Exact aid text and no-print… | Year 6 English · T1 W5–6 · Ordinary…

Read in the order below. Every field is blank; no answer is implied by its position or size. Use exact read-aloud, usual accessible text, sign/AAC, conversation, typing or literal scribe. Learner interpretive/creative decisions remain the learner's; adult physical marks remain adult marks. No printing, drawing, acting, sound production or screen is required.

story-encounter — The last blank square

Read, hear exact words or use your usual text access. Choose a moment that changes something.

A1. By Thursday, the tiny cardboard city had a bakery, a bridge and a library with a roof that opened. The last square on the base was empty. Mira had saved it for a tower. From the tower, a paper traveller would be able to see everything.

A2. Otis set a folded card beside the square. “A garden,” he said. “Somewhere to stop.” Mira looked at the buildings crowding the base. The city had taken them three afternoons. An empty square looked, to her, like something they had forgotten.

A3. Earlier that week, Otis had moved the bridge so a boat could fit beneath it. Mira had objected until the boat passed through. Now she held her tower above the final square. Its shadow covered the bakery door.

A4. “What if we leave this part for whoever visits?” Otis asked. Mira nearly said that visitors would not know what to do. Instead, she placed the tower on the table beside the city. It could wait there without being thrown away.

A5. They wrote a tiny card: MAKE SOMETHING THAT BELONGS HERE. When the room opened, their first visitor folded a bench. The next made a winding path. Neither thing was Mira's tower or Otis's garden. Otis moved his garden card to the edge, where it became a sign for the path.

A6. Mira watched a paper traveller sit on the bench. Then she put her tower beside the library, off the base, and drew a door between them. The city was less tidy than her first plan. There was somewhere in it that she had not imagined.

No-print: offer the whole exact text in this order; preserve paragraph/line/unit IDs if the learner refers to them. Discuss a chosen moment/line/cue without physical card arrangement.

comparison-mat — Two texts — your comparison

Choose two ordinary sources. Talk/sign/AAC/typing or literal dictation can replace these fields.

[Blank field: First source ID and one exact detail; empty rectangular writing space.]

[Blank field: Second source ID and one exact detail; empty rectangular writing space.]

[Blank field: A similarity in the idea and how it develops; empty rectangular writing space.]

[Blank field: A difference, with details from both; empty rectangular writing space.]

[Blank field: Another supported reading or something left open; empty rectangular writing space.]

Keep the texts available. Different supported interpretations are welcome.

No-print: name first source/detail, second source/detail, similarity, difference and open point in that order; a literal adult scribe may label each as the learner directs.

poetry-encounter — Two poems, room for an image

Read or use exact text access. Printed patterns and an actual heard/performed response stay distinct.

C — Folded city

C1. Crease, crease — a street begins.

C2. Small doors lean into the light.

C3. A roof remembers fingers,

C4. a bridge holds its breath all night.

C5. Here is a square with no name yet;

C6. here is a space we can keep.

C7. The city loosens its paper hands

C8. and lets a new path creep.

D — The pause on the shelf

D1. Not the whole river.

D2. Not the whole sky.

D3. A strip of blue,

D4. a corner turned high.

D5. I leave a little room

D6. beside the things I know:

D7. a shelf can be a harbour

D8. for what I let go.

Which line would you keep? What does it help you imagine?

No-print: offer the whole exact text in this order; preserve paragraph/line/unit IDs if the learner refers to them. Discuss a chosen moment/line/cue without physical card arrangement.

scene-encounter — S — Before the curtain

Read dialogue and bracketed cues. No acting, darkness, props or performance is needed.

S1. [A rehearsal room. A cardboard moon rests against a chair. Two fictional makers, Kit and Sal, check a short puppet scene.]

S2. KIT: The moon should rise when the traveller reaches the hill.

S3. SAL: It could rise after. Give the traveller a moment in the dark.

S4. KIT: We practised the first way.

S5. [Sal puts a blank cue card beside the finished cards.]

S6. SAL: A pause can be a choice too.

S7. KIT: Or it can look as if we forgot.

S8. [Kit reaches for the blank card, then stops.]

S9. KIT: What would the traveller do while we wait?

S10. SAL: Look for the hill. Find it without the moon.

S11. [Kit turns the card sideways and writes WAIT.]

S12. KIT: Let's try your pause. Then mine. We can keep the one that fits.

S13. SAL: The traveller gets two chances.

S14. [They lay the two cue sequences side by side. The curtain remains closed.]

What do Kit and Sal want? Where would you put the pause?

No-print: offer the whole exact text in this order; preserve paragraph/line/unit IDs if the learner refers to them. Discuss a chosen moment/line/cue without physical card arrangement.

adaptation-planner — Borrow a seed; make it yours

Choose one ordinary source and a useful purpose. A plan is a plan; make an actual first component.

[Blank field: Chosen purpose and intended reader — yourself is welcome; empty rectangular writing space.]

[Blank field: Source ID / title and the element I borrow; empty rectangular writing space.]

[Blank field: My meaningful change and what it makes possible; empty rectangular writing space.]

[Blank field: My first actual words / line / scene unit; empty rectangular writing space.]

[Blank field: What I want to try next; empty rectangular writing space.]

No-print: say/sign/dictate purpose/reader, borrowing and change; then make an actual first component in the usual mode. A spoken plan alone stays a plan.

revision-keeper — Keep the change visible

Use your own draft. Direct a literal scribe if useful; no compulsory length or public sharing.

[Blank field: First version — keep the actual words; empty rectangular writing space.]

[Blank field: Revised version — an actual change; empty rectangular writing space.]

[Blank field: Why this change fits my purpose / reader; empty rectangular writing space.]

[Blank field: Source credit: what I adapted and what I changed; empty rectangular writing space.]

Separate learner choices from adult physical marks, spelling help, plan, rehearsal and actual delivery.

No-print: keep first words through your usual method, make changed words, then explain purpose and source credit. If no recording is available, a literal adult scribe may record both only as directed.