that a simile compares and start them on Securing. A student who picks C has noticed "damned" but turned Hyde into a victim, so you point to "trampled calmly" and ask whether a man who could not help himself would be calm. The hinge question is how you decide, in thirty seconds, who starts on which level of

Master: one task, three levels7:31

support. That's what it's for. Master is the last twenty-five minutes, and it's where the three levels do their work. Everyone in the room answers the same task. In Lesson 3 it's: How does Stevenson make Hyde's attack on the girl shocking? Securing, aiming for a 4, gives a choice of exact quotations, here "trampled calmly over the child's body", "left her screaming on the ground" and "it was hellish to see", a worked example on a different quotation, and sentence starters for What, How and Why. Strengthening, aiming for grades 5 to 6, gives prompts instead of starters: a clear point for What, a quotation with a method named and one word zoomed in on for How, and a Why prompt asking what Stevenson wanted his readers in 1886 to feel about Hyde from his very first act, thinking about who the victim is and who tells the story, with a checklist. Soaring, aiming for grades 7 to 9, gives a debatable statement to argue with: Hyde's calmness is more shocking than the attack itself. How far do you agree? Two paragraphs, the second beginning with an alternative reading. Same extract, same question, same standard. Only the scaffolding changes. Then the model paragraph is shared in the last five minutes. The What line in this one is: Stevenson makes the attack shocking because Hyde hurts a child without showing any feeling at all. And the exit ticket is a sentence to finish: Hyde's calmness is frightening because... Collect those and sort them into three piles, and you've planned the start of the next lesson. Now, how the levels work in practice, because this is the part that matters most for consistency across a department. The levels describe the support and the target grade. They don't describe the student. We never say lower ability or top set in these resources, and I'd ask you not to either. Students start where the hinge question and the last exit ticket put them, and they move up the moment they can work without the support. That can be within a lesson. The adapting notes say it plainly: anyone who completes the Securing frame in ten minutes moves to the Strengthening prompts for a second paragraph. A student who starts the scheme on Securing should not be on Securing in Lesson 34 because nobody moved them. In many lessons the task is a What–How–Why paragraph: a point that answers the question, a short embedded quotation with the method named and one word explained, and what the writer wanted readers to think, feel or do. In others it's a letter, a diary, a speech, a description or a story opening, because those are Language skills, and the Literature scheme is where there is time to

Independent practice and the reading10:06

practise them. Here is a problem most schemes of work never mention. Students don't read the set text on their own, and a seven-to-nine-week unit cannot spare the hours to read all of it in class. So the independent practice booklets do two jobs. They are six weeks of homework, about twenty minutes a week, and each week opens with a page called Before this week's lessons. It names the part of the novella to read, listen to or watch before the first lesson of the week. For week one that's Chapters 1 and 2, Story of the Door and Search for Mr Hyde. It tells students what to look for: you meet Utterson the lawyer and hear Enfield's story of a man who tramples a child, then pays with a cheque signed by someone famous, and to notice how everyone who meets Hyde hates him and cannot say why. And it gives five check questions to answer from memory, such as who tells Utterson the story of the door, and how are the two men related. The answers are in the back of the booklet, so students mark their own, and you can use the five questions as the Do Now. The page also says where to find the text: Project Gutenberg for the full text, LibriVox for a free recording with one file per chapter, and a warning that no film follows the book closely, since most give away the secret the book keeps until the last two chapters. Then comes the week's reading: one short text about the world Stevenson wrote in, or an idea that runs through the novella, and four questions. The six weeks cover Stevenson's Edinburgh and the double life; the Victorian gentleman and his reputation; doctors, science and the dissecting room; Calvinism, sin and the divided self; Darwin, Lombroso and the beast within; and who is to blame, Jekyll or Hyde. Every level covers the same topic and the same facts each week. Securing has word help and sentence starters; Soaring asks for more connection to the text. A student can move up a level whenever they're ready, just as in lessons. This is how context gets into essays as part of the argument and no longer a paragraph bolted onto the end, which is the habit that costs marks every summer. If your students will not do the reading at home, or you'd rather hear the text read well in class, there are optional reading lessons: six of them, lessons 2, 8, 14, 15, 22 and 24, each covering one or more whole chapters. You read aloud, modelling confident, fluent reading, while students follow every line with a reading ruler. There's a short prediction, two or three pause points, and a summary at three levels of support. Without the reading lessons the unit is 28 lessons. With them it's 34.

Feedback Loop kits12:42

Decide as a department which you're doing, and tell students the plan in week one. Four times in the scheme, the Master phase is a Feedback Loop kit: a twenty-five minute progress check that fits inside the lesson. Kit 1 is in Lesson 6, after Chapters 1 and 2, and its question is: How does Stevenson present Hyde in Chapters 1 and 2? The teacher guide tells you how to run it, step by step. Students read four common mistakes and a tip for three minutes. For this kit one of the mistakes is saying Hyde is ugly or deformed, when nobody can name what is wrong: Enfield says "I can't describe him", and Utterson finds "deformity without any nameable malformation". The tip is to keep quotations short, because two or three words such as "Something troglodytic" or "hardly human" are easier to remember and easier to zoom in on. We put the misconceptions at the start on purpose. After ten years of marking this question I know what students are going to write, so instead of correcting it afterwards, we tell them before they begin. Then nine minutes on three short questions, one each for What, How and Why: two things Hyde does in Chapters 1 and 2 that make other characters fear or hate him; to name a method in one description of Hyde and say what it shows; and why Stevenson might make everyone who meets Hyde hate him without being able to say why. Those are the planning and thinking stage, and the teacher guide has the acceptable answers with marks. Then thirteen minutes on one What–How–Why paragraph, how Stevenson presents Hyde as an outsider in Chapters 1 and 2, with words to describe and terms to analyse printed above it, describing words such as repellent, primitive and uncanny, and terms such as simile, semantic field and physiognomy, and a checklist to tick before they hand it in. You place the paragraph in one of the six AQA levels, using our indicative content for this task. There is no raw mark, and that's deliberate. A six out of thirty tells a student one thing, that they got six. A level, in AQA's own words, tells them what the paragraph does now and what the next one asks for. Then the sheet that saves the evening: the whole-class feedback sheet. You read the paragraphs, note the patterns, and fill in one sheet for the class. What went well, for example, most of you chose short, precise quotations such as "Something troglodytic" and built them into your own sentences. Even better when, and we always say when, never if, for example, link context to purpose: explain how "troglodytic" draws on fears raised by Darwin, and what Stevenson wanted his readers to feel. The four common mistakes are listed with a tally, so you can see that half the class made mistake two. A level spread, so you know where the class sits. Students to praise and students to support, and the student who moved from Level 1 to Level 3 belongs there as much as the one who got Level 6 again. And a box for what to re-teach at the start of next lesson. That one sheet goes in your mark book, and for a head of department it's the quickest honest picture of a class you'll get. Finally the improvement tasks, one for every level, done in green pen. Level 1: write one sentence about what Hyde does to the girl in Chapter 1, add "trampled calmly over the child's body", then one more sentence explaining what it shows about him. Level 2: choose one word from "like some damned Juggernaut" and write two sentences on what it suggests about Hyde and about how other people see him. Level 5: add an alternative reading, using "Satan's signature upon a face" to argue that Utterson turns from science to religion because science cannot explain Hyde. Nobody rewrites the whole thing.

The feedback lesson and the end-of-unit essay16:24

Everybody improves one paragraph from the level they reached. The lesson after each kit is a feedback lesson, so the time to act on feedback is already in the scheme. You don't have to find it. In Jekyll and Hyde those are lessons 7, 13, 21 and 29. A feedback lesson has its own layout in the handbook: whole-class feedback from your sheet, the answers to the short questions, a model paragraph, then the improvement task for every AQA level, and a redraft. Across the unit a class goes round that loop four times. Assess, feed back, improve. By the time they reach the essay, they've practised the exact skills it needs, four times, with a next step each time. The end-of-unit essay comes in Lesson 33, after a planning lesson in Lesson 32. The paper looks like the exam. An extract, the question in AQA wording, planning space and lined answer space. 50 minutes, 30 marks. The question is: how does Stevenson present the importance of reputation? The teacher guide gives you level guidance for this question, and three complete model answers written at Securing, Strengthening and Soaring, each labelled with its AQA level, Level 3, Level 4 and Level 6, with notes on why each one sits where it does and what would move it up. Essays come back with a level and a comment, and no mark, for the same reason as the kits. Then Lesson 34 is the feedback lesson for the essay: students find their level group, read the model answer nearest to theirs, and redraft one paragraph in green pen with the improvement task for their band. For a department, the useful thing here is that every class in the cohort sits the same essay, under the same conditions, placed in levels against the same indicative content.

The Soaring stretch booklet18:08

That makes moderation a conversation about student work, which is what it should be. We all have the students who love this subject and are already halfway to A level, and the question is what we do for them beyond the lesson. The Soaring stretch booklet is reading beyond Jekyll and Hyde, for students aiming at grades 8 and 9. Eight texts in four groups: psychology; society; history and context; and literary criticism. Some are extracts, copied exactly from a published edition that is out of copyright. Others are our own summaries of modern research, with a full reference so a student can find the original. The first text is an extract from William James's Principles of Psychology, from 1890, which argues that everyone shows a different self to each group of people whose opinion they care about. There's also a summary of the 2010 study Good lamps are the best police, which found that darkness changes how free a person feels to do wrong, even when nobody could see them anyway. Each text opens with a note on why it matters for Jekyll and Hyde, then three questions in order. The last one is a debate of the kind students meet at A level, such as whether a gentleman's reputation matters more than his conscience in the novella. And every text ends with a link task back to the novella: the link task sends students back to Chapter 10, to "Between these two, I now felt I had to choose", and asks which self Jekyll chooses and why he is "found wanting in the strength to keep to it". That last part is the point. This isn't context for its own sake. It's wider reading that comes back to a quotation, so the student learns to weave an idea through an essay, with the quotation as the thread. The booklet sits alongside the lessons. There's no separate scheme to run. Give it to the students who want it, and build the debate questions into your Soaring

Missed a lesson: the catch-up sheets19:53

conversations in class. Attendance is the thing none of us can fully control, and it has a bigger effect on outcomes than most things we can. So every lesson in this scheme has a one-page catch-up sheet, in folder nine, Missed a lesson, and the page numbers match the lesson numbers, so you print page 3 for a student who missed Lesson 3. Here's Lesson 1. What you missed, in three bullets, for example: a Victorian gentleman was judged by his reputation: his manners, the friends he kept and the privacy of his home. The four key words with their meanings. The quotation to know, "the more it looks like Queer Street, the less I ask", with a sentence on what it shows. Then catch up in about fifteen minutes: three short steps. For Lesson 1 that's to read the Lesson 1 context reading and underline three facts about reputation and secrets, learn the four words, reputation, respectable, scandal and blackmail, then write the first paragraph of a letter from a father to his son, a young London doctor in 1885, on protecting his reputation. A check question: why does Enfield never ask questions about the door? And at the bottom, the teacher check-in box: caught up, talked it through with me, needs a catch-up session, and your initials. The answers to the check questions are on the last page, for you. The onus is on the student to catch up, and the sheet says so. But our most struggling and most disengaged students will not do it on their own, and they are the students who can least afford the gap. So the sheet is only finished when that box is ticked, and the check-in is the class teacher's job at the start of the next lesson the student attends: look at the check answer, ask one question about the quotation. My suggestion is the one I'd use myself. When the student comes back, they do the catch-up sheet instead of the Do Now, so they pick up the core knowledge before the lesson moves on, and the sheet is stapled into their book. If a student misses a progress check, in lessons 6, 12, 20 and 28, or the essay, they sit it as soon as they're back, at a time you arrange with them, so nobody arrives at a feedback lesson with nothing to redraft. And when someone asks what the department does about students who miss learning, the

The inclusion guide: SEND, EAL and pupil premium22:03

answer is in their books, done, with a date and your initials on it. The inclusion guide is the document I'd most like every teacher of this scheme to have read before Lesson 1, and it's also the one that most often sits unopened in the folder, so here it is. It covers students with SEND, students learning English as an additional language, and pupil premium students, and it opens with our approach in one paragraph. A student aiming for a grade 4 and a student aiming for a grade 9 both write about how Stevenson presents Hyde, and both are asked why. Only the support changes. The destination stays where it is. Jekyll and Hyde is short, but it is hard to read. Its sentences are long, its vocabulary is legal and Latinate, and the truth arrives late, in two documents told by different narrators. Most of the barriers are words, background knowledge and keeping track of who is telling the story, and all three can be taught before the lesson starts. For students with SEND the guide works through a short list of moves: a character map, with Utterson in the centre and a line showing how each man knows Jekyll; who is telling the story, with a document map for Chapters 9 and 10; chunk the long sentences, with each clause on its own line; reduce copying, since quotations like "Mr. Seek" are easy to miscopy; rehearse aloud first; a mystery timeline; and access arrangements kept in place. For students learning English as an additional language: Victorian sentence patterns, rewriting one sentence a lesson in modern English together; titles and abbreviations, so students can tell at once who is a doctor, a lawyer or a gentleman; legal and money words such as will, deed and cheque, taught with a picture; old meanings of common words, since character means reputation and cabinet means a private room; idioms and strong words; and cognates. For pupil premium students: a copy of the novella for everyone, since the full text is free online; knowledge of Victorian London, from gas-lit streets and fog to Scotland Yard; hear the whole text, through the six optional reading lessons; questioned first on the hinge question; equipment and the student pack, which holds every extract; a reminder a lesson ahead of each progress check; and the catch-up check-in. Then the part that makes it usable: lesson by lesson notes. For every lesson there are four lines. Pre-teach, the words or idea to cover with a small group before the lesson, in tutor time or at the door. SEND. EAL. Pupil premium. For Lesson 3 the pre-teach is Juggernaut and trample, with a picture of a steamroller or a huge cart, and the idea of a witness telling a story at second hand. The SEND note is to give an enlarged copy of the extract with Hyde's actions underlined in one colour and Enfield's reactions in another, and have students choose one of the three Securing quotations. The EAL note: gloss halloa, collared and stumping beside the extract, explain that damned and hellish are strong religious words here and not casual swearing, and rehearse the What sentence aloud. And for pupil premium students in Lesson 1, ask these students first on the hinge question, and talk about why a respectable witness like Enfield would be believed in court, so they see why Stevenson tells the story this way. Those same four lines are printed in the handbook at the end of each lesson's notes, after Adapting the lesson, so the teacher planning the lesson sees them without opening a second document. Beside the guide is the key words list for students: about forty words from the unit, each with its word class, its meaning, an example sentence and a My notes column for a translation or a picture. Two things I'd say to a head of department. First, what helps students with SEND helps the whole room, which is why the slides are cream, the fonts are plain and nothing flies in from the side. Second, these notes assume you know your students' needs and access arrangements better than we do. They're a starting point written by a teacher, for a teacher, and they're there to

Fonts, printing, slides and editing26:09

be edited. A few practical things that save arguments. Everything uses Calibri for reading and Cambria for headings, because both come with Microsoft Office on Windows and Mac and with Google Docs and Slides. Nothing to install, and no reformatting when a file moves between platforms. The student pages are white, with colour only on small panels, so the packs are cheap to print in black and white. Students who find a tint easier to read can have their pack printed on cream, pale blue or pale lilac paper, which also covers the access arrangement for coloured paper without an overlay. The slides are cream for the same reason, with no slide numbers, no clutter and nothing animated, and every slide carries teacher notes, so in presenter view you see the knowledge students need to take from that slide. Print the student packs once at the start of the scheme. Every Do Now, every extract, every task and every exit ticket is already in there, so nobody is at the photocopier at twenty-five past eight. If students work on devices, share the PDFs instead. And edit. If your class brings a different misconception from the one we've written into a hinge question, change the hinge question. If you want a different Do Now because you know what they got wrong last week, write it. The Word and PowerPoint files are there so you can. Your licence covers editing, printing for your students and uploading to your school's own secure platform. The only things it asks you not to do are share the files outside the school or put

Getting started as a department27:34

them on a public website. So, how to start as a department. Four steps, the same four that are on page two of Start here, and I'd do them together in one meeting. One, everyone reads Part 1 of the teacher handbook. Ten minutes. Two, decide who prints and who shares PDFs, and agree that every student starts on the level the hinge question puts them on, and moves. Three, open the Lesson 1 slides together and walk through Know, Apply and Master once, so the shape is shared. Four, put the kit lessons, 6, 12, 20 and 28, and the essay in Lesson 33, in the department calendar, so every class reaches each progress check in the same week or near it. Then two things I'd add. Agree whether you're teaching the reading lessons or setting the reading as home learning, and say the same thing to every class. And after each Feedback Loop kit, bring the whole-class feedback sheets to the next department meeting. One sheet per class. The level spread and the re-teach box will tell you more about where the cohort is than any spreadsheet, and the conversation about what to re-teach is the CPD. That's the Jekyll and Hyde scheme. The same structure runs through every Between the Lines scheme, so a teacher who has taught one has taught the shape of all of them, and a student who moves classes mid-year lands in a lesson they recognise. Lesson 3 of every scheme is free at btl.education if you want to show a colleague what a lesson looks like before they open the folders. Thank you for watching, and I hope your classes enjoy Jekyll and Hyde as much as mine have.