cambridge english grade 7

Cambridge Lower Secondary EnglishGraham Elsdon with Esther MenonLEARNER’S BOOK 7Second edition Digital accessOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of these titles.SAMPLE

Cambridge Lower Secondary EnglishGraham Elsdon with Esther MenonLEARNER’S BOOK 7Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

University Printing House, Cambridge CB2 8BS, United KingdomOne Liberty Plaza, 20th Floor, New York, NY 10006, USA477 Williamstown Road, Port Melbourne, VIC 3207, Australia314–321, 3rd Floor, Plot 3, Splendor Forum, Jasola District Centre, New Delhi – 110025, India79 Anson Road, #06–04/06, Singapore 079906Cambridge University Press is part of the University of Cambridge.It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence.www.cambridge.orgInformation on this title: www.cambridge.org/9781108746588© Cambridge University Press 2021This publication is in copyright. Subject to statutory exceptionand to the provisions of relevant collective licensing agreements,no reproduction of any part may take place without the writtenpermission of Cambridge University Press.First edition 201220 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1Printed in TBC by TBCA catalogue record for this publication is available from the British LibraryISBN 978-1-108-74658-8 Paperback + Digital Access (1 year)ISBN 978-1-108-74659-5 Digital edition (1 year)ISBN 978-1-108-74661-8 eBookCambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Information regarding prices, travel timetables, and other factual information given in this work is correct at the time of first printing but Cambridge University Press does not guarantee the accuracy of such information thereafter.NOTICE TO TEACHERS IN THE UKIt is illegal to reproduce any part of this work in material form (including photocopying and electronic storage) except under the following circumstances:(i) where you are abiding by a licence granted to your school or institution by the Copyright Licensing Agency;(ii) where no such licence exists, or where you wish to exceed the terms of a licence, and you have gained the written permission of Cambridge University Press;(iii) where you are allowed to reproduce without permission under the provisions of Chapter 3 of the Copyright, Designs and Patents Act 1988, which covers, for example, the reproduction of short passages within certain types of educational anthology and reproduction for the purposes of setting examination questions.Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

Welcome to Stage 7 of Cambridge Lower Secondary English. We’ve designed this book to help you develop your English skills and also to introduce you to some really interesting stories and articles. You’ll begin by studying a fantastic adventure story about a character with a very unusual skill and finish by reading a spine-chilling tale about a deadly sea creature. You’ll read fiction, non-fiction, poetry and drama about exciting cities, futuristic schools and fame. We hope you’ll really enjoy the two complete short stories in this book. One of them features a strange character below the earth and the other is about time travel. Reading complete short stories will give you a better understanding of structure and theme.By the time you’ve completed this book, you will be able to write persuasively, analyse language in more depth and write an entertaining playscript. There are plenty of opportunities to work in pairs and groups on presentations and projects. You’ll sharpen your language skills and you will learn about some very interesting older texts in a fun way as well as developing key skills for 21st century life.Try using the reflection and assessment activities too – they’ll help you to become a more confident and independent learner.Good luck on the next stage of your learning journey.Graham Elsdon and Esther MenonIntroduction3 IntroductionOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

Contents4 ContentsPage Unit Text types Reading 8 1 Adventure Contemporary fiction (adventure); nonfiction (travel writing); thematic poetry; novel (spy story)‘Beware Low-Flying Girls’; Around India in 80 Trains; ‘Hard is the Journey’; Silverfin32 2 ‘Hey, You Down There’Short story (science fiction) ‘Hey, You Down There’ 57 3 Film and fame Contemporary fiction; non-fiction (informative article); non-fiction (film review)Film Boy; ‘Hrithik Roshan says he practices every day to overcome stammering’ in the Hindustan Times; The Incredibles film review; ‘Thai cave rescue boys meet hero’ in the Guardian82 4 Small but perfect Flash fiction; haiku poetry; imagist poetry; non-fiction (informative article); non-fiction (explanatory text); non-fiction (magazine article and interview)‘One in Twenty-Three’; haiku poems; imagist poems; ‘The tiny world of Willard Wigan’ in the Telegraph; explanation of shabtis; ‘Microartist Willard Wigan reveals his tiny world’ in WhatsonTV108 5 Unusual education Non-fiction (descriptive accounts); nonfiction (blogs); non-fiction (discussion article and account); contemporary fiction; contemporary dramaTwo accounts of different schools; blogs about school uniform; homeschooling article and account; Wonder; The Last Class136 6 Life stories Thematic poetry; non-fiction to narrate (autobiographies); non-fiction to narrate (diary); persuasive speech‘Lullaby’; ‘The Song of the Old Mother’; biography of Malala Yousafzai; As I Walked Out One Midsummer Morning; Letter to Daniel; Captain Robert Scott’s diary; speech by Nelson Mandela163 7 ‘The Travel Agency’Short story (fantasy) ‘The Travel Agency’ 189 8 In the city Contemporary fiction; classic fiction; thematic poetry; non-fiction (argument articles)The White Tiger; Neverwhere; A Christmas Carol; The Sign of Four; ‘City Jungle’; ‘Last Night, I Saw the City Breathing’; ‘Urban Threats’ in National Geographic; ‘What would the ultimate child-friendly city look like?’ in the Guardian216 9 Dangers of the sea Contemporary fiction; non-fiction (informative article); classsic fiction; classic poetryJaws; ‘Why Are We Afraid of Sharks?’ in National Geographic; Moby-Dick; And The Ocean Was Our Sky; The Rime of the Ancient MarinerOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

Contents5Writing Speaking/Listening Language focus 21st century skillsSummarise genre features; write a monologue; analyse a poem’s meaning; write a storyPair discussion and prediction; present group views; recount an anecdoteSentence types; alliteration and sibilance; powerful verbsCreativity; collaborationWrite a spoken drama; write informally; write about theme; write a story with an unusual ending Pair and group discussion Sentence openings; compound-complex sentences; formal/informal languageCritical thinking; communicationWrite a section of a story; write an article; write a film review; speech writingPair discussion; individual speaking Direct speech; types of noun/adjective-noun combinationsCollaboration; creativityWrite flash fiction; analyse a poem; write poems; write an interviewPair and group discussion Time connectives; prefixesCreativity; critical thinkingWrite an account about school; write a scriptPair and group discussion Connectives; colons Social responsibility; collaborationJustify poetry choices; write an account of family life; write a monologue; analyse a letter; analyse language; write a poem; write a speechPair and group discussion Rhythm and rhyme; voice; embedded clausesSocial responsibility; creativityExplain character; write a narrative piece; write a brochure introduction; analyse character; write a diary entry; write about themePair and group discussion Word choice and order; voice and excitementCritical thinking; learning to learnTravel article; continue a story; write a poem about a cityPair, group and individual discussion Using punctuation; personification; related word forms; perspectiveLearning to learn; communicationDescribe a sea snake; continue a story; analyse poetic languagePair, group and individual discussion Choosing words and phrases; poetic languageCreativity; collaborationOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

How to use this book6 How to use this bookThis book contains lots of different features that will help your learning. These are explained below.This list sets out what you will learn in each session. You can use these points to identify the important topics for the lesson.This contains questions or activities to help find out what you know already about the topics in this session.Important words are highlighted in the text when they first appear in the book. You will find an explanation of the meaning of these words in the margin. You will also find definitions of all these words in the glossary at the back of this book.Activities give you the opportunity to practise and develop the skills that you learn in each session. Activities will involve answering questions or completing tasks. This includes listening activities where you hear a sound recording. These recordings can be played from the Digital edition of the Learner’s Book.This will provide you with explanations of important content relating to grammar and language.Each tip will help you to develop a technique or skill connected to reading, writing, speaking or listening.Getting startedAdventure stories are about characters who go on journeys. The characters often have special skills and face diffi cult challenges. Treasure Island by Robert Louis Stevenson, is an example of a story about a boy who goes on a sea adventure to fi nd hidden treasure. In pairs, make a list of adventure stories and fi lms that you know.In this unit, you will study texts about adventures. You will read about characters who face challenges, go on journeys and experience exciting situations. As you work through the texts and activities, think about the way the characters react to their adventures. 1.1 The start of an adventureIn this session, you will:• discuss the features of adventure stories• look for explicit information in a text• explore how writers structure their stories.1 Adventure8Getting startedAdventure stories are about characters who go on journeys. The characters often have special skills and face diffi cult challenges. Treasure Island by Robert Louis Stevenson, is an example of a story about a boy who goes on a sea adventure to fi nd hidden treasure. In pairs, make a list of adventure stories and fi lms that you know.In this unit, you will study texts about adventures. You will read about characters who face challenges, go on journeys and experience exciting situations. As you work through the texts and activities, think about the way the characters react to their adventures. 1.1 The start of an adventureIn this session, you will:• discuss the features of adventure stories• look for explicit information in a text• explore how writers structure their stories.1 Adventure89 1.1 The start of an adventure1 Adventure stories are a genre. This means that different adventure stories contain similar features. In pairs, discuss:• the types of characters in adventure stories• the types of settings in adventure stories• what happens in adventure stories• how these stories usually end. Compare your fi ndings with another pair. Apart from the main character, what other types of people do you fi nd in adventure stories?‘Beware Low-Flying Girls’Read the extract from ‘Beware Low-Flying Girls’ by Katherine Rundell. It is about Odile, a girl whose adventure begins when she discovers she has a very unusual skill.Extract 1It was cold, that day she first took flight, and the snow lay thick enough to hide a cat in.She wore her father’s coat. It came down past her knees, and she had rolled the sleeves up, so they hung at her wrist in a great roll of wool. The coat had once been a deep, cocoa-bean brown, but now it was the colour of an elderly shoe. It smelt, very slightly, of horses and woodsmoke.The wind was fierce that day. It was often windy in winter at the top of the mountain; birds got blown backwards up the cliff edge, reverse-somersaulting through the sky, their wings shedding feathers like confetti. Seagulls blew into the house, sometimes right into her lap as she sat curled up in the corner, wrapped in rugs, reading by the firelight. Suddenly finding that you had an irate seagull as a bookmark was not, Odile thought, ideal, but her grandfather would throw a blanket over them and stomp out into the night with the bird bundled into his arms.‘Always be polite to birds,’ he would say. ‘They know more than they let on.’The house was built into the rock of the mountain, and the door was polished stone. Her grandfather had lived on the mountaintop all his life. Odile had lived with him since she was a baby. She had nobody else. In the house, the fire burned all the year round. ‘Keep the fire as hot as the human heart,’ said her grandfather, his jaw stern. ‘Never let it go out.’That day, she had pulled her father’s coat around her, and set out. The wind caught the coat as she walked down the mountain path, billowing it out behind her like a sail. It had no buttons left, so she took a corner of the coat in each fist and held her arms stiff at her side. She began to run, her hair blowing in her eyes and mouth, down the hill.Key wordsgenre: a particular type of text, for example, adventure, comedy, crime, science fi ction setting: the location of where a story takes place432.3 Gold!• How effective was the group discussion?• In what ways did each person contribute?• What might you improve on next time you have a group discussion?3 In the next part of the story, Dora receives a letter from the people down the hole. They write in standard English. What do you think the note will say? Write the note that the people send to Dora. Remember that they seem to like fi ashlights, have gold, and that Dora has sent them a dictionary and food.4 Listen to four people speaking about Calvin and Dora. As you listen, make notes and then summarise:• what Speaker A thinks of Calvin• what Speaker B thinks of Calvin• what Speaker C thinks of Dora• what Speaker D thinks of Dora.025 In groups of three, discuss the views of Calvin. One group member should give reasons why Speaker A is correct. One group member should present reasons why Speaker B is correct. The third member of the group should be the chairperson. Use the notes you made in Activity 4.Listening tipWhen listening to the opinions of other speakers, make notes of the reasons they give for their ideas. Briefl y note down the main points they make.Speaking tipWhen you act as chairperson, it is important to act in a fi rm but friendly manner. Make sure that other group members listen and take turns. You should introduce the discussion and also decide when it is time for the next person to speak. You can also ask questions, summarise views and decide when the discussion has reached an end. 1 AdventureLanguage focusTo create excitement in suspense stories, writers often use verbs that suggest movement and power. In the fi rst paragraph of Silverfi n, there are lots of ‘action’ verbs, including struggled, gripping and slid. These powerful verbs create excitement in the story, helping the reader imagine the movement and danger that the character is experiencing. Verbs build intensity, so choosing a powerful verb like struggled is often more effective in creating excitement than the choice of adjective.Reading tipWhen exploring the effect of sentence types, remember to think about the specifi c effect they create. For example, short sentences do not always create excitement; sometimes they are used to convey anger or even humour.3 Look again at the extract from Silverfi n. Write a paragraph explaining how the writer uses powerful verbs to create excitement. Find your own examples and comment on their effect.4 Writers use many techniques to create excitement. For example, they may use short sentences at the moment of greatest drama, or they might use a single sentence paragraph. Look at the short sentences in the last 13 lines of the extract (from He stopped). In pairs, discuss which is the most exciting short sentence and why. Make a note of your opinions.5 Writers can use punctuation to create effects. In the extract, ellipsis is used at moments of drama. For example, in paragraph 5, the narrator states:The castle was six feet away, fi ve . . . four . . . The branch was swaying alarmingly.Here the ellipsis emphasises the tension, as if the character and the reader are holding their breath as the main character edges along the branch. Find one other example of ellipsis from the extract and write a sentence explaining its effect.Key wordshumour: when things are funny, or things that are funny ellipsis: a set of three dots ( . . . ) used to indicate that words have been left out432.3 Go• How effective was the group discussion?• In what ways did each person contribute?• What might you improve on next time you have a group discussion?3 In the next part of the story, Dora receives a letter from the people down the hole. They write in standard English. What do you think the note will say? Write the note that the people send to Dora. Remember that they seem to like fl ashlights, have gold, and that Dora has sent them a dictionary and food.4 Listen to four people speaking about Calvin and Dora. As you listen, make notes and then summarise:• what Speaker A thinks of Calvin• what Speaker B thinks of Calvin• what Speaker C thinks of Dora• what Speaker D thinks of Dora.025 In groups of three, discuss the views of Calvin. One group member should give reasons why Speaker A is correct. One group member should present reasons why Speaker B is correct. The third member of the group should be the chairperson. Use the notes you made in Activity 4.Listening tipWhen listening to the opinions of other speakers, make notes of the reasons they give for their ideas. Briefl y note down the main points they make.Speaking tipWhen you act as chairperson, it is important to act in a fi rm but friendly manner. Make sure that other group members listen and take turns. You should introduce the discussion and also decide when it is time for the next person to speak. You can also ask questions, summarise views and decide when the discussion has reached an end. Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

How to use this book7After completing an activity, this provides you with the opportunity to either assess your own work or another student’s work.This contains questions that ask you to look back at what you have covered and reflect on your learning.This list summarises the important skills that you have learnt in the session. These questions look back at some of the content you learnt in each session in this unit. If you can answer these, you are ready to move on to the next unit.At the end of each unit, there is a group project that you can carry out with other students. This will involve using some of the knowledge that you developed during the unit. Your project might involve creating or producing something, or you might all solve a problem together. 402 ‘Hey, You Down There’5 Practise your spoken drama in your pairs, then perform it to the class. Remember to:• speak clearly and use your voice to show the characters’ feelings• vary the volume and pace of your voice to show Calvin’s and Dora’s emotions. Self-assessmentIf you can, make a recording of your drama and listen to it.• Is it likely to interest your audience?• Did you vary your voices?• Did you speak clearly?• Write a paragraph in your notebook giving an account of your strengths and also areas to develop.Summary checklist I can analyse and write a compound-complex sentence. I can write and perform a spoken drama. I can assess my own speaking and performance skills. 2.3 Gold!In this session, you will:• explore the social and historical context of ‘Hey, You Down There’• understand how non-standard English helps to convey character• practise your group discussion skills.Key wordpace: the speed at which someone speaks or how quickly events take place in a story 5 Plan a monologue called ‘The Day I Met the Kraiks’. It will be told from Odile’s point of view.a On your own, decide and make brief notes on:• what happened when you met the Kraiks• what happened on the next stage of your quest.b Think about the narrative structure of your monologue. List the events in the order you will tell them in your monologue. Look back at the structure outlined in Session 1.1, Activity 4 for ideas.6 Now write your monologue. Remember that you are writing from Odile’s point of view, so you will need to capture her voice. This means thinking carefully about her personality and attitude, and choosing words and phrases that convey this. For example, you have found out that Odile is young, but she is also brave. She likes adventures. She has been warned about the Kraiks, so she may be cautious and a little scared.Summary checklist I can predict how stories might develop. I can identify the features of a monologue. I can write and perform an interesting monologue.Peer assessmentIn groups, take turns reading your monologue aloud. • Which bits of each monologue were the most interesting to listen to? • Why? Give reasons for your assessment.• What have you learnt from writing this monologue?• What might you do differently next time?SpeakingBefore yoyour monplan howwill speakwords wilemphasisWhere wipause? Hyou use yvoice to myour monsound exKey wordvoice: thea particulcharacteror thinks fi ction, orwriter’s topoint of vnon-fi ctio1747 ‘The Travel Agency’Peer assessmentSwap accounts with a partner and check how thoroughly they have written about each point. Copy and complete the table to indicate how effectively they have written about each point. Place a tick under red or amber or green. • Green means they have written in detail. • Amber means they have offered some detail. • Red means that they have not written about the bullet at all.abcd5 Now feed back your fi ndings to your partner. Explain your judgements, making sure you are polite and kind.Summary checklist I can explain how a writer might use a character to develop a theme. I can analyse how a writer presents a heroic character. I can write an analysis of how a character is presented.4 Write 300 words explaining how the writer presents Sannala in Extract 3. Include details on:a the image of Sannala that the writer presentsb the effect of structural techniques such as fl ashback and contrast c the effect of voice, sentence structures and other language techniques d how the introduction of this character develops the themes of friendship and loneliness.Listening tipWhen receiving verbal feedback, listen carefully to specifi c advice. Ask for details and examples to help you understand any guidance. Take notes to help you remember.31Check your progressAnswer the following questions to check what you have learnt in this unit.1 What are the key features of adventure stories? Give some examples of events that happen in adventure stories.2 What type of characters do you fi nd in adventure stories? What happens to them? 3 List three ways you can keep an audience interested when relating an anecdote.4 Using examples, explain what alliteration and sibilance are. 5 List three ways of creating suspense in a story.6 Explain what you have learnt about planning, writing and redrafting your writing. Write a list of tips for future students about improving writing.ProjectIn groups, you are going to design and present some ideas for a specifi c type of adventure story: the superhero story. Superhero stories are about characters who have extraordinary powers. They are often normal people who secretly change into superheroes in order to help people in need. Using the information in this unit as well as extra research:• devise a new superhero• write a brief character profi le• decide details about the world they live in – is it recognisable as your own world, or is it a different type of place?• describe a costume they might wear• draw the bad characters that the superhero will encounter• plan some storylines.Present your ideas as a group. You could use pictures and artwork to explain your ideas.Start by:• noting down the names of any superhero books, comics and fi lms you know• discussing some initial ideas with your group• working out who will do what in your group• planning ways to present your work.162Check your progressAnswer the following questions to check what you have learned in this unit.1 What are key features of adventure stories? Give some examples of events that happen in adventure stories.2 What type of characters do you fi nd in adventure stories? Are they ordinary people or do they have special skills? What happens to them? 3 Name three ways you can keep an audience interested when relating an anecdote.4 Using examples, explain what alliteration and sibilance are. 5 List three ways that a writer can create suspense.6 Explain what you know about writing accounts of adventures.How has your writing improved? Check your progressAnswer the following questions to check what you have learnt in this unit.1 Give an example of a symbol in a poem you have studied.2 Explain what is meant by ‘The intended audience of a piece of writing determines the way in which a text is written’.3 Describe the differences between literal and fi gurative language.4 Write a sentence containing an embedded clause.5 Give two examples of a minor sentence.6 Explain how persuasive speeches are structured. ProjectThis unit has explored the life stories of real people and characters in literature. You are going to research and present the life story of a person in public life who has made a difference. This might be a scientist who has made an important medical discovery, a person who has promoted peace or a young person who is trying to improve the planet like Greta Thunberg.Think carefully about the person you choose to research. There are many people who have done good things, so it might be more interesting to choose someone who is less well known. Start by researching the person. Find out about their life story and the positive things they have done.Present your research in the form of a booklet to show in class. You should present information in an appealing way. Use pictures, coloured text boxes and headings to organise your material.Once everyone has completed their booklet, spend time in groups reading each other’s work. You should discuss each person in turn. Be prepared to justify to your group why your person is the most signifi cant.At the end of your discussion, your group must choose one person (in your group) who you think has made the most important contribution to society. Nominate one student per group to tell the class which person your group has selected and why. Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

Getting startedAdventure stories are about characters who go on journeys. The characters often have special skills and face difficult challenges. Treasure Island by Robert Louis Stevenson, is an example of a story about a boy who goes on a sea adventure to find hidden treasure. In pairs, make a list of adventure stories and films that you know.In this unit, you will study texts about adventures. You will read about characters who face challenges, go on journeys and experience exciting situations. As you work through the texts and activities, think about the way the characters react to their adventures. 1.1 The start of an adventureIn this session, you will:• discuss the features of adventure stories• look for explicit information in a text• explore how writers structure their stories.1 Adventure8Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

9 1.1 The start of an adventure1 Adventure stories are a genre. This means that different adventure stories contain similar features. In pairs, discuss:• the types of characters in adventure stories• the types of settings in adventure stories• what happens in adventure stories• how these stories usually end. Compare your findings with another pair. Apart from the main character, what other types of people do you find in adventure stories?‘Beware Low-Flying Girls’Read the extract from ‘Beware Low-Flying Girls’ by Katherine Rundell. It is about Odile, a girl whose adventure begins when she discovers she has a very unusual skill.Extract 1It was cold, that day she first took flight, and the snow lay thick enough to hide a cat in.She wore her father’s coat. It came down past her knees, and she had rolled the sleeves up, so they hung at her wrist in a great roll of wool. The coat had once been a deep, cocoa-bean brown, but now it was the colour of an elderly shoe. It smelt, very slightly, of horses and woodsmoke.The wind was fierce that day. It was often windy in winter at the top of the mountain; birds got blown backwards up the cliff edge, reverse-somersaulting through the sky, their wings shedding feathers like confetti. Seagulls blew into the house, sometimes right into her lap as she sat curled up in the corner, wrapped in rugs, reading by the firelight. Suddenly finding that you had an irate seagull as a bookmark was not, Odile thought, ideal, but her grandfather would throw a blanket over them and stomp out into the night with the bird bundled into his arms.‘Always be polite to birds,’ he would say. ‘They know more than they let on.’The house was built into the rock of the mountain, and the door was polished stone. Her grandfather had lived on the mountaintop all his life. Odile had lived with him since she was a baby. She had nobody else. In the house, the fire burned all the year round. ‘Keep the fire as hot as the human heart,’ said her grandfather, his jaw stern. ‘Never let it go out.’That day, she had pulled her father’s coat around her, and set out. The wind caught the coat as she walked down the mountain path, billowing it out behind her like a sail. It had no buttons left, so she took a corner of the coat in each fist and held her arms stiff at her side. She began to run, her hair blowing in her eyes and mouth, down the hill.Key wordsgenre: a particular type of text, for example, adventure, comedy, crime, science fiction setting: the location of where a story takes placeOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

101 AdventureThe wind caught her coat and tossed her upwards. Odile felt the sudden swoop of gravity undone.It lasted only a second. She screamed, pulling her coat up over her face, and dropped to the ground again, landing on her hands and knees in the snow. Her breathing stopped. Though she had barely fallen two feet, she felt winded, gasping and choking for air.‘I flew,’ she whispered. Or had she perhaps just tripped and fallen more extravagantly than usual? She had to be sure.Odile rubbed some snow into her eyes to make sure she was awake. She pulled a twig from a tree, brushed the frost from it and used it to pin her hair out of her eyes. She put on her gloves. She stretched out the corners of her coat. She began to run, downhill, her feet kicking up a spray of snow.The coat billowed out behind her. Her breath misted the air in front of her.And Odile flew.Reading tipWhen you see words you do not understand, use details from the surrounding sentences to help you work out meanings. For example, in the second to last paragraph of the extract, you could work out the meaning of billowed by thinking about the effect the wind might have on Odile’s coat – blowing it out around her. 2 Practise working out word meanings from their context. The following words are taken from the third paragraph of the extract. What do you think they mean? Key wordcontext: the situation within which something exists or happens a fierceb confettic irated bundled.3 When reading a text, it is important to be able to identify and understand the main points and ideas that a writer tells you. Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

11 1.1 The start of an adventureYou are told Odile can fly.The strength of the wind is described.Her father’s coat is described.You find out that Odile’s grandfather and Odile live alone.Explicit information is information that the writer states directly. Read the text again and make notes on:a what you can find out about Odile’s familyb what is unusual about the settingc other unusual aspects of the story.4 The narrative structure of a story is the order in which events take place. This includes how a story starts, when different pieces of information are revealed and how the story ends. Look at this timeline, which shows the first four main points in ‘Beware LowFlying Girls’. Write down the last two main points in the extract from ‘Beware Low-Flying Girls’.5 Writers design the narrative structure of their stories to keep readers interested. In pairs, discuss the following questions.a Why does the writer start the story by telling you Odile can fly?b Why does she tell the reader that Odile wears her father’s coat? (Think about why the coat might be special.)c Why does the writer end this part of the story with Odile flying?6 Which parts of the story have you found most interesting so far? In your pairs, predict what you think might happen, or what you would like to find out, in the next part of the story. Do you both have the same opinion?7 Write a summary of about 50 words explaining what you have learnt about the features of adventure stories. Use some examples from ‘Beware Low-Flying Girls’ in your summary.Key wordsexplicit information: ideas and details that a writer states directlynarrative structure: the order in which a writer sets out the events in a storyKey wordspredict: say what you think might happen in the futureopinion: a personal view or judgement about something, not necessarily based on fact or knowledgeOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

121 AdventureGetting startedA quest is a difficult journey in search of an item or person. Look up the origins of this word. How is the word ‘quest’ connected to the word ‘question’? 1.2 Quest!In this session, you will:• describe how stories develop• explore the features of a monologue• write and perform a monologue.1 Here are two possible ways that the story you read in Session 1.1 could develop. Which idea do you prefer and why? Discuss your ideas in pairs. Are they similar to the predictions you made in the previous session?A Odile flies far from home and arrives in a town she has never been to. The people treat her like a princess. She is given lots of power. One day, a threatening creature arrives and Odile is expected to defend the town. She is frightened and doesn’t know what to do.Summary checklistI can identify some features of adventure stories.I can locate explicit information in a text and understand its meaning.I can comment on the narrative structure of a text.Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

13 1.2 Quest!B Odile flies into a dizzying snowstorm and doesn’t know where she is. She falls asleep on a mountainside and when she wakes up, the coat has gone. She meets a friendly girl called Millie who invites Odile to stay with her family. Odile is not sure if it’s a good idea.Now read another part of ‘Beware Low-Flying Girls’. At this point, Odile has found out that her father used the coat to fly. She also discovers that her grandfather is ill. To get better, he needs a special plant from the other side of the mountain. Odile decides to go on a quest to find it. Her grandfather warns her to be careful of the Kraiks – a mysterious group of talking birds.Extract 2Without another word, she pulled on her boots and coat and kissed her grandfather’s cheek. He waved her away; his skin was colder than usual.Odile walked as far as the paths would take her, clapping her hands together in front and behind her back to keep them warm; and then she climbed. It was more of a scramble, really, around the edge of the mountain, but there were places where the ground cut away and dropped to a blur below. She did not fly: the wind might drop at any moment, and she didn’t like the idea of so much gravity at once.The first hint that something was wrong was the smell. Odile sniffed. There were seven layers of scent, none of them good: a between-the-toe smell, a week-old-fish smell, an unbrushedtooth smell; a jackdaw’s breath, a cat’s sick pool, a burnt furballand a sailor’s earwax.‘Kraiks,’ she whispered.She looked up, up the edge of the mountainside. She could see nothing – only mist, and branches stretching like arms across the rocks. But a voice came down, thin and quiet.‘Where are you going, little girl?’Odile said nothing. She set her jaw, and kept climbing, heading sideways. jackdaw: a bird (a small crow)furball: a ball of fur that can develop in an animal’s stomachOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

141 Adventure2 In pairs, discuss how the story could develop. Remember the following:• The Kraiks seem dangerous.• Odile can fly.• She needs the plant for her grandfather.• The central character in an adventure story usually faces a problem.• Adventure stories usually end happily.3 A monologue is a spoken text told by one person. The speaker usually explains their feelings and attitudes, as well as telling a story in which they gradually reveal bits of information. Listen to the monologue and answer the questions. You will need to listen for explicit information, but also consider the speaker’s tone, which can reveal how he is feeling.a How many messages had Alex missed?b Why does Alex think the music shop owners are happy to let John play the guitars?c How would you describe the relationship between Alex and his mother?d How does the story end?e ‘Alex seems like a really kind person.’ To what extent do you agree with this view?4 Just like written stories, monologues are carefully structured to keep the listener interested. When writing a monologue, it is important to think about when to tell the listener key information. In pairs, discuss the following questions.a What were you told at the start of the monologue and how did this keep you interested?b What was the most exciting or dramatic part of the monologue? At what point in the story did it happen?c How did the monologue end? How did the ending make you feel – were you happy for Alex?01Listening tipWhen you hear information spoken aloud, listen carefully for any explicit information. The way a person speaks and how they use their voice can also give you clues as to how they feel about the story they are telling. Listen carefully not just to what is being said, but also the tone (i.e. how it is being said).Key wordsmonologue: a story or speech given by one charactertone: the way that someone speaks or how a piece of writing sounds, which helps suggest mood and feelingsOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

15 1.2 Quest!5 Plan a monologue called ‘The Day I Met the Kraiks’. It will be told from Odile’s point of view.a On your own, decide and make brief notes on:• what happened when you met the Kraiks• what happened on the next stage of your quest.b Think about the narrative structure of your monologue. List the events in the order you will tell them in your monologue. Look back at the structure outlined in Session 1.1, Activity 4 for ideas.6 Now write your monologue. Remember that you are writing from Odile’s point of view, so you will need to capture her voice. This means thinking carefully about her personality and attitude, and choosing words and phrases that convey this. For example, you have found out that Odile is young, but she is also brave. She likes adventures. She has been warned about the Kraiks, so she may be cautious and a little scared.Summary checklistI can predict how stories might develop.I can identify the features of a monologue.I can write and perform an interesting monologue.Peer assessmentIn groups, take turns reading your monologue aloud. • Which bits of each monologue were the most interesting to listen to? • Why? Give reasons for your assessment.• What have you learnt from writing this monologue? • What might you do differently next time?Speaking tipBefore you read your monologue, plan how you will speak. Which words will you emphasise? Where will you pause? How can you use your voice to make your monologue sound exciting? Key wordvoice: the way a particular character speaks or thinks in fiction, or the writer’s tone and point of view in non-fictionOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

1 Adventure16Getting startedHave you ever had a difficult start to a journey? Have you ever missed a bus or been on a crowded train? Have you ever been stuck in traffic or had an annoying start to a holiday? What happened? How did it make you feel? Tell your anecdote to a partner. 1.3 Train troubleIn this session, you will:• explore ways of using speech to engage an audience• look for implicit meaning in a text• use different sentence types to add interest to descriptive writing.1 Tell the whole class your anecdote. • Explain clearly what happened.• Focus on feeling and emotion to engage your listeners.• Use tone of voice, gesture and facial expression to add meaning.• Give your anecdote a strong ending. Speaking tipWhen you relate an anecdote, make sure you give enough details about the event to help your listeners picture the scene. Effective speakers often use non-verbal communication, so think about how you could use gesture and facial expression to add meaning to your anecdote.Key wordsanecdote: a short entertaining story that is usually spokengesture:movements of the hands or arms to add emphasis to bring a story to lifenon-fiction: writing that is about real events and factsautobiography: a text in which the writer gives an account of their own life and experiencesAround India in 80 Trains Read the following piece of non-fiction writing, which is from an autobiography by Monisha Rajesh. In the extract, the writer describes a difficult start to a journey, as she arrives at a station in India. She is accompanied by a friend called Passepartout. They are helped by Subbu, who is guiding them through the busy station and on to the train. As you read, think about how the writer makes the journey seem stressful. Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

17Chennai Egmore station could be heard before it was seen. A cacophony erupted as we made our way under the arches, running after Subbu who had been instructed to come with us to the platform. Indian stations are not designed for running. An assault course lay between us and Subbu, who was winding deeper and deeper into the sea of boxes, briefcases and body parts. We ducked and wove around the slalom of wooden carts wheeled by men with no sense of urgency, strings of hand-holding children, hobbling dogs, stacked hessian sacks, nose-pickers, watersellers, booksellers and red-shirted porters. Subbu now stood by our train, under a digital sign reading B2, his face powder dry, as we bent double, sweat running down our bodies.Engines hissed and thudded as they began to move, high--pitched announcements singing out in breakneck-speed Tamil, while the smell of dried fish crept up my nostrils. Passepartout leapt about, clicking away, and I smiled weakly for the camera before boarding the Anantapuri Express to Nagercoil.Subbu had already found our seats and placed our bags on each by the time we squeezed through. Thanking him, we dug out bottles of water, notebooks, pens, toilet paper, flannels and flip-flops, much to the amusement of our companions who had already chained up bags, hidden shoes, plugged in phones and sat down cross-legged, watching us. At 7.20pm the train jerked. Subbu bowed and slunk off as the train glided out of the station. Through the tinted window he was soon no more than a saluting silhouette.We were on the move.cacophony: a mix of loud, often unpleasant soundsassault course: an area filled with obstacles such as walls and ditches that people have to find a way over or around slalom: a skiing race down a long, winding coursehobbling: walking unsteadily hessian: a strong, thick woven fabricslunk: moved away smoothly and quietly silhouette: the shadow or outline of an object against a brighter background 1.3 Train troubleOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

181 AdventureLanguage focusWriters use different types of sentences for different effects. For example, a simple sentence can provide basic, clear detail, but it can also create tension. Compound sentences and complex sentences add detail as well as creating effects, such as conveying excitement. When writing about sentences, try to link your comments about the sentence type to the effect it creates. For example, think about what the shortness of a sentence suggests about the narrator’s feelings. Does the detail of a complex sentence help to suggest busyness or panic?2 In pairs, discuss the explicit information in the text:a What can you find out about Chennai Egmore station?b What do you learn about the actions and feelings of the narrator, Subbu and Passepartout?3 Writers often give information to readers and leave them to work out what it means – this is implicit information. Understanding this is sometimes called ‘reading between the lines’. For example, in paragraph 1 of the extract, the writer implies that Subbu is calm. She states that Subbu’s face was powder dry, which suggests that Subbu is not flustered and sweating, unlike the others. Reread the final two paragraphs. In pairs, discuss the following questions:a Why might the people on the train be amused?b What is being implied about the narrator and Passepartout’s experience of travel in India?4 Look at this simple sentence followed by a complex sentence from the extract:Indian stations are not designed for running. An assault course lay between us and Subbu, who was winding deeper and deeper into the sea of boxes, briefcases and body parts.The first sentence is a direct statement that gives a view about the station. The tone sounds slightly sarcastic. The effect on the reader is to give a clear, direct impression of the station and the narrator’s attitude. The shortness of the sentence reflects the narrator’s feeling of amusement but also tension.Key wordsnarrator: the person telling the storyimplicit information: ideas and details that readers have to work out for themselvessimple sentence: a sentence with one main clausecompound sentence: a sentence with two main clauses joined by ‘and’, ‘but’, ‘or’complex sentence: a sentence with one main clause and one or more dependent clausesOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

19 1.3 Train troubleThe second sentence is longer and more detailed. The first clauseintroduces an image of the clutter of the station. The subordinate clause (who was winding . . .) contains more detail, using ‘and’ twice. The effect is to convey the huge number of things in the station. The length and detail of the sentence reflects the detail of the scene being described.Copy and complete the following table in your notebook to identify examples of simple, compound and complex sentences in the extract from Around India in 80 Trains. In the last column, comment on their effect. Explain how the writer builds up detail and the impression this gives the reader.Sentence type Example EffectSimpleCompoundComplex5 In Activity 1, you told an anecdote about difficult journey. Now turn this into a written version. Before you write, think about how you will describe the scene. Remember how the extract uses lots of images, lists and interesting words to bring the scene to life. Use a range of simple, compound and complex sentences to add detail and variety to your writing.Writing tipRemember that the language and style of written accounts is different to spoken accounts, so think carefully about the way you phrase your writing. For example, people often do not speak in full sentences, although you can hear where ideas start and end, but you must always write in full sentences. Summary checklistI can use language to engage listeners in a spoken account.I can identify and understand implicit information in a text.I can use different sentence types to write an interesting account.Peer assessmentShare your finished account with another student. Discuss the following questions:• Which bits of your writing do you think are most effective and why? • Did you use a variety of sentences?• If you were to redraft your work, what would you do differently?Key wordsclause: a group of words that contain a verbsubordinate clause: in grammar, a clause that cannot form a sentence alone but adds information to the main clauseOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

201 AdventureGetting startedSome people and some poems describe life as a journey. In pairs, discuss what life has in common with a journey. How could life be described as an adventure? 1.4 A hard journey In this session, you will:• look for explicit and implicit meanings in poetry• explore how poets use language features for effect• learn how to write an analysis of a poem.‘Hard is the Journey’Read the following poem by Li Po, an 8th century Chinese poet. Gold vessels,Jade dishes of rare meats, costing more thousands,I lay my chopsticks down, no more can banquet, I draw my sword and stare wildly about me:Ice bars my way to cross the Yellow River, Snows from dark skies to climb the T’ai-hang mountains! At peace I drop a hookinto a brooklet, At once I’m in a boatbut sailing sunward...(Hard is the journey, Hard is the journey, So many turnings,And now where am I?)So when a breeze breaks waves, bringing fair weather, I set a cloud for sails, cross the blue oceans!vessels: hollow containersjade: a hard, green stonebanquet: a feastbrooklet: a small streamOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication.We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

21 1.4 A hard journey 1 Copy and complete this table to list the events of each stanza. The first one has been done as an example.Stanza What happens1 The narrator describes expensive meats.23456Language focusPoets often use different types of sound effects, such as alliteration and sibilance. These sound patterns are effective when the poem is read aloud. They are used sometimes for very specific effects.Alliteration is when consonant sounds are repeated at the start of words (e.g. ‘the rifle’s rapid rattle’ – the repeated ‘r’ sound brings to mind the stuttering sound of a gun being fired). Sibilance is the repetition of soft consonant sounds, usually the ‘s’ sound (e.g. ‘the ship moved slowly through the sea’ – the repeated ‘s’ sound brings to mind the sound of a ship moving through water, or the sound of the wind making the ship move).2 Read the poem again carefully. Identify examples of alliteration and sibilance. What effect do these language features create?3 In pairs, discuss the following:a In stanza 2, the narrator decides to stop feasting and picks up his sword. Why do you think he does this?b In stanza 3, the narrator is unable to cross the river. How does the narrator seem to feel about this in stanza 4? Key wordstanza: a group of lines of poetry, sometimes called a verseKey wordsalliteration: use of the same sound, especially consonants, at the beginning of several closetogether wordssibilance: use of repeated soft consonant sounds for emphasisOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

221 Adventure4 At the end of a poem, the poet usually states their conclusion and comments on the main point of the text. Reread stanzas 5 and 6 and makes notes on:a how the narrator feels in stanza 5 (why does he find the journey hard?)b what happens in stanza 6 to make the narrator set sail.5 People read poems in different ways and have different responses to them. Some readers might think that ‘Hard is the Journey’ ends happily, because the narrator travels on. Others might think that the ending of the poem shows that the narrator’s difficult journey is never-ending. In groups, discuss what you think the ending of the poem means. 6 What is the overall mood of the poem – is it optimistic or pessimistic? Here are two possible interpretations of the poem. Discuss them in small groups. Do you agree with either of them? Why/why not?This is a poem about how difficult life can be. The narrator faces many problems. The poem shows how you can’t control your life.This is a poem about how humans succeed in the end. The poem shows that if you believe in yourself, then things work out well.Key wordmood: the feeling created by the words, sounds and images in a poemOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

23 1.4 A hard journey 7 Present your thoughts from Activity 6 to another group and listen to their ideas. Then debate your ideas. You should:• clearly explain and justify your views• discuss your ideas, making sure you take turns • come to an agreement about which view is the most convincing.8 Using ideas from the table you created in Activity 1 and from your discussion and debate, write a response to the following question. Write about 200 words.What does ‘Hard is the Journey’ show about attitudes to adventures? You should write about:• details of the journey in the poem• what you think the writer is saying about journeys and adventures• the language choices made by the poet.Speaking tipWhen debating ideas, listen carefully to others’ opinions and their reasoning. When challenging their views, be polite and friendly. You could organise your debate in a formal way, with a teacher or student taking on the role of chairperson to keep order and make sure that everybody gets a chance to speak.Summary checklistI can identify and explain explicit and implicit meanings in poetry.I can analyse how poets use language features for effect.I can write an analysis of a poem.Self-assessmentHow well did you contribute to your group discussion and debate?• Did you give a clear opinion and justify it?• Did you listen respectfully to other people’s views?• What advice would you give to others in your group about improving their skills?Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

241 AdventureGetting startedAdventure stories often contain moments of suspense. The main character is usually in a dangerous situation. The situation is tense and drawn-out, which makes the reader concerned about what will happen to the character.Look at the picture of a child in the woods. If you wrote a story based on this picture, how would you create suspense? What would happen in your story? 1.5 Danger! In this session, you will:• investigate some features of suspense writing• explore the effects of language and grammatical choices• read aloud with expression.SilverfinRead the following extract from a novel by Charlie Higson. It is about a young spy called James. At this point in the story, James is trying to sneak into a castle that hides a deadly secret. The only way to get in is to walk along a branch that hangs over a lake. Kelly is James’s friend.He struggled on up through the tangle of small twigs and young limbs. After some careful searching, he found a suitable branch. In fact it was probably his only hope, because it was the last branch that looked as if it would be strong enough to support him. He lay down on it, gripping it with his legs, and slowly slid himself away from the trunk and out over the loch.He looked down at the black waters, so still now, but he could picture the eels beneath the surface, lying in the stinking mud at the bottom, their wide snouts sticking out, waiting patiently. His one consolation was that if the fall didn’t kill him, it would at least knock him unconscious, and he would know nothing about sinking down through the dark waters towards their slimy mouths.He suddenly felt very lonely. If he fell, Kelly wouldn’t come, and nobody else knew he was here. He was utterly alone.loch: lakeconsolation:something that makes you feel betterOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

1.5 Danger! 25He forced his eyes away from the water towards the wall ahead of him. The branch was bending sharply now, and he found himself crawling downwards towards its tip, so that there was a very real danger of slipping forward and off the end. Best not to think about that.Slowly he shuffled along. The castle was six feet away, five . . . four . . . The branch was swaying alarmingly. He felt like he could tip off at any moment.He stopped.The wall was still three feet away . . . He didn’t move.He knew it wasn’t going to work. The branch wasn’t long enough. It was too thin. If he went any further, he would be past the point of no return. He’d be stuck. He glanced down, he was over the ground now, at the foot of the wall. That would be worse than hitting the water, eels or no eels. He closed his eyes and slowed his breathing, trying to calm the mounting panic.And then he heard it.First a creak. Like a loose tread on a staircase.And then a crack.He felt the branch shudder . . . It was splitting.1 In your notebook:a list the dangers and problems that the main character faces b note down how you think James feelsc write down the six most exciting sentences in the story. Find a partner and compare your ideas. Do you agree?2 Imagine you are making a film based on Silverfin. Create a storyboard of six images that show the most important parts of the story. Choose your images carefully – which ones would help to create a feeling of suspense?Key wordstoryboard: a series of drawings or images showing the planned order of images in frames (in films and television)mounting: getting biggertread: the surface of a step or stairOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

261 AdventureLanguage focusTo create excitement in suspense stories, writers often use verbs that suggest movement and power. In the first paragraph of Silverfin, there are lots of ‘action’ verbs, including struggled, gripping and slid. These powerful verbs create excitement in the story, helping the reader imagine the movement and danger that the character is experiencing. Verbs build intensity, so choosing a powerful verb like struggled is often more effective in creating excitement than the choice of adjective.Reading tipWhen exploring the effect of sentence types, remember to think about the specific effect they create. For example, short sentences do not always create excitement; sometimes they are used to convey anger or even humour.3 Look again at the extract from Silverfin. Write a paragraph explaining how the writer uses powerful verbs to create excitement. Find your own examples and comment on their effect.4 Writers use many techniques to create excitement. For example, they may use short sentences at the moment of greatest drama, or they might use a single sentence paragraph. Look at the short sentences in the last 13 lines of the extract (from He stopped). In pairs, discuss which is the most exciting short sentence and why. Make a note of your opinions.5 Writers can use punctuation to create effects. In the extract, ellipsis is used at moments of drama. For example, in paragraph 5, the narrator states:The castle was six feet away, five . . . four . . . The branch was swayingalarmingly.Here the ellipsis emphasises the tension, as if the character and the reader are holding their breath as the main character edges along the branch.Find one other example of ellipsis from the extract and write a sentence explaining its effect.6 Look again at the extract from Silverfin. Write a paragraph explaining how the writer creates suspense through his choice of language, punctuation and sentence types. You should comment on:• powerful verbs• short sentences• ellipsis• any other aspects of language that help to create suspense.Key wordshumour: when things are funny, or things that are funny ellipsis: a set of three dots ( . . . ) used to indicate that words have been left outOriginal material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

27 1.6 Creating suspenseGetting startedRemind yourself of the typical events of adventure stories from Sessions 1.1 and 1.2. Which events in this type of story are used to build suspense? 1.6 Creating suspenseIn this session, you will:• use planning techniques for a piece of narrative writing• explore what makes a successful opening to a story • write and edit a narrative text.1 You are going to plan part of a story that contains suspense. Make notes on the following questions:• Who will your main character be? • Where is the story set?• What are they trying to do or achieve in the story?• What dangers do they face?Summary checklistI can comment on the features of suspense stories.I can describe the effects of language and grammatical choices.I can read a story aloud with expression.7 Using your knowledge of the way the text has been written, read the extract aloud to a partner. As you read, focus on expressing the excitement. Work out:• which words and phrases you will emphasise• how loud or soft your voice will be at various points• how long you will pause when ellipsis is used• when you will slow down or speed up your reading to create excitement.Speaking tipWhen performing a story aloud, always plan how you will emphasise certain words. When actors perform scripts, they spend time considering how they will speak certain phrases and where they will pause. Use a pencil to make notes on the story to help you plan. Key wordscript: the words in a play, film, etc.Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

1 Adventure28If you are finding it difficult to start, think about these situations:• a character who is rowing across a wide river when a storm happens• a character who is trying to escape from his kidnappers.Or use the picture below to help you.2 The opening sentences of a story are very important. They must provide the reader with information – either character, setting or situation. They must also show an element of mystery, danger or humour to engage the reader’s interest. Compare these two story openings. In pairs, discuss why the second opening is more effective than the first.3 Think carefully about your story opening. How can you capture your reader’s attention straight away? Write some opening sentences and show them to a partner. Share your opinions.4 Write the story that you have planned. You do not have to write the complete story – you could stop at a dramatic moment like Silverfin. Remember to:• build suspense as the story develops• try to make your reader feel concerned about your character• use appropriate punctuation, such as ellipses • use known spelling patterns to spell words correctly• use language precisely to show your ideas• use paragraphs and give your story an appropriate title• make sure your handwriting is clear and neat.A I was walking along a cliff at night. It was very dark and I thought that I might fall off.B Absolute darkness. I’d never been this scared before. Slowly, I edged along the cliff.Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

29 1.6 Creating suspenseHere is a sample answer to this task:I stood on the cliff face and looked down at the furious, boiling waters – I’d dreamt of this moment. The air. The sea. The freedom. My dreams of liberty and closeness to nature had led me here. Further along this cliff face was a place of wonder: it was a cave rumoured to contain strange, beautiful creatures that only a few humans had seen. But to get to the cave, I would need to leap into the ocean, then climb up to the cave. This was no easy thing. People had died attempting such a feat – it was madness.All my life I had avoided danger. But sometimes, life has a strange way of opening your eyes. The ocean looked angry; the ocean was certain death.The air is so fresh here. There is a comfort in the hypnotic noise of the seabirds, calling you into possible destruction. I breathed deeply, controlling my fear, reminding myself of the reason I was here. Even with my eyes shut, I could see the vivid colours of sea and sky. The sea was beautiful. This will be a symbolic fall. I may not make it.Beneath my feet, I felt the grainy reassurance of the rocks. Was the wind on my side? Or was it the enemy? On the horizon, a cruise ship moved slowly. The waters swirled invitingly.An unseen force propelled me towards the water . . . I didn’t want this any more but found myself falling.For seconds, I was a bird. Beneath me, the ocean beckoned.This was it.Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

301 Adventure5 Discuss the sample answer in pairs. a What do you think is good about it? b What ideas or techniques could you use in your own story?c Look how punctuation devices such as the dash, ellipsis, colon and semi-colon have been used. How do they help with meaning?6 Now discuss the voice of the text. What sort of personality does the narrator have? Make a list of phrases the writer uses to convey the narrator’s personality.Summary checklistI can plan a piece of narrative writing.I can identify what makes a successful opening to a story.I can write a narrative piece and edit my work to improve it.Once you have finished your story, read it back to yourself.• How well do you think you planned your story?• If you did this activity again, what would you change about the planning process?• What advice would you give to someone who wants to write a suspense story?Writing tipRedrafting your work can be timeconsuming, but it is essential. When you redraft, start by considering structure. Is the order right or does it need rearranging? Do some parts need more explanation? Then turn your attention to the detail, such as word choices, ensuring you have used strategies you know to spell words correctly.Peer assessment• Ask a friend to read your story aloud. Listen carefully to how it sounds. Which bits do you both think are the best? Which bits need redrafting?• Use a highlighter to identify paragraphs you want to improve. Help each other with ideas and phrases. Remember to spellcheck your work.• Look at the effectiveness and range of punctuation you have used. Can you use some of these when you redraft your work?Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE

31Check your progressAnswer the following questions to check what you have learnt in this unit.1 What are the key features of adventure stories? Give some examples of events that happen in adventure stories.2 What type of characters do you find in adventure stories? What happens to them? 3 List three ways you can keep an audience interested when relating an anecdote.4 Using examples, explain what alliteration and sibilance are. 5 List three ways of creating suspense in a story.6 Explain what you have learnt about planning, writing and redrafting your writing. Write a list of tips for future students about improving writing.ProjectIn groups, you are going to design and present some ideas for a specific type of adventure story: the superhero story. Superhero stories are about characters who have extraordinary powers. They are often normal people who secretly change into superheroes in order to help people in need. Using the information in this unit as well as extra research:• devise a new superhero• write a brief character profile• decide details about the world they live in – is it recognisable as your own world, or is it a different type of place?• describe a costume they might wear• draw the bad characters that the superhero will encounter• plan some storylines.Present your ideas as a group. You could use pictures and artwork to explain your ideas.Start by:• noting down the names of any superhero books, comics and films you know• discussing some initial ideas with your group• working out who will do what in your group• planning ways to present your work.Original material © Cambridge University Press 2020. This material is not final and is subject to further changes prior to publication. We are working with Cambridge Assessment International Education towards endorsement of this title.SAMPLE