My year as a 'Cross Phase Leader' Part 2

Now I had managed to communicate with the primary schools and agree to work with them, what did I actually do?

As I have already said, the main reason my job existed was to push our school and make it a more attractive proposition for Year 7.  I may have managed to soften this objective for my own sense of well-being into one that was primarily about helping students, but I still had to deliver for the powers-that-be.  This meant that any time working with Year 6 was essentially time wasted, as they had already made their minds up.  Far better to work with Years 4 and 5, as the decision was still pending for them, and therefore there was plenty of opportunity to get them to consider our little school.  The trouble was, the primaries were very keen indeed for me to work with their Year 6s - the looming SATs were clearly on their minds, and my offer of helping with 'reading and writing' was very attractive.  For the first two terms of this outreach (Christmas and January terms), Year 6 was all I was offered.

Aware that it was unhelpful to my main objective, I took the work anyway.  I reasoned that many of the students I was going to work with were to end up at my school anyway, so it would aid transition (especially useful now I am Head of English, so quite a useful 'familiar face' for them to have - though I didn't know this at the time).  It was probably going to help raise my profile within the schools too - allowing me to work with the Year 4 and 5 students later on in the year.  So I planned some a detailed writing unit for these Year 6 classes.  I had them once a week, for around an hour, for a whole term.  This meant I needed seven full lessons that really engaged them with writing (the skill their teachers had identified as being weaker).  I created a unit based loosely on The Demon Headmaster and Boy, by Roald Dahl: the concept was a short story, with character development and clear structuring, about a new headteacher who turned out to be 'odd' in some way.  Each week focused on a different skill, utilising 'slow writing' techniques a great deal: cohesion one week, detail and imagery the next, punctuation a third and so on, until the students were ready to create their delightful little tales.  With a clutch of level 5 and 6 workunder their belts, the students were happy to have made progress, and the primaries were more willing to let me work with students from further down the school.

I did some reading work, again based on Boy, with some Year 5s, focusing on the skill of inference and evidence gathering.  Year 4 students worked with me on a writing topic based on the Titanic, focused on finding the 'joy' in writing and developing vocabulary and simile creation.  Some Year 3 students, and goodness me they were tiny and quite frightening at times (they are so very different even to Year 7s), worked on a speaking and listening topic, again based on the Titanic (stick with what you know, that's my motto!) where they created really quite startlingly professional TV news reports on the sinking.  Jabberwocky was a focus for another group of Year 5s, where we worked on creating meaning through language, ensuring every word counted.  All of these units were around one hour a week for about a term, and I think in total I must have worked with over one hundred students from around the town.

However, there was a problem.  I was able to collect work, mark it and share it with them, but I had no idea about progress over time.  It was difficult to liaise with their class teachers, so by the end of the year I was aware that I had no idea - really no idea at all - whether I had had a positive impact on their progress.  It dawns on me that this is likely the biggest downfall to the programme.  As a teacher who is very much led by marking and then developing work, this was hard to handle; in the end I had to content myself with the fact that I was very unlikely to be doing educational harm to these students, and to liaise with the primaries over their SATs results whenever I could.  As these things should always end with an evaluative note, checking progress would be an area of development for the next time I make it to the primaries.

So, my year was over.  I had managed to get myself promoted to Head of Department by May, so it is clear to me that I will be spending far less time in the primary schools in 2014-15.  Cross-phase standardisation, moderation and joint planning had taken baby steps, but were by no means fully implemented, and I had worked with more Year 6s than I'd wanted to.  On the other hand, the units of work had been enthusiastically received, and communication routes had been set up between the schools, and we saw a raise of around 25 students entering for Year 7, so all in all, it wasn't a bad year.

My year as a 'Cross Phase Leader' Part 1

Back in May 2013, I was given a promotion.  It was a Second in Department job of sorts, having responsibility for KS3 curriculum and assessment, and a 50% timetable.  This seems very generous, but I was expected to spend that time doing something else entirely - working with primary schools.

Schools try many different methods of communicating with their partner primary schools, and can spend a lot of money, or very little.  The importance of such work is generally accepted, though it is often hard to pin down exactly what benefits we are expecting to reap from transition efforts.  Often it's a simple case of attracting Year 4 and 5 students to our schools - advertising the quality of the place to the main consumers; sometimes it's a worthy desire to help the students cope with the terrifying change of scenery and routine; occasionally, and I whisper it, it can be through a need to tick the appropriate box.

Happily, in my case, the first two reasons were paramount.  We are a small school, struggling in a very competitive area with two other, much longer-established secondaries.  The work of the four Cross Phase Leaders (English, Maths, STEM and PE) was in many ways simple: attract more students to our school, to help keep it viable.  However, this is a desperately 'private sector' approach, and clashed with my woolly lefty personality of education being for the kids, so I had to smother this core concern in a more Pete-friendly smock of 'helping students'.  I reasoned we in the English department could learn a lot from our peers in the primaries, and could engage in very practical issues such as cross-phase moderation, standardisation and possibly even planning.  I also wanted to take my own particular brand of teaching down to the Year 4s and 5s, hopefully working with them on projects that they wouldn't normally get involved in.  In short, I was trying to achieve quite a lot.

Once September 2013 came along, the order of the day was networking.  It's astonishing how few contacts we had with the primary schools.  We could easily get in touch with the heads of our main 'feeder' schools, of course...but what about the other schools - the ones we were interested in, as they would enlarge our catchment?  By the end of the year I had made contact with, and worked with, about 70% of the town's primaries, but what a hell of a job this was.  The break-through came in the form of the town's primary Literacy meetings which take place three times a year.  These have a teacher from every primary, and they spend time discussing curriculum changes and SATS.  Once I had infiltrated this - actually inviting them to have their January meeting in our school library - the rest was easy.  I chaired the meeting, chatted to everyone, got their emails and that was that: easy access to every primary.  Having a key contact in every school is very useful - it may be their Literacy Co-ordinator, their deputy head, or a class teacher, but it doesn't matter.  What you need is an ally who will organise things at their end, spread the word and act as a point of contact whenever you want to work with the students at their school.

Before starting the job, we CPLs had been warned of the difficulty of communicating with primary colleagues.  We were told horror stories of teachers who never check emails, or who are actively hostile to any secondary teachers who dare to enter their domain.  I was expecting to meet endless walls of resistance, but what I found in reality were warm welcomes and eager requests for help.  Most of the primary colleagues were incredibly keen to let me work with their students on 'different' work.  Any extra input on reading or writing skills was instantly snapped up, to the point where it became difficult for me to juggle everything.  The 50% timetable began to look too heavy.  In truth, I was astonished at how willing primary teachers were to get me in front of their students; but then I considered - if someone was willing to drop in and teach my Year 10 class once a week, freeing me up, I'd jump at the chance too.

The horror stories had been over-elaborate and exaggerated.  The job of working with multiple primaries across town seemed to be a little more achievable.

Part 2 will be about what I actually did in the primaries.

Units of work with overarching narratives

The council had decided it.  The beautiful village needed a bypass, and quickly.  Deaths on the main road had been occurring all too often, and it was time to act.  Three potential routes were established, and the villagers quickly decided on the route best for them, their families and their businesses.  Just as the contest between the routes  was getting fierce, the local vicar was killed in a hit and run incident.  There were rumours of murder…

So goes the storyline of a KS3 transactional writing/speaking unit of work that I have taught for several years.  Units of work that focus on the writing of news articles, letters, speeches and the like can be incredibly boring to teach and to learn from.  Endless lessons of writing different, meaningless letters to imaginary people can really wear down the motivation of even the happiest students, and are anathema to those who find school to be an annoyance.  I just couldn’t bear to put my students through this hell, so a few years back I trawled my imagination and dredged my memory for some way of making a unit of this type fun.  Year 8 English lessons from my own past swam into focus: a village, that every student is a ‘resident’ of, with careers, social anxieties, relationships, friendships and deep seated rivalries.  This was a unit of work I remembered well, delivered by my teacher of the time, Mr Fox.  And it was certainly memorable.  I barely remember any peers (apart from close friends) from my school days, but I certainly remember us all in the drama studio, acting our parts with gusto, arguing and back-biting about the pros and cons of Bypass Route A.  Happy days indeed, so it made eminent sense to steal this unit, give it some more flourishes and develop it for a full transactional writing unit.

The Village - drawn on MS Paint (I'm a masochist).

The reasons this unit work so well are two-fold.  One, it embeds character development into the scheme, giving the students open-ended opportunity to flesh out their villager, giving them traits, back-stories, motives and relationships.  This leads to very rich and detailed Speaking and Listening activities, and gives them an opportunity to add a very strong voice to their writing.  Two, it has an over-arching narrative: a story, that gives all of the written and spoken tasks a distinct purpose and flavour.  Yes, it is a fiction, and I imagine some would argue that transactional writing in a world of fiction is meaningless.  I would take issue with this, as the fictional world is grounded in reality and deals with real issues, but still: there is ample room to create narrative units entirely based in reality.

So, the story of the village and its problems provides a backdrop to a range of written and spoken tasks.  Travel guides or Wikipedia entries can be written for the village itself (writing to inform/describe for different audiences); character biographies can be drafted (writing to entertain and develop character); newspaper reports and editorials can be written, with a focus on the difference between certain newspaper types/audiences; even obituaries and epitaphs, for the poor dead vicar, can be written – it sounds macabre but the students enjoy trying this formal and prescriptive style for a change.  Spoken tasks can include speeches from characters about their opposition to council plans; drama activities based around protests and village hall meetings; full on debates, even.  There’s plenty of scope for elongating or shortening the unit as you see fit.  I found myself adding a sub-plot about finding old manuscripts in the ancient cottage - this involved the class decoding and creating a cohesive storyline from a differentiated range of renaissance-18th Century text excerpts.  This acted as a pleasant taster for the next term's unit of work - Twelfth Night.

The students love it, of course.  It’s very engaging, but obviously this isn’t the be-all and end-all.  They learn an awful lot, too.  With their defenses down, they absorb the skills and knowledge quickly, as it all makes more sense, with their writing linked to a central narrative.  It all means something, and adds to the overall story.  They can follow their tasks through, recognising that writing a sub-par news report on the Vicar’s death would show a lack of respect, and would not be print-worthy.  They make their editorials truly powerful and persuasive, as they really want a certain by-pass route to be successful.  Thus, their learning and practice of technical aspects, such as punctuation, leap in quality.  It’s astonishing how ‘real’ the whole thing can become, to the point where the students end up leading the narrative, taking it to strange new places.  For example, we ended up doing some creative writing based on animals being displaced from their homes.  A pupil had chanced upon an old episode of Animals of Farthing Wood and wanted to use it.  And it worked brilliantly, with excerpts from Wind in the Willows analysed, and the whole theory and technique of anthropomorphism explored.

Creating story-driven schemes is time-consuming, but very rewarding.  I aim to storify all of my KS3 units in this way - I'm currently sorting out a First World War unit where the progress of the war is tracked by poetry and the biographies of Sassoon and Owen - and I believe that this will create English lessons that will be remembered for a long time.  There are limits, of course.  It would be unfeasible to create a narrative line in some units, I'm sure - but be imaginative.  Media units or transactional writing units can always be given a narrative (I have a Yr 9 writing unit built around the story of a decaying amusement park), and poetry units should be given some kind of central focus or tenet.  Novel and play units have their own narrative, of course, and I feel any persuasive module, either spoken or written, should have a story or major project at its heart.  

My Teaching Groundrule

A week into the new term and I'm feeling more positive about the whole teaching thing.  More effort put into my planning (see an earlier post for my resolutions!), successes with my Punctuation Pets idea and rapid student progress have all made me a happy camper this week.  As such, I'm going to have a think about what my fundamental teaching groundrules are.  I've never really thought about it before, let alone codified it, so this should be an intriguing process.  By 'groundrules' I mean the central tenets that I seem to adhere to, and a reflection of all the reflection and improvements I've made in the last 5 years.  It all seems to boil down to one particular rule, so here it is: number 1 of 1:

See the classroom, and lesson, from the students' point-of-view.

I think this is a fundamental thing, and it's a rule that I live by day in, day out.  Perhaps it stems from Atticus Finch, perhaps it doesn't.  All I know is that I cannot plan, deliver or reflect on a lesson without placing myself into the shoes of a student who had to endure it.  They are our customers, in the broadest sense of the word, and their experience matters.  I am under no illusions, though.  I know that their viewpoint can be flawed, or short-sighted, and there is more to this than simply making lessons fun or silly.  No, this extends into really focusing on how they will be, are, or have been learning.  How will they react to this PowerPoint slide?  Will the colours aid their understanding? Should I explain this concept in three different ways, over the lesson, using different analogies each time for different students?  Can they understand this concept without certain key vocabulary?  Is there any way I can exemplify this skill in a way they can grasp and enjoy?  Above all, how can I make their learning easier, more enjoyable and more seamless?  These questions are always on my mind, and I am forever wondering how they are likely to react to what I'm giving them.  I think this is absolutely vital, and would recommend this simple technique to anyone.

It also leads to removing all busywork from lessons.  Occasionally I will set work like this, especially with KS3, but it always makes me feel awful afterwards, like gorging on a pizza covered in chocolate and chorizo.  We've all had days where we're ill and lack the energy to bounce around the room like a crazed educating frog; typically we react to these days by giving them work where time-consumption seems to be the main factor.  But equally, we've all felt that hollow sense of worthlessness that stems from this work.  As I can't abide this feeling, I avoid busy work like the plague, and ruthlessly over-analyse any set task in a lesson just in case it has elements of busy work within it.  This can be more a curse than a blessing at times, but it seems to work well.

Behaviour management also connects with this.  Have you ever told a student off, knowing full well you're being unreasonable and probably a bit of a prick?  I certainly have, and can't face it.  I have to know that I'm being totally fair, otherwise I find myself blustering like a moron and, viewing myself briefly from their point of view, I realise what an insufferably foolish goon I look.  Teaching two boy-only groups has taught me that being consistent, reasonable and willing to let things go is the only way to succeed with just about any child, let alone misanthropic male teens.  These days I always ask myself, am I actually correct? Have I fully explained why there is a problem? Have I made it crystal clear what the potential repercussions will be?  These self-checks tend to work pretty well, and I hope I don't come across as a frustrated, bellowing cow-person anymore.

Maybe it's an obvious thing, but I know I was never taught to look at a class from the customer's viewpoint during my PGCE.  I think it's very helpful, and reckon that it keeps me sane in an increasingly insane educational world.

Minecraft - a revolution for students Part 1

I play Minecraft.  There, I've admitted it.  I play it because it's fun, cheap, provides endless leisure, and allows me to utilise my imagination in a different way to writing.  I've been playing it for around a year now, endlessly tinkering with my own personalised world, adding buildings, bridges, churches, castles, underground lairs - whatever I can think of.  After a stressful day's teaching, an hour in this electronic sandpit can wash away all my troubles, allowing me to get on with life with a bounce in my step.

A market square in my map - all built by me out of cubes.

But though there are a huge number of adult players (it was designed by, and for, adults), it is the school age kids that have really run with it.  As you may have noticed, corridors and classrooms are now rife with talk about creepers (baddies that explode, destroying your handiwork), redstone (the Minecraft equivalent of electronic wire) and diamonds (the ultimate find when mining, deep underground).  and the thing is, these guys can play.  A student in my tutor group was telling me how he'd designed a working calculator using the redstone - a hugely impressive feat, and one that shows that he has somehow taught himself the rudiments of electronics, using a video game where you can ride pigs.  Another student was talking about traps he'd built, using this redstone - floors that disappear, hurling you into a lava pit, and doors that require a code to open.  I understand that to many of you this may mean nothing, but believe me, it's the equivalent of a 12 year old confiding that they have constructed similar things in real life - it's that complicated.  They can certainly do things on that game that I can't, and I'm quite capable on games.

So, students are learning about electronic circuits, logic gates, even electronic memory storing.  They are also learning about architecture.  I overheard some older students talking about their construction projects, and discussing the merits of different column shapes, or roof pitches.  I mean, when the hell did that get cool? And here's the final thing: though the game is obviously the preserve of the geeky, all other sorts play it too.  Girls and boys, geek and popular kid.  In my boys Yr 11 class, all but one student plays the game.  These are tough, naughty and tricky lads, but they all love to talk about mods, texture packs and blowing stuff up with in-game TNT.  The single lad that doesn't play tries to mock the game, but can't manage it, due to the weight of popular opinion.  I give him a week until he gets on-board.

I haven't yet mentioned the thriving modification (modding) community, mostly children, and those who draw and paint their own texture packs.  This game is a genuine phenomenon, and I feel we need to make some use of it.  But it will require imagination.

English and Boys-Only Groups.

When I moved to my current school, I was given an all-boys Yr 10 class.  They were the disinterested, naughty, often hostile students that had been a bit of a nightmare in Yr 9, plus a few quiet lads who'd flown under the radar for three years.  I was the only male teacher in the English department, and so it was believed that I may have half-a-chance of getting these students on track, and maybe even wring a few grades out of them.

A year and a half on, and these boys are in the middle of year 11.  They are benign, funny, talkative, opinionated and often hard-working, and I wouldn't swap this group with any other.  It seems to have worked.  They are mostly on course for their targets, or above; their behaviour is generally very good indeed, and their attitude to learning is incredibly positive.  I think biting the bullet, and including gender in your differentiation to this quite extreme extent is a good thing, and not to be shied away from.  So, what are the benefits of this segregation?


1. No distractions.  This is the obvious one, and its been debated to death in the larger debate about segregated schools.  But within a mixed school, taking the boys away from the 'charms' of the female students seems to have a positive impact on their attention span and their learning.  They have no one to show off too, and as boys are usually pretty intolerant of idiotic bravado when women aren't around, this can become a positive cycle.  It helps if the teacher leads the way on this, highlighting foolish behaviour by labelling it using the student's lingo ('weak', describing poor quality humour, has gone down a treat!).  They latch onto this pretty quickly and the class benefits immensely from it.

2. Toilet humour.  There is no better way to get a gaggle of malcontented boys on side than making jokes about (and sometimes actually demonstrating) farting.  With no girls in the room to temper such grotesque behaviour, the potty-based 'banter' can reach disturbing new highs, with the level of trust within the room increasing with every foul joke.  Soon, every student feels comfortable in the classroom, knowing that banter is redirected from personal attack, to general 'blokish' silliness.  The teacher has to set boundaries, of course, and they will be stretched; persevere, though, and you can end up with the class wrapped around your little finger.

3. Similar interests.  I'm not going to say that all boys share the same interests, but it is reasonable to suggest that many discontented young men, around year 10/11, do have some interests in common.  In a group such as this, these interests can be made full advantage of.  Video games, films, football - these can all be used as starting points into modules, or even assessments themselves.  Recently, my Yr 11s completed a GCSE S&L discussion based around the future of video games, and it was fantastic!  Wonderful debates abounded, and lots of marks were awarded, as they actually wanted to listen to each others' ideas.  We have a 5-minute chat at the start of every lesson, before the starter, where we share our experiences - films we've watched over the weekend, Saturdays' football scores, video game highlights.  This leads to bonding and a sense of community, and before long, everyone's pushing in the same direction.

4. Camaraderie.  My group have really achieved this - they are 'all in this together', and are very happy to help each other out and offer new ideas to the lesson.  This could happen in any group, of course, but I feel that it has happened more quickly, and more strongly than in mixed groups, as the boys feel special.  They know they are in a boys only group, and a low one at that, and this has brought them together.

So, get those troubled boys together, add a dollop of poo-humour, chat about Grand Theft Auto, and then sneak in a bit of learning every now and then.  The results can be very good indeed.