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• Cover Page
• Contents
• Tables
• Acknowledgements
• Introduction to the first edition
• Introduction to second edition
• Chapter 1 Shakespeare
• Don’t show the film first
• Don’t choose a play because you love it
• Don’t start with context
• Make the connection
• It edits the text
• It’s structured
• It’s oral pair work
• The personal context
• Predictions and opinions
• Approaches
• Chapter 2 Planning
• Planning backwards
• Planning for variety
• Purpose and audience in the real world
• Slightly controversial views on homework
• Look at the planning first
• Organise
• Chapter 3 Learning to love objectives
• Too many policies?
• Line-by-line, verse-by-verse
• Small is beautiful
• The paradox of the general and the specific
• Triangulate to accumulate
• Some myths about objectives
• It’s very difficult to think them up
• They spoil spontaneity
• You can teach perfectly well without them
• You have to write them on the board at the start of every lesson
• They are utilitarian
• You don’t need them with sixth-formers
• Chapter 4 Poetry, texts and pupil responses
• What are we analysing?
• Difficulty and the stupid syndrome
• The surprising and important relevance of the oral tradition
• The absolute fundamental crucial centrality of comparison in understanding text effects – please do not skip this section
• The proper point of DARTs
• What to do and what not to do with DARTs
• Think again about the order of things
• The gifts of the text
• Chapter 5 Managing learning, managing classrooms
• Get the level right
• The lesson beginning: the tumbleweed experience
• It’s easy to do. Consider this checklist for your first three minutes
• The shape of the lesson – transitions, and the lesson story
• Task setting – always QDO
• Task setting – always 3QM
• Task setting – stay at the front
• Talking to the class – using questions
• Valuing and validating pupil responses
• Don’t YAVA
• Managing speaking and listening
• Is the work integrated?
• Are you thinking about the formation of the group?
• Are you helping with the internal working of the group?
• Are they preparing for the discussion?
• Are you structuring the discussion?
• Do you QDO?
• Are you monitoring the groups?
• Stirring the tea
• Listening
• Motivating pupils – the element of game
• Motivating pupils – joint ownership
• Quietness is golden
• Chapter 6 Evaluation
• What evaluation isn’t
• What evaluation is
• Three levels of evaluation
• The middle level – evaluating activities
• How does activity-level evaluation happen?
• Permanent evaluation
• The plenary for end-of-lesson evaluation
• Chapter 7 Planning, curriculums and frameworks
• Explicitness
• Objectives – combine and refine
• The lesson shape
• The Janus starter
• Slight digression: PowerPoint
• The power of transitions
• Why is it persuasive?
• Text types
• Some notes on literacy
• Positive models
• The irritating survival of the apostrophe
• The curriculums
• Creativity
• Chapter 8 Working with big texts
• Idiolect
• How to kill a novel
• How to kill a play
• Texts and examinations
• Text activities
• Chapter 9 Drama
• What is it?
• Don’t put them off before you start
• Defining terms
• Games
• Character work
• Role play
• Polished improvisation
• Spontaneous work
• Performance
• The basics: how to begin
• New rules
• Tips for you personally
• Running sessions: getting into practicalities
• Warm-ups
• Acceptance – apparent goals and hidden agendas
• Pass the basket
• Sequencing
• Flexibility
• Ensemble
• Physical co-operation
• Taking it further: improvisation
• Don’t stand on the edge – jump in!
• Prepared or spontaneous?
• Developing practice
• For physical release and control
• Cat and mouse
• Guards at the gate
• Grandmother’s footsteps
• Knee fights
• Wizard/Witch/Goblin or Pig/Wolf/Farmer
• Fruit salad
• Red shoes
• Guided fantasy
• Misnomer
• 123/clap23
• Word association and word dissociation
• Hotseating
• Exercises detailed in the text
• Chapter 10 Differentiation and inclusion
• Teacher language
• Rotation
• Inclusion, not segregation
• The car and the lorry
• Personal choices
• More inclusion: challenging the very able
• Differentiation: from C to A
• Meta-learning
• Answers
• Bibliography
• Books about English and Teaching
• Books about Drama
• Texts
• Index