A half-hour walkthrough of the Macbeth scheme, made for departments using it: the handbook, one lesson in practice, the three levels, Feedback Loop kits, practice booklets, assessment, catch-up and inclusion.
Chapters
Transcript
Introduction
This is Between the Lines, and this is the walkthrough of our Macbeth 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 Macbeth 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 glance
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. Macbeth is written for Literature Paper 1, Section A, the Shakespeare question. It's 33 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 Act 1, lessons 1 to 7; The murder of Duncan, lessons 8 to 13; Act 2 Scene 3 to Act 3, lessons 14 to 20; Acts 4 and 5, lessons 21 to 28; Themes and the exam, lessons 29 to 33. There are five assessment points. Four of them are Feedback Loop kits, in lessons 6, 12, 19 and 27, each followed by a feedback lesson, and the fifth is the end-of-unit essay in Lesson 32, 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 handbook
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 does ambition cost Macbeth, and what does Shakespeare want his audience to learn from the price? Then the intent, and what students can do by the end: things like explain the divine right of kings, the Great Chain of Being, what people in 1606 believed about witchcraft, and the Gunpowder Plot, use at least 15 quotations from memory, with the methods they show, and plan and write a 34-mark essay in about 50 minutes. It sets out the exam, Literature Paper 1, Section A, with the marks, the timing and the assessment objectives, including the four marks for AO4 that only this section carries, which is why spelling and sentence structures are practised in every written task. 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 Apply
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 4, Brave Macbeth. The big question is: How does Shakespeare present Macbeth before we meet him? 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 valour, minion, brandish and reputation. Four words a lesson, taught properly and retrieved in the Do Nows, is how the vocabulary builds across the scheme. Then the reading: the wounded Captain's report to Duncan in Act 1 Scene 2. 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 Valour's minion, carv'd out his passage". 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 personification, with courage made into a master and Macbeth its favourite servant. The word to zoom in on is "carv'd", a word for cutting meat, so Macbeth cuts his way through living men as if they were a joint on a table. The effect: the audience admires his courage and is a little shocked by the ease of the killing, both at once. The purpose: Shakespeare makes Macbeth a hero before he appears so that his fall will hurt. 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. The Captain says Macbeth "unseam'd him from the nave to the chops". How does Duncan respond? The right answer is C: he praises Macbeth as a valiant and worthy gentleman. 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 A has judged the violence by modern standards and missed Duncan's line, so you re-read it together and they start on Securing. A student who picks B has lost track of who is speaking, so you recap the speakers before they write. The hinge question is how you decide, in thirty seconds, who starts on which level of support.
Master: one task, three levels
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 4 it's: How does Shakespeare present Macbeth before he appears on stage? Securing, aiming for a 4, gives a choice of exact quotations, here "brave Macbeth", "unseam'd him from the nave to the chops", and Duncan's "O valiant cousin! worthy gentleman!", 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 why Shakespeare wants the audience to admire Macbeth before they meet him, and what a tragedy needs its hero to be at the start, with a checklist. Soaring, aiming for grades 7 to 9, gives a debatable statement to argue with: In Act 1 Scene 2 Shakespeare shows us a killer, and only the king calls him a hero. 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: Before he appears, Shakespeare presents Macbeth as a hero whose courage is admired by everyone, even though it is built on brutal killing. And the exit ticket is a sentence to finish: Shakespeare lets the audience hear about Macbeth before they see him 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 33 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 reading
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 play to read, listen to or watch before the first lesson of the week. For week one that's Act 1, Scenes 1 to 4, from the witches on the heath to Duncan setting off for Macbeth's castle. The page says about 45 minutes to read, or 30 to listen. It tells students what to look for: the witches speak first and what they say is a riddle, a wounded Captain describes Macbeth in battle before we meet him, and to watch what Macbeth says aloud and what he says to himself once the first prophecy comes true. And it gives five check questions to answer from memory, such as what do the witches promise Macbeth, and what do they promise Banquo, in Act 1 Scene 3. 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: the Folger Shakespeare website for the full text, LibriVox for a free recording split by act, and the National Theatre Collection through Drama Online, which is free to UK state schools. Then comes the week's reading: one short text about the world Shakespeare wrote in, or an idea that runs through the play, and four questions. The six weeks cover James I and the divine right of kings; witchcraft in Jacobean England and Daemonologie; the crime of killing a king; Holinshed's Chronicles and how Shakespeare changed the story; the Globe and how the play was performed; and tragedy and the tragic hero. 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: five of them, lessons 2, 10, 15, 21 and 24, each covering a whole act. 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 33.
Feedback Loop kits
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 Act 1, and its question is: How does Shakespeare present Lady Macbeth in Act 1 Scene 5? 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 Lady Macbeth puts the idea of murder into Macbeth's head, when he has already thought of it himself in Act 1 Scene 3. The tip is to use the structure of the scene, letter, soliloquy, welcome, because Lady Macbeth sounds different in each part and that change is a method you can write about. 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 Lady Macbeth asks the spirits to do to her; to name a method in "look like the innocent flower, but be the serpent under't" and say what it shows; and why Shakespeare might make a wife the one who pushes hardest for the murder of a king. 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 Shakespeare presents Lady Macbeth as ruthless in Act 1 Scene 5, with words to describe and terms to analyse printed above it, describing words such as ruthless, manipulative and resolute, and terms such as soliloquy, imperative and antithesis, 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 quotations such as "unsex me here" and named the method before explaining what the words show. Even better when, and we always say when, never if, for example, link context to purpose: explain why a Jacobean audience, who believed in a God-given order of men over women and kings over subjects, would find this woman so disturbing. 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 saying what Lady Macbeth wants in this scene, add "unsex me here", then one more sentence explaining what she is asking the spirits to take away. Level 2: zoom in on "gall" in "take my milk for gall" and write two sentences on what the swap from milk to gall suggests about the woman she wants to be. Level 5: add an alternative reading, using her fear that Macbeth is "too full o' th' milk of human kindness" to argue that she acts out of love for him, then weigh that against her cruelty. Nobody rewrites the whole thing.
The feedback lesson and the end-of-unit essay
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 Macbeth those are lessons 7, 13, 20 and 28. 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 32, after a planning lesson in Lesson 31. The paper looks like the exam. An extract, the question in AQA wording, planning space and lined answer space. 50 minutes, 30 marks, plus 4 for AO4. The question is: how does Shakespeare present Macbeth as a man destroyed by his ambition? 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 33 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 booklet
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 Macbeth, for students aiming at grades 8 and 9. Eight texts in four groups: psychology; politics and power; 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 a summary of Freud's 1916 essay on people who are wrecked by success, which takes Lady Macbeth as its first example from literature. There's also Zhong and Liljenquist's 2006 experiments on guilt and hand-washing, which the researchers named the Macbeth effect, alongside the 2014 attempt to repeat them that found nothing. Each text opens with a note on why it matters for Macbeth, then three questions in order. The last one is a debate of the kind students meet at A level, such as whether reading Lady Macbeth through psychoanalysis treats her as a patient when she is a character written three hundred years before Freud. And every text ends with a link task back to the play: the link task sends students back to the sleepwalking scene, to test Freud's claim against "Out, damned spot!". 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 sheets
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 4 for a student who missed Lesson 4. Here's Lesson 1. What you missed, in three bullets, for example: in 1606 people believed in the divine right of kings: God chose the king, so killing him was a sin as well as a crime. The four key words with their meanings. The quotation to know, "The Lord's anointed temple", 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 in the student pack and underline the two big ideas, learn the four key words, then write three sentences on why an audience in 1606 would be horrified by a play about killing a king. A check question: why did people in 1606 see killing a king as a sin as well as a crime? 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, 19 and 27, 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 premium
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 with dyslexia, a student who arrived in England last year and a student aiming for a grade 9 all write about Lady Macbeth's call to the spirits in Act 1 Scene 5. What changes is the support around them. The destination does not change. Shakespeare's language is the main barrier in this unit, more than the ideas. A student who knows what a thane is, who is on stage and what the speaker wants can follow the argument of most speeches, so the notes put the plot and the hard words first and leave the thinking to the student. For students with SEND the guide works through a short list of moves: plot before language, so you say in a sentence who is speaking and what has just happened before any extract; chunked extracts, with long speeches split into stages; boxed and bold words where a speech turns on a list of commands; oral rehearsal of the What sentence; less copying, with quotation strips to stick in; and warnings before hard scenes, such as the on-stage murder of Macduff's son. For students learning English as an additional language: Shakespeare's old forms, thou, thee, art and durst, on a short list stuck in the front of the book; false friends such as minion and ecstasy; cognates for words like regicide and tyrant; pictures for the images; one sentence frame for each task; and the idioms the play gave us, such as at one fell swoop. For pupil premium students: context first, because each lesson note names the knowledge that lesson needs; a copy of the play for every student, with the free recordings pointed out; question these students first after the hinge, once they have had a moment to rehearse; reading lessons count, because a missed act leaves a hole that every later lesson falls into; progress checks are done, so anyone absent sits the paragraph before the feedback lesson; and equipment and time, including a lunchtime slot for catch-up sheets when home is not an option. 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 4 the pre-teach is valour and minion, and who is who in the scene: Duncan the king, the Captain and Macdonwald the rebel, with a three-picture strip of the battle. The SEND note is to use only the first eight lines of the extract for the task, with the glosses printed beside each line, and give the Securing choice of three quotations so students pick one instead of searching the whole speech. The EAL note: minion is a false friend, a cartoon helper today and a favourite servant here; act out brandish and carve; and use the frame, the Captain describes Macbeth as blank, which shows blank. And for pupil premium students in Lesson 1, build the background first: what a king meant in 1606, and Bonfire Night as the memory of the Gunpowder Plot, and check every student has their own copy of the play. 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 editing
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 department
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, 19 and 27, and the essay in Lesson 32, 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 Macbeth 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 Macbeth as much as mine have.
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