Hello everybody.

It's really good to be here with you today.

My name is Ms. Afzal, and I'm feeling pretty excited because we are going to be exploring a very interesting text today.

This is an adaptation of a classic Victorian novel by Charles Dickens called "Oliver Twist." So here we are.

Here's our adaptation.

This has been adapted by Geraldine McCaughrean, and I'm really, really excited for us to explore this together.

So I'm going to just hold onto my excitement for a moment while you go off and fetch your copy of this book.

So pause the video here while you go off and get your copy.

While I'm waiting, I'm just taking in that image, that cover image of Oliver.

All right, you're back, fantastic.

You've got your book.

You just need your ideas, your thinking brain, your ideas, your enthusiasm, your communication skills, and I think we're about good to go.

Let's get into it.

The outcome for today's lesson is I can explore how a turning point in the narrative affects a character's emotions.

We've got some keywords in today's lesson.

Let's go through them, my turn, your turn.

Inference.

Turning point.

Emotions graphs.

Fantastic, it was good to hear you.

Let's go into the definitions of these words.

Inference means to use clues from within the text to draw conclusions.

A turning point in a narrative is a pivotal moment that significantly alters the course of a story or a character's journey.

And an emotions graph is a reading task where reader's plot a character's feelings and emotions as they change throughout a narrative.

So let's keep our eyes looking out for these keywords in today's lesson.

So lesson today, turning points in "Oliver Twist" has two main parts to it.

First of all, we'll be reading chapter nine, and, next, we'll be looking into turning points in narrative.

So let's begin.

Chapter nine.

"Oliver Twist" is adapted by Geraldine McCaughrean and illustrated by Jeff Anderson.

What we know so far.

Oliver is asked to run an errand for Mr. Brownlow.

On the way to the bookshop, he's captured by Nancy and Bill Sikes and returned to Fagin.

In chapter eight, Mr. Brownlow and Mr. Grimwig are concerned about Oliver.

They place an advertisement for him in a newspaper.

This is discovered by Mr. Bumble, from Oliver's workhouse.

He seeks out the two gentlemen and tells them that Oliver is dishonest, cruel, and lazy.

So let's move into exploring a bit more about chapter nine.

Inference means to use clues from within the text to draw conclusions.

It's a bit like being a detective and figuring out something that isn't directly said in the story by using clues and what you already know.

Inferring meaning can help us to build our understanding of a story.

It can help us discover the hidden messages that the author has planted and answer our own questions that we have about the text.

We can look for clues in text and in the illustrations.

Check for understanding.

what is inference? Is it guessing what might happen in the story, searching for clues within the text and illustrations to draw conclusions? Is it understanding exactly what the author is saying without having to think about it? Pause the video while you decide which of these three describes what inference is.

Well done If you selected B.

Absolutely, inference is all about searching for clues.

Remember being a bit like a detective.

So we look for those clues in the text and the illustrations to draw conclusions.

In Chapter nine, Fagin has a proposition for Oliver and Bill, a proposition is an idea or a suggestion put forward for consideration or discussion.

I wonder if you've ever made a proposition or if anyone else you know has made a proposition, an idea or suggestion.

I'd like you now to read chapter nine, page 50 to 53, up to the word journey.

When you finish reading, I'd like you to consider this question.

Why is Oliver needed to go with Bill on the job that Fagin mentions? Find two reasons.

So pause the video here while you read pages 50 to 53.

And then answer the question, why is Oliver needed to go with Bill on the job that Fagin mentions, and give two reasons, and share these with someone nearby.

All right, here's Alex saying that, "Oliver is small enough to get into the entrance.

He's also trustworthy.

Fagin is mentioning his honest nature at the beginning of the chapter." Fantastic, really good two reasons there.

Alex, thank you.

Fagin also mentions that once Oliver has helped them out, he'll be forced to stay.

Yeah, maybe you came up with that one.

Fagin leaves the den to go for a meeting with a man called Monks.

Nancy is sent to collect Oliver on behalf of Bill.

Why does Oliver decide against running away from Nancy as soon as he can? Pause the video while you reflect on the answer to this question and share it with someone nearby.

Nancy is able to read Oliver's expression and infer, remember, it's one of our keywords, infer his thought of leaving.

She pleads with him not to run as she's certain that Bill will threaten her if she crosses him.

Fantastic, I wonder if you had an answer a bit like this one here.

Check for understanding, true or false.

The place where Oliver and Bill meet Toby Crackit is in a rich, wealthy neighbourhood.

Pause the video while you decide if this is true or false.

Well done if you selected false.

And now I'd like you to justify your answer.

Oliver and Bill meet Toby in a hut which is described as ramshackle, in a state of disrepair.

It is located at the end of a lane.

The two thieves stayed up to drink while Oliver rested, completely exhausted by the long journey on foot.

Pause the video while you decide which statement justifies your answer.

Well done if you selected A.

Yes, that's the one.

That statement really directly justifies your answer about the neighbourhood in which Oliver and Bill meet Toby Crackit.

The two thieves set up a burglary at a large house.

They explained to Oliver what he must do.

I'd like you now to read the pages from 53, from the word journey, all the way to the end of the chapter, page 55.

And then look at the illustration on page 54.

What can you infer about the two characters depicted? Pause video while you read these pages and look at the illustration and decide what you can infer about the characters depicted.

Maybe you inferred something like this.

Oliver looks frightened and hesitant.

He does not want to help with the burglary, however knows he'll be hurt or killed if he does not.

Or perhaps, maybe this about Sikes.

Sikes has his hands clasping the collar of Oliver's jacket.

He's threatening Oliver.

His expression is serious and stern.

They are fantastic inference there from those illustrations.

Check the understanding, match the following actions from the chapter to the characters.

So we've got Toby Crackit, Oliver Twist, and Bill Sikes, and here are the actions.

Tiptoes into the scullery, which is a washing room.

Hears feet on the landing above and shouts at Oliver.

Warn Sikes not to make any unnecessary noise.

So pause the video while you match the actions and the characters.

Well done if you matched these two.

Toby Crackit is the one who warned Sikes not to make any unnecessary noise.

Oliver Twist is the one who tiptoes into the scullery, and Bill Sikes hears feet on the landing above and shouts at Oliver.

Well done if you made these connections.

Oliver is discovered.

A series of shouts are heard before at the last moment, Oliver is hurt.

Why do you think that Oliver is shot? And you might like to discuss the intentions of Sikes and Crackit.

What are they hoping to do at the house? So refer to page 55, and then you might like to use sentence starters such as: I think Oliver is shot because.

So pause video here while you refer to page 55 and reflect on your answers to these questions, and share with someone nearby.

So why do you think that Oliver is shot.

Here's Laura.

"Oliver's shot because the people in the house think that he's there to steal their belongings.

They have fired a shot perhaps to warn the thieves, not realising that he is a child." "Sikes and Crackit have forced Oliver into attempting to commit a crime." Yeah, thanks for that answer, Andeep, as well.

I wonder if you had answers similar to Laura and Andeep's.

Okay, and now we're on the next part of our lesson, turning points in narrative.

In order to build tension, the author includes a turning point towards the end of the chapter.

A turning point in a narrative is a pivotal moment that significantly alters the course of a story or a character's journey.

What do you think is the turning point within the chapter and why? Pause the video while you share with someone nearby.

What do you think is the turning point and why? Let's hear from Lucas? "I think Oliver being shot is a turning point in the text.

The reader is left wondering if he'll survive.

I think what happens to him following this will change the story drastically." Oh, good word there, Lucas.

Drastically means something changes a lot or in a big way.

Yeah, great answer there.

Turning points typically bring about a major change in the story, whether it's a positive or a negative shift.

This change can invoke a range of emotions in the character, such as joy, relief, disappointment, fear, or sadness, depending on the nature of the turning point, Readers can identify a character's emotions by paying attention to how the character acts, thinks, and speaks in a story.

By noting a character's actions, thoughts, words, and how they handle challenges, we can figure out their intentions and infer their inner emotions.

Check for understanding, true or false.

Turning points only affect the narrative in a negative way.

Pause the video while you decide if this statement is true or false.

Well done if you selected false, and now I'd like you to justify your answer.

The turning point in chapter nine of "Oliver Twist" affects Oliver in a negative way, or turning points can change the narratives in both positive and negative ways.

So pause the video while you decide which of these statements justifies your answer.

Well done if you selected B, turning points can change the narratives in both positive and negative ways.

That's a really good justification for your answer.

We can track a character's emotions in an emotions graph.

Let's take a look at one.

Positive emotions go above the centre line and negative emotions below.

A short comment to describe the character's actions, thoughts, and words can be added.

Let's look at an example using chapter seven of "Oliver Twist." Oliver is ecstatic.

He's being cared for by Mr. Brownlow and his housekeeper.

And later on, Oliver's proud.

Mr. Brownlow places his trust in him, sends him on the errand.

And then later still, Oliver's captured by Nancy and Sikes.

They're likely to return him to Fagin.

So we can see now that the emotion has now gone down below the centre line.

An emotions graph typically includes a range of emotions to represent the emotional states of characters or individuals in a narrative.

Here's a list of emotions that you might find on an emotions graph.

Joy, sadness, anger, fear, surprise, disgust, anticipation, trust, love, guilt, shame, disappointment, pride, excitement, curiosity, confusion.

It's interesting to see all these range of emotions and we all have them, don't we? We probably all felt these emotions at some point in time.

Some emotions can be placed in different positions within the graph.

For example, surprised.

So you might be surprised in a positive way or maybe in a more negative way.

Which of the following are positive emotions? Disappointment, pride, fear, joy.

Pause the video while you decide.

Well done if you selected pride and joy.

I wonder if you can think of a time when you felt pride.

And can you think of a time when you have felt joy, some really, really wonderful positive emotions there.

I hope that you felt them, and I'm certainly proud of you for joining in with this lesson as you're doing right now.

For your task, I'd like you to create your own emotions graph for Oliver for chapter nine.

Note down his actions, thoughts, and words.

And you could write this as, "Oliver is, because," and give your reasoning.

So pause the video here while you fill in the emotions graph for Oliver in chapter nine, and remember your sentence stem.

Okay, good to see you again.

I wonder what you have got on your emotions graph for Oliver for chapter nine.

Is there anything like this? Oliver's hopeful, first of all, that he might be able to escape as Fagin has left the den.

What next? Maybe something like this.

Oliver's unhappy having to accompany Bill.

He's exhausted after their long walk.

And then Oliver's frightened, frozen to the spot.

he is shot.

The author creates a turning point by having a cliffhanger, where the central character, Oliver, is potentially fatally wounded, which means that it's a matter of life or death.

He may not survive.

What happens next will determine the rest of the story.

Dun, dun, dun! That's a cliffhanger.

in our lesson today, Turning Points in "Oliver Twist," we have covered the following.

Inferring meanings can help us to build our understanding of the story.

A turning point in a narrative is a pivotal moment that significantly alters the course of the story or a character's journey.

Turning points can evoke a range of emotions in a character.

We can track a character's emotions on an emotions graph.

The author creates a turning point in the story by having a cliffhanger where the central character, Oliver, is potentially fatally wounded.

Well done, everyone, for joining in with today's lesson.

It was really, really interesting to be with you together as we explored inferring meaning, looking at that pivotal moment of the turning point, and I really enjoyed the emotions graph.

I hope you did too.

So let's pause here and I will see you at the next lesson.

Looking forward to it.

I hope you are too.

Bye for now.