Lesson video

Hi there, I'm Mr. Buckingham and it's so good to see here for today's lesson.

Today, we're going to begin writing the climax of the story of "Beowulf and the Dragon", focusing on showing our reader just how dramatic and intense this battle is going to be.

Let's get to work.

Today's lesson is called, "Writing the First Half of the Climax and Resolution of Beowulf and the Dragon," and it comes from our unit called, "Beowulf, Narrative Writing".

By the end of today's lesson, you will have written the first half of the climax and resolution of "Beowulf and the Dragon" using a range of cohesive devices to connect ideas and using techniques to increase pace and tension.

Now, for this lesson, you will need to have with you the plan that we wrote in a previous lesson.

If you're ready, let's begin.

Here are our keywords for today's lesson.

And here's our lesson outline for today.

We're going to start off by preparing to write and the we'll be writing the first and second paragraphs of our climax and resolution.

So over the next two lessons, we're gonna be writing four paragraphs, telling the climax and resolution of the incredible story of "Beowulf and the Dragon".

So we'll start off with paragraph one where Beowulf's first attack on the dragon fails and the dragon attacks him with its fire.

Then we'll have paragraph two where the Geats flee and Wiglaf comes to help Beowulf.

Then in paragraph three, Beowulf's going to attack again and the dragon's going to bite him and in paragraph four, which is gonna be the final paragraph, Wiglaf and Beowulf are going to work together to defeat the dragon.

So we've already planned those four paragraphs in our plan.

So today, we're going to be writing these first two paragraphs using our detailed plan to help us and of course, our text map if we need to.

So what's the atmosphere going to be in this climax? What's it going to feel like for our reader? Well, it should be very tense and dramatic, because of course, the climax is the high point of the action, the most stressful point of the whole story.

And it should feel like the events are coming thick and fast, because that's how it would feel for Beowulf in the moment.

As a result, we need to make sure that we use different narrative elements to do the following things.

We're going to need to tell the action in a pacy way so it feels tense and fast-moving.

We're going to need to give our reader a clear description of the fight that's going on with the dragon, including the intensity of the dragon's fire and the seriousness of the injuries that Beowulf faces.

We're going to need to show characters' strong negative emotions towards the dragon very clearly and of course, use characters' dialogue to show these emotions that they have, which again, are going to be mostly emotions which are negative, so tension and fear in particular, but also, anger, because Beowulf is determined to defeat this beast.

So which narrative elements are shown in each of these examples? Is it description, action, emotion or dialogue? Pause the video and have a think.

Well done, great job.

For the first one it says, "Beowulf gripped his ornate sword and he watched the vast dragon approach." So this is with action, his gripping and watching.

For B, we've said, "The dragon's scales were as hard as diamond, they were an impenetrable shield against his blows." So that is some description of the dragon's appearance and how useful his scales are.

Then for C, we've said, "The Geats gasped in fear as they saw the jet of fire, dropping their weapons, they fled." So we've got description of them experiencing fear, it says they gasped in fear, but we've also got a little bit of show not tell going on, because we said they're dropping their weapons and they're fleeing, they're running away.

So we've got emotion showing really clearly here through action, which is why it's show not tell.

We've shown the emotion through what they do.

So bit of a mixture for that one.

Really well done for spotting this.

So in addition to all the normal things we do when we do brilliant writing, if we're going to create the pacy, tense atmosphere, we want to use certain writing techniques as well.

So for example, we could use short sentences, for example like this, "Wiglaf was determined.

He dashed forward.

He wouldn't let Beowulf fight alone.

He had to join him.

He had to defend his king." I've got five short sentences there in a row and doing that or adding several in a row really adds to the pace, because it makes us read them much more quickly.

We could also use rhetorical questions in succession in a row, like this.

How could he hope to help? What could he possibly do? How could they ever defeat the dragon? So that kind of shows the thoughts racing through characters' heads by doing these rhetorical questions one after the other.

We can also use quick fronted adverbials of time.

So fronted adverbials of time that really show a fast pace, for instance, "Just then, dragon opened its maw, suddenly, a jet of fire burst out.

So fronted adverbials like just then, suddenly, at that moment, all of a sudden really make things seem like they are moving quickly.

It really adds pace to action in our story.

So these three techniques are great ones to use to add that pace to our writing.

So true or false, we should only use short sentences when we write the climax and resolution of our story.

Pause the video and decide.

Well done, good job, that is of course false.

Why is it false? What was the reason for that? Pause the video and have a think.

Well done, good work, so we will want to use short sentences at times to add pace, but we will also want to use a range of sentence lengths to keep our writing interesting and varied.

So these techniques to add pace come on top of all the things we normally do to make varied and interesting writing for our reader.

Just add that little bit more pace that we want to see as we tell this incredibly dramatic climax to our story.

Now, in all our writing, we want to use a range of cohesive devices to connect our ideas together and show the relationships between them, including these ones.

We can use a range of types of complex sentence, for example, an adverbial complex sentence where the subordinate clause starts with a subordinating conjunction, like as or while.

We can write a relative complex sentence where the subordinate clause starts with a relative pronoun, like who or which or whose.

And we can use a non-finite -ing complex sentence where the subordinate clause starts with a verb in its -ing form, like fighting or shouting.

And we could also use compound sentences where two main clauses are joining with the coordinating conjunctions and, but and or.

We can also use fronted adverbials of place, like to his left and of time, like soon in addition to those quick ones we just talked about.

And of course, we can use semi-colons to connect closely related sentences together.

We'll also want to use a range of fronted adverbials of manner as cohesive devices to say how things are done, and there are lots of different types of these fronted adverbials of manner.

We can use full of to start them off.

We could say, "Full of fear, full of desperation or full of anger." We can use with a something or without a something.

So we can say, "With a bellow of anger, without a second thought or with a snarl." We can use -ed words, like astonished, horrified, enraged.

Notice how here the comma comes after just one word.

We can also use -ly words, like cautiously, violently, angrily and desperately.

And here again, the comma comes after just one word.

But for all these, we're telling how the thing that comes after the comma is being done.

So they're fronted adverbials of manner, because they say how something's being done.

We do have to check carefully who or what is placed after the comma when we use fronted adverbials like these.

Look at these two examples.

Full of fear, the dragon approached.

Full of fear, he watched the dragon approach.

Now, the second one is much more likely to be used in our text, because the first one means that the dragon was full of fear.

In the second one, we know it's Beowulf who's full of fear, so we've put he after the comma to show that what's being done in that fronted adverbial, the fear is being experienced by Beowulf.

So check carefully if you've got the right person or things after your comma when you use a fronted adverbial.

So can you think of an appropriate front adverbial of manner to begin each of these sentences and you got some ideas on the right to help you out.

Pause the video and have a think.

Well done, great job.

So for the first one, I could say, "Full of rage, Beowulf stabbed his trusty dagger into the dragon's exposed neck." For B, I could say, "With a howl, Wiglaf rushed forward to help his king." For C, I could say, "Astonished, Beowulf watched the fragments of his sword fall to the ground." So you can see I've used full of, I've used with a and I've used an -ed word at the end there.

So I've used a wide range of fronted adverbials of manner, all to show how something was done, and notice how after each one, I've got the right person after the comma.

Beowulf is the one's who's full of rage, Wiglaf is the one who's howling and Beowulf is the one who's astonished.

It's got to be the person who experiences the fronted adverbial who comes after the fronted adverbial, after the comma.

Really well done for your ideas there.

Now, in addition to all those brilliant cohesive devices we got to choose from, one final cohesive device we may want to use is a pair of dashed for dramatic effect.

Here's an example.

Beowulf raised his sword, the sword that had slain so many monsters, and he brought it down on the dragon's leathery skull.

Notice there that what's inside the dashes, the sword that had slain so many monsters, adds detail about the noun phrase that comes before it, which is his sword and it's actually kind of restating it, it says the sword again, in a different way though for dramatic effect, adding extra detail that restates something about that noun phrase that came before it.

Here's another example.

Wiglaf raced towards the king, his king, and raised his shield.

So notice how again, what's in the dashes restates something about the noun phrase that came before the king and here we're showing for dramatic effect that Wiglaf is incredibly loyal to Beowulf, he's not just the king, he is his king, Wiglaf's king.

Here's another one.

The dragon's fire, its scalding, boiling fire, instantly set Wiglaf's shield ablaze.

So again, what comes in the dashes restates something about the noun phrase, the dragon's fire, that came before it, but adding extra dramatic detail.

Here we're saying more about how hot it is.

And notice how in every case, what comes inside the dashes could be removed.

If I remove the dashes from that last example, it would read, "The dragon's fire instantly set Wiglaf's shield ablaze," which would be fine.

We've just added in some extra detail in those dashes for some dramatic effect.

Which version here has the pair of dashes in the correct place to add that dramatic effect? Pause the video and have a look.

Well done, great job.

Hopefully you spotted that it is C.

Is says, "Beowulf grabbed his dagger, his trusty, steel dagger, and he plunged it deep into the dragon's neck." So if I remove those dashes, it would read, "Beowulf grabbed his dagger and he plunged it deep into the dragon's neck," which makes sense.

What comes in the dashed is just restating something about that noun phrase, his dagger, to add some extra detail for dramatic effect.

So really well done if you spotted that one.

So let's do our first for this lesson.

As you know, our writing will include a range of different narrative elements and cohesive devices alongside techniques to add pace and tension.

So here's an example of doing this appropriately.

So I'd like you to have a read of this example and decide what narrative elements, cohesive devices and techniques to add pace you can spot here.

Pause the video, have a read and have a careful look.

Well done, great job.

Here are some of the cohesive devices and techniques to increase pace and tension that you might have found.

At the start here, we've got some dashes for dramatic effect, a dragon, a vast, spiny-backed dragon, emerged.

We got a fronted adverbial of manner here, full of rage.

We've got some short sentences, he would defeat this beast.

He had to.

His people depended on it.

We've got an adverbial complex sentence using as as our subordinating conjunction and we've got rhetorical questions here.

Would he be able to defeat it? Would he be able to add it to his list of vanquished foes? So you've got some cohesive devices there and some of those techniques we discussed, to increase pace and tension.

Well done for spotting them.

Here are some of the narrative elements you might have found.

We've got some description here, a vast, spiny-backed dragon.

We've got emotion, full of range.

We've got action, he's narrowing his eyes, which also shows emotion, doesn't it? But we've also got action there where the vile beast slithered nearer.

And at the end here, we've got dialogue, which again, shows emotion as well, the snarling.

So remember, these categories often overlap, often action shows emotion, often emotion contains action and often dialogue will contain emotion as well.

So these things do overlap, but we want to include a wide mixture of all of them.

Really well done for spotting all this.

So now we're ready to start preparing to write the first paragraph.

And as you know, when we're preparing to write, it's really useful to orally rehearse.

So we're going to orally rehearse ideas for how to connect our notes into complete sentences using cohesive devices and the techniques we've discussed to increase pace and tension.

So here are some notes from my paragraph one and remember, paragraph one is where Beowulf's first attack fails and the dragon attacks him.

So I've got, gripped ornate sword, watched dragon approach, yelled in anger, "Come here!" and swung sharp-tipped blade.

So when I'm orally rehearsing, I'm thinking how can I make these notes into complete sentences by saying them out loud, trying to use some of those cohesive devices and those techniques? So I could say this.

"Beowulf gripped his ornate, iron sword tightly as he watched the vile dragon slowly approach.

'Come here and face me!" he yelled in anger.

The old warrior swung his sharp-tipped blade at the huge beast." So I've got my adverbial complex sentence there as a first sentence.

In the dialogue, I've added in a reporting clause to say how it's done and I've got some description of Beowulf's sword there in the last sentence.

So I've taken my notes and I've said them aloud as complete sentences.

Now it's your turn.

How could you say these notes out loud as complete sentences using those techniques that we've discussed? Pause the video and have a go.

Well done, great job.

You could do this in so many different ways.

Here's how I did it.

I could say, "Beowulf struck.

He slashed.

He stabbed." Short sentences.

"The dragon's scales were as hard as diamond, they were like an impenetrable shield." Used a semi-colon there.

"What could he do? How could he fight this beast?" Rhetorical questions.

"All of a sudden, it opened its vast maw.

It unleashed a jet, a boiling jet, of fire, which was as hot as the midday sun." In that last sentence, I've got dashes for dramatic effect there and a relative clause at the end there as well.

Now, you might not have been able to add all those details and all those different cohesive devices, because you were saying yours out loud and I got to write this one down, but when you come to write, all of that oral rehearsal you were doing is going to really feed in to making it easier to add those details into your writing.

Good job.

So let's do our first task of this section.

You're going to orally rehearse your own first paragraph using your own notes.

So look at your plan notes and your text map if you want to and say the sentences out loud that you would like to use.

You might want to try out different cohesive devices to see which ones work best before you pick one to use.

And consider using different types of sentence, as we discussed, and different fronted adverbials of manner as well.

And you might want to think of a place you could add dashes for dramatic effect and consider adding in those short sentences, rhetorical questions and quick fronted adverbials of time to really build the pace and the tension.

Now, you might not be able to do all of that when you orally rehearse, but having some ideas now will help you when you come to write.

Pause the video and have a go at orally rehearsing your first paragraph.

Well done, really good job.

Here's Izzy's oral rehearsal for this paragraph.

Full of courage, Beowulf gripped his sword, the ornate sword that had brought him so much luck, and he watched the dragon approach.

"Come here, you worm!" he yelled in anger.

He swung his sharp-tipped blade at the beast, but its scales were as hard as diamond.

They were an impenetrable shield against him.

With a deep growl, the dragon opened its maw, breathing out a jet of fire, as hot as the midday sun.

Raising his trusty metallic shield, Beowulf felt sweat pour down his face.

What was he going to do? How could he defeat this terrible foe? So you can probably see that that Izzy's got lots of different cohesive devices and she started with a fronted adverbial of manner.

She's got and to make a compound sentence and an a non-finite -ing complex sentence at the end there.

She's also got dashes for dramatic effect and she's got some of those techniques to increase pace, for instance her rhetorical questions at the end there.

So yours might not sound like that just yet, but there's some more inspiration for what you can do when you come to write in a moment.

Really well done for your oral rehearsal.

Great job.

So here's the success criteria we're going to use to write today.

It says, "I have connected ideas from my plan using a range of cohesive devices, including different types of fronted adverbial of manner.

I have used a pair of dashes for dramatic effect and I've used short sentences, rhetorical questions and quick fronted adverbials of time to increase pace.

And of course, we can tick these off as we write.

So now let me show you how I'd write this paragraph.

Okay, so I want to show straight away that Beowulf is really determined to defeat this dragon.

So I'm going to start with a fronted adverbial of manner to show his determination as the dragon approaches.

So I'm going to start off with with narrowed eyes just to show Beowulf's kind of determined look as he stands there waiting for the dragon to approach.

So with narrowed eyes, what does Beowulf do? Well, I want him preparing, raising that sword and watching the dragon.

So I'm gonna say, "With narrowed eyes, Beowulf watched," I could say the dragon, but let's use a different noun phrase to describe the dragon.

I could say, "Beowulf watched the huge beast, the immense beast, the vast beast." Yeah, let's do immense.

So, watched the immense beast approach.

Then I want to show that Beowulf is ready to go.

He is standing there with his sword raised.

So I could say, "As he gripped his ornate sword." I could even try and show a little bit of his tension, couldn't I? By saying, "As he gripped his ornate sword in shaking hands," or I could say, "Sweating hands," couldn't I? Yeah, ooh, good idea.

We could say, "In sweating palms," couldn't we? Now, we know Beowulf is very brave, but perhaps even he is a little bit afraid as he sees this dragon approach.

So I've got, "With narrowed eyes, Beowulf watched the immense beast approach as he gripped his ornate sword in sweating palms." Okay, and then I think I'll have a little bit of dialogue with Beowulf again kind of taunting this dragon as it approaches.

So I might have him do a speech first sentence here.

I've started a line and I'm going to say, "Come closer you foul creature." And then I need to close my inverted commas after I've put the ending punctuation.

And then I need to give my reporting clause and I think I'm gonna keep this really simple.

I'm just going to say he yelled.

I don't think I need to add angrily or another adverb here.

I think it's clear the emotion that Beowulf's gonna feel, so I'm gonna keep it simple there.

Okay, now I'm going to do I think, a little bit of short sentences here in order to show the drama that we're feeling here.

So he's feeling at this point that it's time for him to fight the dragon.

So I'm gonna say, "It was time to fight." It's a really short sentence there.

And then I'm going to follow up with a couple more to show his thoughts and feelings at this point.

I could say, "He knew he had no choice." Or I could just say, "He had no choice." And then I could say another short sentence to finish.

He had to win.

So I'm showing Beowulf's thoughts and feelings here, aren't I, in a way, using these short sentences which really add pace and drama.

It was time to fight.

He had no choice.

He had to win.

So the dragon is now really close and we've got to have Beowulf now doing some serious action.

He's going to be starting to attack the dragon.

So I think I'll start with another fronted adverbial of manner.

I think this time I'm going to do a full of.

What's he going to be full of, what emotion at this point? Yeah, well done, I think I'm gonna say, "Full of rage." Okay, so what did he do? Well, full of rage, he swung his, I could say his sword, yeah.

He swung his sword or his blade.

Let's do sword, so he swung his sword.

And I think here I'm going to use dashes for dramatic effect to emphasise something about his sword.

Remember, we often repeat the same noun, but with a slightly expanded noun phrase.

So he swung his sword, his, how could you describe that sword? Yeah, we could say, "His trusty." We will remember that means reliable, didn't we? But that sounds a bit too nice, so let's add a second adjective, which might be a bit more negative.

So his trusty, deadly sword.

Yeah, that will be good.

Showing that it isn't just, you know, this is a serious weapon.

Okay, so full of rage, he swung his sword, his trusty, deadly sword.

I've closed the dashes, but now I need to finish that sentence.

Where did he swing it at? Yeah, well done, at the dragon's, yeah, could say body or we could use a really advanced word for that body.

We could say, "At the dragons' torso," couldn't we? Okay, and if I remove the part in the dashes, it should still make sense.

Full of rage, he swung his sword at the dragon's torso.

Yeah, that works really well.

So this piece in the dashes just emphasises something about that sword for dramatic effect.

Okay, but then what happens when he tries to stab the dragon? Nothing, his sword can't penetrate the dragon's scales.

So I'm gonna say, "Nothing happened." Now, that is a complete sentence, but I'm thinking I could add a colon and then follow that with an explanation.

Why did nothing happen when he tried to attack the dragon? Yeah, well done.

I could say, "The dragon's scales," well, they couldn't be broken, could they? So I could say, "The dragon's scales were completely," do you remember that word for something which you can't break through.

Yeah, well done.

Impenetrable.

So we could say, "The dragon's scales were completely impenetrable." Okay, so what comes after the colon explains why nothing happened.

His sword didn't work, because those scales were impenetrable.

And I think now I'll have a rhetorical question.

What's Beowulf thinking to himself when that attack fails, when his sword can't penetrate the dragon's scales.

Well, he might be thinking, "What could he do now?" And notice, it's not what could I do now, because we are writing in the third person.

So even though this might be Beowulf's thought, we're still writing in the third person.

So we're still using he.

What could he do now? Okay, so then unfortunately something else happens.

The dragon does something else, doesn't it? So he then breathes fire on Beowulf.

I wanna show that it's happening fast, so I'm going to use one of my quick fronted adverbials of time.

I'm going to say, "Suddenly," you could use all of a sudden.

What does the dragon do? Well, it breathed out, we could just say breathed out fire, but I think in my plan, I put that it breathed out a jet of fire, which again, adds a little bit of pace, doesn't it? "Cause it suggests that it's going very fast.

A jet of fire, and I could say, we added some description in our plan about how hot it was, which we said it was as hot as the midday sun.

I think I'm gonna do that as a relative clause at the end of my sentence.

It breathed out a jet of fire, which was as hot as the midday sun.

So I've got my relative clause here as another cohesive device.

So as hot as the midday sun and that's a simile, isn't it, that we included in our plan.

Okay.

So now I've got to have some more fast action from Beowulf, 'cause he's got to raise that shield as quickly as he can.

So I'm gonna use another one of my quick fronted adverbials.

I'm gonna say, "In an instant," to show that Beowulf would have to act incredibly fast in order to protect himself from this fire.

So what did he do in an instant? Yeah, well done.

In an instant, Beowulf raised his," how could I describe that shield? Yeah, what's special about it is the metal.

So let's say that here.

We could say metal, we could say iron or a specific type of metal, couldn't we? Shall we go for iron? Yeah, I think that's probably the most likely metal at the time.

So he raised his iron shield.

Okay, I like that.

And he did that to block the fiery heat, didn't he? So I'm going to finish off by saying that.

To block the fiery heat.

Okay.

And I'm gonna finish off by saying, "He was safe for now." Or I could even finish with another rhetorical question, could I? He was safe, and then I'm going to break the rules and start a sentence with but here.

But for how long? And I'm going to finish there with a question mark to show this is my rhetorical question.

Okay, let's have a read through.

Read with me.

With narrowed eyes, Beowulf watched the immense beat approach as he gripped his ornate sword in sweating palms. "Come closer you foul creature!" he yelled.

It was time to fight.

He had no choice.

He had to win.

Full of rage, he swung his sword, his trusty, deadly sword, at the dragon's torso.

Nothing happened, the dragon's scales were completely impenetrable.

What could he do now? Suddenly, the dragon breathed out a jet of fire, which was as hot as the midday sun.

In an instant, Beowulf raised his iron shield to block the fiery heat.

He was safe, but for how long? So we've definitely got lots of our cohesive devices, including several different fronted adverbials of manner, like with narrowed eyes and full of rage.

We've got dashed for dramatic effect here to describe his sword.

We've got our short sentences in a row here, three in a row.

We've got a couple of rhetorical question.

We have those quick front adverbials of time at the end, like suddenly and in an instant.

So I'm confident we've met all three criteria.

Okay, now it's your turn.

Make sure as you write this paragraph that you use your success criteria and your plan to really help you and make sure you think or say your sentence before you write it to check you've got it really clear in your head and then once you've written it, you check it back to make sure it is exactly what you intended.

So pause the video and have a go at writing the first paragraph.

Well done, fantastic job.

Here's an example of how that first paragraph could look.

It says, "With narrowed eyes, Beowulf gripped his ornate sword and he watched the vile beast approach.

It was time.

'Come here and face me!' he spat angrily.

He swung his blade, his sharp-tipped, deadly blade, angrily towards the dragon.

It was no use.

The dragon's scales were as hard as iron, they were an impenetrable shield against his famous sword." So there I've tried to set that pacy tone.

Let's see if I've met my success criteria.

I've got my cohesive devices.

So I've got with narrowed eyes as a fronted adverbial of manner and to make a compound sentence and a semi-colon there.

I've got my dashes for dramatic effect here, his blade, his sharp-tipped, deadly blade, reemphasizing that point of that blade.

And my different techniques to increase pace, for example, my short sentence here, it was time.

Now let's look at the end of the paragraph.

With a low growl, the dragon opened its vast maw.

Suddenly, it breathed out a jet of fire, pure, boiling fire, that was as hot as a comet's tail.

Horrified, Beowulf raised his trusty shield.

As he waited for the fire to die away, he felt sweat pour off him.

What could he do? How on Earth could he defeat this beast? How would he defend his people against it? Still got those cohesive devices here, like my with a low growl as a fronted adverbial of manner, and horrified, also a front adverbial of manner.

I've got my dashes for dramatic effect, pure, boiling fire, and my techniques to increase pace.

I've got my rhetorical questions at the end here.

Really well done for your effort there.

Great job at meeting your success criteria.

Let's keep it up as you write the next paragraph.

So let's prepare to write the second paragraph now.

So we're going to use very similar steps to prepare to write this paragraph.

We finished paragraph one where Beowulf's first attack fails and the dragon attacks.

Paragraph two is where the Geats flee and Wiglaf comes to help Beowulf.

So this paragraph will have a lot of tension, won't it? Because Wiglaf has to get to Beowulf through the dragon's fire.

So we'll be talking quite a bit about Wiglaf here.

And this paragraph's going to contain lots of emotions as well.

We're going to have the Geats feeling that fear when they see the dragon's fire, Wiglaf feeling anger at them when they run away and finally, Wiglaf feeling determination to get to Beowulf despite the dragon's flames being in his way.

So we're going to try and have to show this tension and these strong emotions in our writing.

So to help us prepare to write this paragraph, let's have a look at our notes and see if you can spot any places where you could include dashes for dramatic effect.

Maybe you can spot more than one.

Pause the video, have a look at your notes and see if you can come up with some ideas for where to place these dashes.

Well done, great ideas.

Now, a good tip is to look for nouns and noun phrases that you could describe with some extra detail.

Here are some examples.

Only Wiglaf, loyal, brave Wiglaf, remained to fight with his king.

So I've taken that noun, Wiglaf and I've added some extra detail in the dashes afterwards.

I could do this.

The Geats watched their king, their courageous king, pushed back behind his shield and they knew they stood no chance.

Wiglaf grabbed his shield, his trusty, wooden shield, and threw himself into the dragon's path.

And finally, instantly, he was caught in the flames, the bright, boiling flames, and his shield was reduced to ash.

So in each of those cases, I've taken the noun or a noun phrase and added extra detail about it, restating it a different way inside the dashes.

Really well done for your ideas there too.

So just as we did for the first paragraph, let's have a go at orally rehearsing our second paragraph.

In the same way, look at your plan notes and your text map to you help you and make sure your saying out loud the sentences you'd like to write, trying to look for different cohesive devices to connect them, trying to use those different types of sentence and different fronted adverbials of manner and trying to see if you can spot a place to add those dashes for dramatic effect as well, as well as use techniques to add pace and tension to our writing.

Pause the video, have a go at orally rehearsing your second paragraph.

Well done, great job.

Here is Izzy's oral rehearsal for this paragraph.

When they saw the fiery flames, the Geat warriors gasped in fear, dropping their weapons, they fled.

Full of fury, Wiglaf scowled and shook his fist at their backs.

"Cowards, you've deserted your king!" he raged.

It was no good.

They were gone, he was alone.

With gritted teeth, he grabbed his shield, his trusty, wooden shield, and ran into the scalding hurricane.

Instantly, his shield turned to ash.

Terrified, he threw his body behind Beowulf's shield.

"I'm here, my good king!" he panted.

So you might've spotted there they have some dialogue there as one of our narrative elements, along with lots of action going on.

We've got a range of cohesive devices, like my adverbial complex sentence to start, a semi-colon there, a compound sentence as well and my dashes to add dramatic effect, as well as those techniques to increase pace and those short sentences in the middle there.

So hopefully you managed to do a really good oral rehearsal.

Again, don't worry if it's not quite like this yet.

Doing your rehearsal will make sure your writing is of the best possible quality when you come to do it.

Great job.

So now it's your turn to have a go at writing this paragraph using your oral rehearsal to help you.

So again, use those success criteria in your plan, think or say each sentence before you write it and check it back once you've written it.

So pause the video and have a go at writing your second paragraph.

Well done, good job.

Here's an example of how the first part of this paragraph could look.

Gazing into the dragon's fire, the Geats' eyes widened in fear.

Without a backward glance, they dropped their weapons and fled.

"Come back, you cowards! We must protect our king!" Wiglaf bellowed.

Enraged, he shook his fist and he cursed their treachery.

How could they betray their brave king? How could they leave him to die? And how would he, Wiglaf, protect Beowulf alone? So just like in paragraph one, we've got our cohesive devices, for example, we've got a non-finite -ing complex sentence, we've got without a backward glance as a fronted adverbial of manner and enraged as another one and we've begun to use our techniques to increase pace here using our rhetorical questions, three in a row of them, at the end there.

Let's see how the end could look.

Determined, Wiglaf picked up his trusty, wooden shield.

With shaking hands, he ran into the scalding hurricane of flames.

Instantly, the shield was ablaze, in moments, it was a pile of ashes, useless, grey ashes, at his feet.

Horrified, Wiglaf flung his body behind Beowulf's and his metal shield.

He had made it.

He was alive.

He had done his duty.

"I'm here, my good king!" he gasped.

So again, we've got our cohesive devices, for exampled determined and with shaking hands and horrified are all fronted adverbials of manner.

We've got instantly as a front adverbial of time and our semi-colon there.

We've got our dashes for dramatic effect here, useless, grey ashes, to emphasise how pointless it is to have this shield because it was made of wood and it was burned instantly.

And we've got some more of these techniques to show the pace and tension of our writing, for example, these three short sentences here at the end.

Really well done for your effort there.

Fantastic job at meeting those success criteria.

Well done.

Let's summarise our learning in this lesson.

We're writing the climax and the resolution in "Beowulf and the Dragon", aiming to show the fast-paced, tense atmosphere of these events.

We can use techniques like short sentences, rhetorical questions and quick fronted adverbials of time to add pace to our writing.

We can connect ideas from our notes using a range of cohesive devices, including different types of fronted adverbial of manner and dashes for dramatic effect.

And we know that it's helpful to orally rehearse our ideas for sentences before you write.

Really well done for your effort this lesson.

I hope you're really pleased with the writing you've produced.

You've done a fantastic job of adding in all this pace and tension to your work to really show how dramatic these events are.

I'd love to see you in the next lesson where we complete this climax and resolution in order to show how this fight is resolved.

I'll see you there, goodbye.