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18563346 Gabrielle Magee 102087 Professional Task

Annotated Text: The Wolves in the Walls by Neil Gaimon and David McKean (Full citation in rationale)

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25

22

26

Lesson Plan One:

What is being taught in this lesson?
This lesson is designed to begin the process of enhancing visual literacy for the purposes for analysing how atmosphere
is created using visual techniques, such as colour saturation and hue, gaze, shots and angles and symbols. In this lesson, I
will focus predominantly on defining these aspects and their functions for students, for use in further lessons. This
lesson will also introduce the unit topic of picture books and the concept of atmosphere.
Why am I teaching it?
This lesson plan is intended for Stage 4 and is effective in achieving several syllabus content requirements. It connects
with two elements of Outcome 1 EN4-1A. Students explore and appreciate the aesthetic qualities in their own and
other texts and the power of language to communicate information, ideas, feelings and viewpoints (BOSTES, 2014, 116)
by engaging in appreciation of artistic expression (BOSTES, 2014, 185) through analysis of emotive artistic illustration
in picture books. This lesson also allows students to apply increasing knowledge of vocabulary, text structures and
language features to understand the content of texts, as students are taught new vocabulary relating to visual language
and analysis, and are allowed to utilise this vocabulary throughout the lesson.
How am I teaching it?
Students are taught about the concept of atmosphere as a feeling created by the text through use of written and
visual language. Students are given examples of atmosphere, including uplifting, menacing, or depressing. The teacher
then explains that picture books are unique in their ability to use visual language to create atmosphere and to support
written text. Students are then asked to present their initial reactions to a number of picture book images, and are asked
to convey their thoughts on the atmosphere within those images. Then, students are asked why the images appeared to
have this particular atmosphere. This will lead into a discussion about visual language, which will begin the process of
identifying and explaining various elements of visual language, such as colour saturation and hue, gaze, shots and angles
and symbols. Students will begin with an uninformed analysis of aesthetics of picture book illustrations, before gaining a
clearer insight into the vocabulary and language features involved in analysis of visual language.
How does it relate to my reading in this unit?

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This lesson plan takes reference from Gannon, Howie and Sawyer1, who advocate picture books as useful resources for
teaching English because they are simple texts that can be used to convey complex ideas. In the case of this lesson,
the atmospheres portrayed have to be explicit enough to influence young children, but the techniques that are used are
complex enough to provide challenging analysis opportunities for secondary students. This allows for great inclusivity
within the classroom as both skilled and reluctant readers have opportunity for engagement.
Time
Activities
5
Class lines up, enters the classroom and take seats.
Teacher calls roll.

10

15
20
25

30
35

40
45
50
55

60

Teacher defines atmosphere for students as

emotions or feelings an author conveys to his readers
through description of objects and settings2 and has
them copy definition into workbooks. Students can ask
questions to gain a better understanding of the
concept.
Students are shown a PowerPoint with covers of
picture books that demonstrate several different
examples of atmosphere, including uplifting, menacing
and depressing. Covers include Tight Times by
Barbara Hazen3, I Call It Sky by Will C Howell4 and
The Ghost Eye Tree by Bill Martin5. Students then
engage in Think-Share-Pair, determining the
atmospheres of the texts,, discussing this with a
partner and then sharing with the class.
Whole class discussion of why certain emotions are
evoked by the texts. Create a mind-map on the
whiteboard of relevant ideas i.e. colour, angle, shadow
etc.
Teacher writes notes on the board about visual
language techniques used to create atmosphere:
Colour hue, tone and saturation
Proportion
Gaze
Light and Shadow
Shots and angles
Symbols
Shape and Line
While students are writing, teacher hands out
numbered cards with different visual examples of each
technique on them (Resource 2). When each student
receives a card, they must attempt to match the card
to a technique. At the end of the activity, the teacher
will ask the class which numbered card corresponds
with each technique.
Students return cards and put away books. Explain if
they have any questions about the topic this is their
opportunity to ask.

Organisation
Teacher: Calling roll.
Students: Lining up, entering classroom and taking
seats.
Resources: Roll.
Teacher: Writing definition on the board and
answering any questions students
Students: Copying definition into workbooks and
asking questions.
Resources: Whiteboard and whiteboard markers.
Teacher: Showing Powerpoint and asking students to
think about the feelings evoked by the images.
Monitor discussion then call for volunteers.
Students: Watching Powerpoint, doing Think-SharePair activity.
Resources: Powerpoint of picture book covers that
demonstrate different atmospheres (Resource 1)

Teacher: Creating a mind-map using student

suggestions. Scaffolding with suggestions.
Students: Sharing ideas about atmosphere.
Resources: Whiteboard and markers.
Teacher: Writing notes on board, handing out
technique cards and questioning the class as a whole
on visual techniques.
Students: Copying notes into workbooks, passing
around technique cards and attempting to match
them to technique notes.
Resources: Visual Technique Example Cards.

Teacher: Collecting cards, answering students

questions, dismissing class
Students: Packing away workbooks etc.

Gannon, S., Howie, M., & Sawyer, W. (2009). Charged with meaning. Putney, N.S.W.: Phoenix Education. 105-106.
Childs, P. & Fowler, R. (2006). The Routledge dictionary of literary terms. London: Routledge.28.
3
Burton, L. and Hazen, B. (2001). Tight times. Lincoln, NE: GPN Educational Media.
4
Howell, W. and Ward, J. (1999). I call it sky. New York: Walker and Co.
5
Martin, B., Archambault, J. and Rand, T. (1985). The ghost-eye tree. New York: Holt, Rinehart and Winston.
2

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Resource 1: Picture Book Cover Powerpoint

1.
2.

3.
4.

5.

6.

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Resource 2: Visual Technique Example Cards (Will be presented in A4 size): Teacher Notes in Red

1. Colour

2. Composition

3. Light and Shadows

4. Gaze

5. Shots
6. Proportion

8. Symbols
7. Angle

Images Sourced by Gabrielle Magee from Google Images

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Lesson Plan Two:
What is being taught in this lesson?
This lesson plan expands upon the knowledge of visual techniques taught in the previous lesson. Connections between
written text and visual text within a picture book will be briefly discussed, for the purpose of increasing student
awareness of how visual literacy techniques in picture books enhance their overall meaning, particularly in terms of
atmosphere. This lesson will also focus on the process of student analysis of atmosphere in picture books using written
and visual text. The atmosphere focussed on in this lesson and in Lesson Plan Three will be horror.
Why am I teaching it?
This lesson plan also responds to Stage 4 Outcome 1 EN4-1A, asking students to explore and explain the ways authors
combine different modes and media in creating texts, and the impact of these choices on the viewer/listener(BOSTES,
2014, 117). The lesson achieves this outcome by examine how meaning, in particular atmosphere, is enhanced and
altered by the addition of images. This lesson will also assess students ability to respond to a wide range of visual texts,
e.g. picture books, graphic novels and films, using a range of appropriate techniques and metalanguage, an element of
Outcome 3, (BOSTES, 2014, 139), by asking students to read, view and decode texts and using the correct metalanguage
for analysing of visual texts i.e. salience, hue, vectors etc.
How am I teaching it?
This lesson will utilise a first impression task involving the reading of a picture book text The Wolves in the Walls
without displaying any illustrations. Students will then be asked to respond with impressions of atmosphere, i.e. Was
the story frightening, amusing, saddening etc.?. After first impressions have been noted, the students will then be
shown the illustrations of the picture book, and asked if the atmosphere is altered after viewing the illustrations. This
will lead to a discussion of the combination of written and visual text. Students will then have to undertake an analysis of
a picture book text in groups, and present a review of the text to the class. Students must address relationship between
text and visuals.
How does it relate to my reading in this unit?
The Artful English Teacher6 advocates a number of collaborative learning strategies, including Jigsaw strategy. Gannon,
Howie and Sawyer also advocate small group work in an English classroom, as a means of applied learning7. Students are
able to share and apply new skills and concepts in a space with others of a similar level of awareness, forcing them to
actively participate rather than passively listen.
Time
Activities
Organisation
5
Class lines up, enters the classroom and
Teacher: Calling roll.
take seats. Teacher calls roll.
Students: Lining up, entering classroom and taking seats.
Resources: Roll.
10
Teacher hands out Wolves in the Walls
Teacher: Handing out reading worksheet and selecting
reading worksheet, and has selected
and supervising readers.
15
students read sections of text aloud.
Student: Taking turns reading sections of text from
Students then fill in the first side of the
worksheet.
worksheet.
Resources: Wolves in the Walls Reading Worksheet
(Resource 3)
20
Show digital book of The Wolves in the
Teacher: Showing digital picture book, supervising
Walls on the smartboard or overhead
worksheet activity.
25
projector. Have students reflect on images
Student:
before filling out the second side of the
Resource: Digital picture book The Wolves in the Walls
sheet.
30
Jigsaw Exercise: Divide the class into groups Teacher: Grouping, monitoring and scaffolding. Walk
of five. Divide techniques into five parts;
amongst groups and assist them, as some concepts may
35
colour, proportion, gaze, light and shadow
be difficult i.e. what is the central colour of this image?
40
and
symbols,
shape
and
line
and
shots
and
Red? So what does red make us feel? In yesterdays
45
angles. Give each group access to a digital
lesson we said it was anger, excitement or danger? So
or print copy of the text. Assign each
what do you think the author is trying to make us feel by
student a part, i.e. proportion and gaze.
using it on this page?
6

Boas, E. & Ganis, S. (2015). The Artful English Teacher. Kensington Gardens: Australian Association for the Teaching of English.
35.
7
Gannon, S., Howie, M., & Sawyer, W. (2009). Charged with meaning. Putney, N.S.W.: Phoenix Education. 199-200.

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50
55

60

Have students read book together and have

each individual look for an example of their
part, and more specifically, how it creates a
horror or fearful atmosphere. Form expert
groups based on techniques, have students
discuss and share their ideas in these expert
groups before returning to their original
group. There, they will take turns to share
what they have learned.
Go through the digital picture book on the
smartboard or projector again, and on each
page, ask students to volunteer techniques
they have identified. (Not all pages have
clear techniques, still ask for volunteers for
these pages as atmosphere is subjective and
students may have recognised something
that the teacher missed).
Pack up, have students hand in worksheets
and printed books if they have been given
out, and ask students if they have any
questions about the topic.

Resource 3: Wolves in the Walls Worksheet.

Students: Reading and discussing texts in different Jigsaw

groups.
Resources: A digital copy of Wolves in the Walls that
can be accessed on student devices and/or five or more
printed copies of text.

Teacher: Projecting digital picture book, going through it

and asking students to volunteer the techniques that
they have discussed.
Students: Looking for techniques that they have
previously identified in the digital picture book and
volunteering information.
Resources: Digital picture book.
Teacher: Collecting resources, calling for and answering
student questions.
Students: Handing in resources and packing up. Asking
questions about topic.

The Wolves in the Walls by Neil Gaiman and Dave McKean

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Lucy walked around the house. Inside the house everything was quiet. Her mother was putting homemade jam into pots.
Her father was out at his job, playing the tuba. Her brother was in the living room playing video games. Lucy heard noises.
The noises were coming from inside the walls. They were hustling and bustling noises. They were crinkling and crackling
noises. They were sneaking, creeping, crumbling noises.
Lucy knew what kinds of thinks make noises like that in the walls of big old houses and she went and told her mother.
There are wolves in the walls Lucy said to her mother. I can hear them. No said her mother, there are no wolves in
the walls. You must be hearing mice, I suppose. Wolves said Lucy. Im sure its not wolves, said her mother For you
know what they say...if the wolves come out of the walls, then its all over. Whats all over? asked Lucy. It, said her
mother, Its all over. Everybody knows that
Lucy picked up her pig-puppet doll, which shed had since she was a little, little baby. I dont think it sounds like mice,
she said to her pig puppet. In the middle of the night when everything was still, she heard clawing and gnawing, nibbling
and squabbling. She could hear the wolves in the walls, plotting their wolfish plots, hatching their wolfish schemes.
In the day, Lucy felt eyes upon her, watching her from the cracks and holes in the walls. They peeped through the eyes in
the paintings, she went to talk to her father, There are wolves in the walls she told him. I dont think there are,
poppet, he told her. You have an overactive imagination. Perhaps to the noises you heard come from rats. Sometimes
you get rats in big old houses like this. Its wolves, said Lucy, I feel them in my tummy. And the pig puppet thinks its
wolves as well Well, you can tell your puppetbegan her father, and then he said Why am I asking you to tell her
anything? Shes just a puppet. Lucy patter her pig-puppets head so she wouldnt be offended.

The wolves came out of walls. Oh no! shouted Lucys mother. The wolves are coming out of the walls! shouted Lucys
father. Its all over! shouted her brother as he fled down the stairs beside them. The family went out the back door and
into the garden. They huddled at the bottom of the garden that night. The lights were on in every room of their house.
Back in the house they knew the wolves were watching their television and eating food from the familys pantry and
dancing wolfish dances up the stairs and down again
We could go and live in the Arctic Circle said Lucys father, where the houses are made with walls of ice and snow and
theres nothing but polar bears and seals for hundreds of miles. When the wolves come out of the walls theres nothing
else you can do. Hmmmph! said Lucy. We must go and live in the Sahara Desert said her mother, whee the walls are
coloured tent silks and flap in the hot wind and theres nothing but camels and desert foxes for thousands of miles.
Bleaah! said Lucy. I think we should go and live in outer space, said her brother We could live in an orbiting space
station with metal walls and lights on them that blink and flash and nothing but foozles and squosscks for billions of
miles.
1. After reading this extract, what kind of atmosphere do you think the author is trying to create and why?

2. After seeing the complete picture book of The Wolves in the Walls, what kind of atmosphere do you think the
illustrator is trying the create and why

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Lesson Plan Three:
What is being taught in this lesson?
This lesson plan builds on the previous two lesson plans to teach students to utilise the horror atmosphere created
through visual literacy techniques to create a creative writing piece inspired by an image. This lesson has the potential
for differentiation, as students can chose images that have a very obvious visual atmosphere, or images that do not feel
horrific, and therefore atmosphere must be created entirely through written techniques.
Why am I teaching it?
This lesson is designed to achieve Outcome 1 EN4-1A, in particular content element understand and apply knowledge
of language forms and features. Students are given the opportunity to use increasingly sophisticated verbal, aural,
visual and/or written techniques, e.g. imagery, figures of speech, selective choice of vocabulary, rhythm, sound effects,
colour and design, to compose imaginative texts for pleasure, through understanding the concepts of visual language
as a means of creating atmosphere, and using them to compose a creative writing piece inspired by that atmosphere.
Students can demonstrate levels of sophistication through the writing prompts they chose, whether they take an image
with a very obvious atmosphere of horror or an image with a different atmosphere that they must then adapt using text.
How am I teaching it?
This lesson is based on Atwells mini-lesson theory, beginning with a teacher-student demonstration of how to write a
picture book using a book cover writing prompt. These will be book covers used in the first lesson, but all students must
create a horror atmosphere reminiscent of The Wolves in the Walls, regardless of the visual language of the cover. The
aim is to teach students that text can also adapt the meaning of visual language, as The Wolves in the Walls uses visual
language to adapt the text. The students can then read their writing to the task, and explain how they have either used
the visual techniques, or how they have circumvented them i.e. the sun is very yellow and bright, which should create a
happy environment, but because this character is in the desert dying of thirst, the bright sun is actually creating a
negative atmosphere, of desperation and fear. This activity draws on the knowledge the students have gained over the
past two lessons.
How does it relate to my reading in this unit?
Atwells mini lessons on literary craft are designed to teach techniques and styles through a teacher example followed
by students writing8. This lesson is a mini-lesson, as it takes information learned in previous lessons, in addition to one
particular skill, creating an atmosphere of horror, and applies them to a writing task that challenges their creative
writing abilities as well as their understanding of the relationship between visual and language techniques in picture
books.
Time
5

Activities
Class lines up, enters the classroom and take seats.
Teacher calls roll.

10

Teacher outlines how the lesson will proceed,

explains that students will be receiving a
demonstration of how a picture book cover can
inspire a horror atmosphere creative writing piece.
Explain that students will then have twenty minutes,
using one of six picture book covers, to write the
textual component of the picture book that would
have the cover. Explain that the story must have a
horror atmosphere, no matter what cover the
students chose.
Teacher demonstrates using My Heart is Laughing
by Eva Erikson9 (Resource 4). Gives some ideas about
a picture book with a horror atmosphere that could
belong to this cover, and asked for student
suggestions.

15
20

8
9

Organisation
Teacher: Calling roll.
Students: Lining up, entering classroom and taking seats.
Resources: Roll.
Teacher: Explaining and outlining the mini lesson.
Students: Listening to explanation.
Resources: None.

Teacher: Demonstrating with some prepared ideas of

ways in which the cover could inspire a piece of creative
writing.
Students: Listening to teacher demonstration and
making suggestions.

Atwell, N. (1998). In the middle. Upper Montclair, N.J.: Boynton/Cook. 162-164.

Lagercrantz, R., Eriksson, E., Marshall, J. and Lagercrantz, R. (2014). My heart is laughing.Sydney: Gecko Press.

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25
30
35
40
45

50
55

60

Place enough printed copies of the book covers;

Tight Times by Barbara Hazen, I Call It Sky by Will
C Howell , The Ghost Eye Tree by Bill Martin,
Hansel and Gretel by Neil Gaiman10, Float by
Danial Miyanes11 and Home Run by Robert
Burleigh and Mike Wimmer12, (Resource 5) on the
front desk, and have students come up in groups (by
desk, by name etc.) to select their prompt. Then set
a timer that students can see (i.e. on the smartboard
or projector) for 20 minutes. Supervise students; tell
then if they need help to raise their hands silently.
Have students volunteer to read their stories aloud
to the class. Allow students to give critique of their
fellow students work, after first reminding them
that any irrelevant and needlessly negative critique
will not be tolerated. Try to push students to explain
the visual elements that inspired them, or how they
circumvented the initial atmospheres of the texts.
(Depending on the class environment, teacher could
also have discussion in pairs or small groups, rather
than a whole class discussion. If students are shy or
prone to chaotic behaviour, whole class discussion
may not be as effective)
Pack up, have students hand in their work and book
cover printouts, and ask students if they have any
questions about the topic.

Resources: Cover image from My Heart is Laughing by

Eva Erikson.
Teacher: Supervising activity and providing assistance to
students who may have questions or queries.
Student: Undertaking creative writing activity.
Resources: Enough printed copies of each book cover for
all students. These could be laminated for use in future
lessons.

Teacher: Determining how to best position students for

presentation and feedback, and supervising students
providing feedback. Also asking questions to scaffold
feedback, and to assess if students have understood
how to respond to visual literacy techniques when
creating atmosphere.
Students: Reading their creative writing responses to the
whole class, to smaller groups or in pairs and giving
feedback to other students responses.
Resources: Printed book covers for referencing
techniques.
Teacher: Collecting resources, calling for and answering
student questions.
Students: Handing in resources and packing up. Asking
questions about topic.

Resource 4: Teacher creative writing demonstration: Make clear to students that they only need to find one or two
visual techniques to focus on.

10

Gaiman, N. and Mattotti, L. (2015).Hansel & Gretel. Chicago: Routledge.

Miyares, D. (2015). Float. Seattle: Simon and Schuster.
12
Burleigh, R. and Wimmer, M. (1998). Home run. San Diego: Silver Whistle/Harcourt Brace & Co.
11

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Colour: The red in The Wolves in
the Walls represented danger,
and the blue represented sadness.
In this image, they represent
excitement and positivity. What
could we write to enhance the
horror atmosphere enough to
override the positive aspects of
these characters i.e. describe their
voices, tell us what they are saying
or what they are laughing at, tell us
about their backgrounds.

Gaze: The girl in red is looking

down and off-page, as if laughing
at something the reader cant see.
The boy in red is looking at the girl
as if they are conspiring. What is
the girl looking at? What are the
two characters conspiring about?
Elements of mystery and
conspiracy can contribute to horror
atmosphere.
Resource 5: Writing prompt book covers: Make clear to students that they only need to find one or two visual
techniques to focus on.

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Rationale:
The development of this lesson plan was based on the craft of creating atmosphere. In particular, an atmosphere of
horror or of fear. This lesson was designed for Stage 4, Year 8, as its theme of horror is suited to an older age group, and
students will need to have some previous experience in creative writing. This lesson sequence will be the beginning of a
unit based on picture books, with an emphasis on visual literacy and the relationship between visual and written text in
picture books. The lessons will build understanding of the concept of atmosphere but also of visual language, to assist
students in the creative writing assessment in Lesson Plan 3, and in future lessons within this unit.
The text used in Lesson Plan 2, and alluded to in Lesson Plan 3, is The Wolves in the Walls by Neil Gaiman and David
McKean (2003). This text is ideal for the purpose of this unit for several reasons. The visual language utilised in this
picture books illustrations is quite explicit, with several examples of each of the visual language concept that these
lesson plans are teaching. It also has a very explicit atmosphere, of horror and fear, that changes in accordance with the
storyline. The Wolves in the Walls also demonstrates how written and visual texts work together to create

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atmosphere, as the tone of its written language can seem comical or childish until viewed alongside its illustrations, at
which point it develops into a horror story.
This series of lesson plans is designed to achieve elements of Outcome 1 EN4-1A. of the BOSTES Stage 4 Curriculum. It
works through different content requirements, allowing students to first engage personally with the texts, before
allowing students to respond to and the apply their newfound understand of visual literacy concepts. The three lesson
plans are sequential, building upon each other, and are a combination of teacher centred, student centred, pair and
group learning strategies. In terms of transferring new skills or concepts, teacher centred explicit instruction can be
beneficial for creating foundations for engagement and response (and p.2). Pair activities such as Think-Pair-Share give
students a chance to practise their understanding of the concept of atmosphere in a low risk environment (Bowers,
Keisler, & Fitts, 2011, p.136) before expanding to Jigsaw grouping. Jigsaw, in addition to fostering oral language skills,
allows for the teaching of a number of complex content elements in a smaller period of time, particularly the content of
these lessons, as visual language consists of a number of different techniques that need to be understood in order
interpret picture books effectively (Clarke and Pittaway, 2014, p.143). In Lesson Plan Three I have utilised elements of
Atwells min-lesson for craft model, by having the teacher demonstrate a skill, writing the text of a picture book based
on its cover, focussing on creating an atmosphere of horror. The students then have to replicate this skill in a creative
writing exercise. These mini-lessons are designed to teach one specific skill, in this case creating atmosphere in creative
writing. By demonstrating and teaching this skill early, it will assist then in further study into writing picture books using
written and verbal techniques
Lesson Plan One aims to addresses Stage 4 Outcome 1 EN4-1A element explore and appreciate the aesthetic qualities
in their own and other texts and the power of language to communicate information, ideas, feelings and viewpoints
(BOSTES, 2014, p.116). The teacher asks students to explore and appreciate the aesthetic qualities of picture books,
particularly in terms of the feelings that the illustrations inspire, before having the concepts and constructs explained to
them. This method of initial reaction is an adaptation of the Howie frames model of unit organisation. It is beneficial
for teaching atmosphere, become the concept revolves around feelings created by the author for the reader, and
students should be able to understand those feelings subjectively, before initiating an objective analysis of the visual
language elements used to construct them. The second activity is explicit instruction, coupled with visual examples of
techniques, with the aim of building a foundation knowledge of concepts for future lessons.
Lesson Plan Two addresses Stage 4 Outcome 1 EN4-1A element explore and explain the ways authors combine
different modes and media in creating texts, and the impact of these choices on the viewer/listener(BOSTES, 2014,
p.117) by exploring the importance of the relationship between text and visual techniques. Students read the The
Wolves in the Walls, firstly through text then with both text and illustrations. This activity will not only give students a
better understanding of how authors use visual language to enhance and alter written text, but with begin the process
of teaching students to analyse visual texts. This will lead to the second activity, which is a Jigsaw group analysis of the
book. This will cement the students understanding of visual language concepts, as some of these concepts are difficult
to compehend (the meaning of shadow and light, gaze and proportion for example), and group work will allow different
individuals to share their beliefs, and form a collective understanding (Paas, Renkl and Sweller, 2016, p.88). Teacher
assistance and scaffolding will assist in this.
Lesson Plan Three addresses Stage 4 Outcome 1 EN4-1A use increasingly sophisticated verbal, aural, visual and/or
written techniques, e.g. imagery, figures of speech, selective choice of vocabulary, rhythm, sound effects, colour and
design, to compose imaginative texts for pleasure. Students must apply everything they have learned in the previous
two lessons to create a creative writing piece. This includes analysing visual language, understanding what visual
techniques can be used to create atmosphere and comprehending the relationship between text and illustration in
picture books. There may be some issue with creative writing ability, but in terms of the overall unit and future lessons,
this creative writing task is the first step in a process of teaching students how to analyse and write picture books, rather
than a culmination of skill development. The inspiration for this activity comes from Atwells craft mini-lessons (Atwell,
1998, p. 162-164) for creating an atmosphere. These lessons are found to be effective for teaching a specific skill
(creating an atmosphere) through a demonstration, twenty minute workshop activity and a class discussion. Minilessons like this can help students develop a repertoire of skills (p.162) that will assist them in further writing. In this

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case, gaining an understanding of atmosphere in picture books as a relationship between text and illustration, in order
to create a comprehensive picture book in later lessons.
This lesson plan sequence is designed to introduce students to how atmosphere is created in picture books. In future
lessons, students will learn how to analyse and create picture books that utilise both written and visual language. The
analysis tasks and imaginative creative writing tasks utilised in these first three lessons will begin this process.
Word Count: 1140
Works Cited:
Archer, A. and Hughes, C. (2011). Explicit instruction. New York: Guilford Press.
Atwell, N. (1998). In the middle. Upper Montclair, N.J.: Boynton/Cook.
BOSTES. (2014). English Curriculum K-10. Sydney: Board of Studies.
Bowers, E., Keisler, L. and Fitts, S. (2011). Building academic language through content-area text. Huntington
Beach, CA: Shell Education
Clarke, M and Pittaway, S. (2014). Marshs Becoming a Teacher. Frenchs Forest NSW: Pearson Australia.
Gaiman, N. and McKean, D. (2003). The wolves in the walls. New York: HarperCollins.
Paas, F., Renkl, A. and Sweller, J. (2016). Cognitive Load Theory. New York: Routledge