Lesson video

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

Today we are going to finish writing the climax and resolution of the story of "Beowulf and the Dragon".

So we're going to get the chance to write the incredibly dramatic ending of that story.

I think you're gonna produce some fantastic writing.

So let's make a start.

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

By the end of today's lesson, you'll have written the second 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.

And for this lesson, you'll need to have with you the plan that we wrote in a previous lesson.

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 then we'll write the third and fourth paragraphs of our text.

So as you know, we spent some time writing the first two paragraphs of the climax and resolution of "Beowulf and the Dragon".

We've written paragraph one where Beowulf's first attack fails and the dragon attacks him with its fire.

We've written paragraph two where the Geats flee and Wiglaf comes to help going through the dragon's fire to hide behind Beowulf's shield.

So today we're going to write paragraph three where Beowulf attacks again, and then the dragon bites him.

And then paragraph four, where Wiglaf and Beowulf team up to defeat the dragon.

So today we're gonna write these paragraphs using our detailed plan to help us.

So we know that our narrative should be tense and pacing and we know that we can use a range of techniques to add pace to our writing.

For example, we can do repeated short sentences, one after another, or repeated rhetorical questions as well.

And we can use quick fronted adverbials that really move the action along quickly, like suddenly, all of a sudden add at that moment.

We can also use a range of different narrative elements to show our attention.

So we can use fast paced action, give description that shows the the level of danger the characters are facing, show the strong emotions that they're feeling in response to those dangers, and include dialogue that shows characters' feelings and their tension as well.

So what technique is being used in each of these examples to increase the pace and add some tension? Pause the video and have a think.

Well done.

Good job.

So in the first one it says "Beowulf screamed as the dragon's teeth ripped into his flesh." So here we're showing Beowulf's emotion, his pain to add to the tension.

We're showing that this is something very difficult that he's facing.

B says, all of a sudden the dragon opened its jaws and bit into him.

Well there we've got a quick fronted adverbial, all of a sudden to add some pace.

And C says, Beowulf screamed.

He writhed in agony, he gritted his teeth.

So we've got repeated short sentences there to add pace to our writing.

Well done for spotting this.

Now another way of adding tension is to show characters' inner thoughts.

And we already do this using our rhetorical questions, but another way we can do it is to add a question after a colon.

Here's an example, there was only one thought in Wiglaf's head colon, how could he save his king? So we've said what Wiglaf's thought was after the colon.

Here's another one.

One question ran clearly in Beowulf's mind, colon, how could he end this once and for all? So we're introducing the idea of there being a question.

Then we have a colon and then we follow it with the question.

So the parts of the sentence before and after the colon should both make sense on their own.

And that bit that comes before the colon should hint that there might be a question coming.

Perhaps it's showing that there's a doubt in the person's mind or that they have a worry running through their head.

And then we follow it with a question which could be a complete sentence after the colon.

So in which version below is the colon in the correct position to introduce the question? Pause video and have a look.

Well done.

Good job.

You hopefully spotted it is C.

Here we've written the dragon was stunned: how would this feeble human dealt him such a blow? So here I've said what the dragon might be thinking with the question after the colon.

Now notice I haven't said the dragon had a question in its mind.

You don't always have to say that, but you can tell that that part that comes before the colon introduces the idea of the question that follows it.

And both parts on either side could be a complete sentence on their own.

Really well done for spotting that one.

Now we know there will always want to connect ideas using a range of cohesive devices whenever we write.

We can use different sentence types for instance.

We could use different types of complex sentence, adverbial complex, relative complex and non-finite ing complex sentences for instance.

We can use different compound sentences and we can use different types of fronted adverbial as well, including fronted adverbial of place like to his left, fronted adverbials of time like soon and fronted adverbials of manner, which can take many forms like slowly, full of fear, enraged, with a sneer and so on.

And we can also use semicolons to connect closely related sentences and dashes for a dramatic effect in the middle of a sentence.

So we've got loads of different pieces of devices we can use there and pick and choose between them to decide which ones are most appropriate for the notes we we're trying to create complete sentences from.

And we want to decide which ones will work best for our particular sentence we want to write.

None of these are better than any of the others.

We want to make sure we use a range of them throughout our text.

So one type of cohesive device that can be useful is a relative complex sentence, which we just mentioned as one of our different sentence types we could use.

And we know that a relative complex sentence uses a relative clause as its subordinate clause that starts with a relative pronoun.

So for instance, who, which or whose.

And it adds extra detail after and now.

So for example the dragon which was roaring an agony dropped Beowulf to the floor.

Here we've got, which was roaring an agony as a relative clause coming after the noun phrase the dragon to tell us more about it, starting with that relative pronoun which.

Here's another one.

Beowulf, who was amazed to find himself still breathing, reached down to grab the dagger from his scabbard.

So there the relative clause again is interrupting a main clause.

The main clause would just say Beowulf reached down to grab the dagger from his scabbard.

We've interrupted it with this relative clause after that noun Beowulf.

To tell us more about that noun, it tells us that Beowulf was amazed to find himself still breathing.

And we started it with a relative pronoun, who.

So in both those cases, the relative clause is interrupting main clause, but the relative clause cannot also be placed at the end of a relative complex sentence like this.

We're gonna have stab the dragon's belly comma, which split open like a ripe tomato.

So there that relative clause is adding more detail about the belly.

Here's another one.

They looked at the dragon comma, whose body was still.

This time the relative clause is describing body.

Body came at the end of that main clause.

So the relative clause will come at the end of this sentence.

So where the relative clause appears will depend on what noun and non phrase in the sentence is adding more about because it will always come directly after the noun and non phrase as you can see in these examples.

So which cohesive device has been used in each of these examples below? Pause the video and see if you can spot it.

Well done.

Great job.

So for the first one I've got as as a subordinated conjunction starting adverbial clause.

So this is an adverbial complex sentence.

For B, we can see we've got dashes to add dramatic effect.

For C, we've got without another thought as our fronted adverbial, that's showing manner.

So it's a fronted adverbial of manner.

And then we've got, suddenly the dragon opened its maw as a fronted adverbial of time.

And this is one of those quick ones we can use to add pace to our writing.

Really well done if you've got this.

Now, how could we combine each of these pairs of details to make a relative complex sentence? You might be able to put one of these relative clauses in the middle and one at the end, see what works.

Pause video and have a go.

Well done.

Good job.

So if you look at these first two, we've got Wiglaf anxiously at Beowulf and Beowulf is writhing in pain on the ground.

So that second one describes Beowulf, doesn't it? And Beowulf is the word at the end of that first sentence.

So I could combine them like this.

Wiglaf looked at Beowulf who was writhing in pain on the ground.

Let's look at the second one.

Beowulf grabbed his dagger and he slit the dragon's throat.

But then the second one describes the dagger.

The dagger was still in its scabbard.

So that second piece of information will come after the word dagger, won't it? Like this.

Beowulf grabbed his dagger, which was still its scabbard, and he slit the dragon's throat.

So remember where he placed the relative clause depends on which noun or noun phrase in the sentence we're adding the information about, because it should come after that noun and noun phrase.

Really well done if you got this.

Now in this part of our story we've got loads of movement, we have a fight going on and we have the dragon coming down to grab Beowulf and then we've got Beowulf trying to stab the dragon and all this movement happening.

So when we have movement, we often use prepositions and prepositions connect the rest of the sentence to a noun or a noun phrase like this.

Wiglaf raced towards the king.

The king is a noun phrase towards is a preposition because it connects that known phrase of the king to the rest of the sentence.

Here's another one.

Wiglaf thrust his sword into the dragon's belly.

The dragon's belly is our noun phrase, into is a preposition connecting it to the rest of the sentence.

Here's one more, Beowulf reached down to the scabbard on his belt.

So down to is a preposition, linking the scabbard to the rest of the sentence.

And on is a preposition linking the noun phrase his belt to the rest of the sentence.

So the preposition and the noun phrase together are called a preposition phrase.

So into the dragon's belly is a preposition phrase made of the preposition into and the noun phrase the dragon's belly.

So can you think of an appropriate preposition to include in each of these sentences to show the movement that's happening? Pause the video and have a think.

Good job.

You could choose different ones here, here's what I picked.

I could say, Horrified, Beowulf watched the fragments of the sword fall onto the boggy ground.

For B, the dragon's dagger-like teeth ripped into Beowulf's flesh.

C, Wiglaf bellowed in rage and he leapt towards the dragon.

So you've got onto, into and towards as our prepositions.

In that last one, the preposition phrase would be towards the dragon, the preposition and the noun phrase that follows it.

Very well done if you thought of some good ones there.

So let's do our first task for this lesson.

I want you to explain which of the two passages below, A or B, best shows the tense, pacy atmosphere we're aiming for and how has that been achieved in the one you choose? Pause the video and have a think.

Well done.

Fantastic job.

We can see B was much more effective at showing intention, but why? Well, it used a range of different narrative elements to show Wiglaf's emotions and the dragon's reaction to being stabbed and those narrative elements add to that drama and tension.

It also used as a range of cohesive devices to connect to ideas like an adverbial complex sentence at the start there.

And then dashes for dramatic effect in the second sentence, which also contains and to make a compound sentence.

We've also got short sentences in succession to our pace.

The dragon roared, it groaned, it dropped Beowulf to the ground.

And then at the last sentence, we've got a question after a colon to show some tense inner thoughts at that moment.

So all of those factors contribute to making this a very effective paragraph that show tension.

So this is the kind of thing we'll be aiming for in our writing today.

Well done for spotting those things.

So we're going to now prepare to write a third paragraph.

And to do that we're going to orally rehearse ideas for how to connect our notes into complete sentences using our cohesive devices and using the techniques that we've discussed.

So here are two notes from my paragraph three.

And remember paragraph three is where Beowulf attacks the dragon again and the dragon bites him.

So I've got gritted teeth, swung heavy sword, powerful blow to head.

So that's Beowulf attacking the dragon a second time with his sword.

Then the sword got stuck in his thick skull and shattered like glass.

So we've got the sword breaking in the dragon's skull.

So how could I make these into complete sentences? I'm gonna try and say them out loud so I could say something like this.

Gritting his teeth, Beowulf swung his sword at the dragon's head.

He landed a blow, a powerful, violent blow, but the sword stuck in the huge beast's head.

Instantly, the blade shattered like glass.

Beowulf gasped in shock.

What on earth had happened? So now I've tried to use some of the features we've talked about.

I've started with a non-finite ing complex sentence.

I've got dashes for dramatic effect and a compound sentence using butler.

I've got instantly as a quick fronted adverbial of time and I've got a question after a colon as well.

Now of course I got to write mine down so I had a much easier job than you would have if you're orally rehearsing from scratch.

So don't expect to include all of these features straight away when you are already rehearse, but any kind of oral rehearsal will really help you make it easier for yourself when you come to write.

So let's practise.

How could you say these notes out loud as complete sentences using the techniques that we've discussed? I've got jaw dropped, staggered backwards and dragon seized him and then teeth like daggers ripped into flesh.

So I've got Beowulf shocked about his short sword shattering in the dragon's skull and then him being seized in the dragon's mouth.

So how could we make these into sentences? Pause the video and try and say some sentences out loud based on my notes here.

Have a go.

Well done.

Great job.

Maybe you said something like this.

Beowulf jaw dropped, his eyes widened, he staggered backwards.

At that moment the mighty beast seized him in its vast teeth, which were as sharp as daggers.

Immediately, Beowulf felt his flesh being ripped and torn.

So I've used there my short sentences at the start, three in a row.

I've got some quick fronted adverbials like at that moment and immediately and I've got a relative complex sentence there using which were as sharp as daggers as my relative clause.

Again, I'm sure you didn't manage to include all of those features on your first oral rehearsal, but the more you do it, the easier you'll become and do any oral rehearsal is really helpful for our writing.

So great job.

So now I'd like you to orally rehearse your third paragraph based on your notes.

So look at your plan and your text map if you want to.

And say the sentences out loud that you'd like to use in this paragraph.

Trying to connect your notes using different user devices and considering using different types of sentence, different fronted adverbials and different punctuation, maybe semicolons and colons as well.

So try to consider where you would use a relative complex sentence to add in extra detail and after which noun or noun phrase you would use it.

And consider adding in short sentences, rhetorical questions and those quick fronted adverbials of time to really build the tension and the pace.

Again, you might not be able to include all of those in your oral rehearsal, but see what you manage to do.

Pause the video and have a go orally rehearsing that third paragraph.

Well done.

Fantastic job.

Here's Lucas' oral rehearsal of this paragraph.

He said, Determined, Beowulf, narrowed his eyes and he raised his trusty iron sword once more.

Full of rage, he swung it violently at the dragon's mighty head, landing a powerful blow.

Something was wrong.

The sword was stuck! As Beowulf looked on, the blood covered blade snapped clean in two.

His jaw dropped: what could he do now? Suddenly the dragon pounced.

It seized him with his dagger-like teeth, which tore into his flesh.

As he writhed in pain, he screamed and cursed.

Soon his whole body was drenched in thick, scarlet blood.

So you can probably see here we've used loads of cohesive devices, but also some of those techniques to increase pace and tension in our writing.

And we've also got in the middle of that our relative complex sentence, which tore into his flesh as a relative clause.

And our question after a colon, his jaw dropped colon, what could you do now? So we've really tried to hit all of those things we've talked about so far.

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

It says I've connected ideas for my plan using a range of cohesive devices, including a relative complex sentence.

I have used short sentences, rhetorical questions, and quick fronted adverbials of time to increase pace.

And I've included a question after colon to show inner thoughts.

So those are the things we're really aiming for today and we've discussed all of those and of course we could tick off our success material as we write.

So now I'm going to show you how I'd write this paragraph.

Okay, so I'm gonna start by showing Beowulf's determination to kill this dragon.

So I'm going to start with a a non-finite ing complex sentence by writing gritting his teeth.

So there's my non-finite ing clause there.

So gritting his teeth.

What did Beowulf do? Well I wanna show him attacking the dragon with his sword.

So I'm going to say gritting his teeth Beowulf swung.

I could say the iron sword or the heavy sword.

Which do you prefer? We could do both, couldn't we? Swung the heavy comma iron sword and where's he aiming for? Yeah, it's got to be the head 'cause that's where it gets stuck.

So I could say swung the heavy iron sword at the dragon's head.

Okay, so I'm keeping that first sentence nice and simple.

So our reader understands the action here, which is Beowulf swinging that sword.

Okay then I'm going to describe what happens next.

So the problem is that Beowulf's sword gets stuck in the skull, isn't it? So I'm going to say the blade and then I'm going to say, well why did it get stuck? It's because he swung it so hard and it was actually amazing that he managed to get enough force behind it that it got stuck.

So I'm going to say the blade which had been swung with what? Yeah, we could say with all Beowulf's strength.

Oh, but we should have said Beowulf.

Could we use a different noun phrase? All the yeah, the old warrior's strength.

That'd be a nice way of putting it.

I think Beowulf would like that.

So all the old warrior's, could say strength, we could say yeah, might would be nice, wouldn't it? So the blade which had been swung with all the old warrior's might, then I could say sunk deep where yet well done into, now I've said the dragon so I could say the, yeah, well done.

The beast's head would be nice.

Oh, but not head really is it? We want the bone and the bone would be, yeah, well done.

The beast's skull.

Okay, nice.

So we've got it stuck there.

Now I want to show that the problem comes where the sword shatters.

So I want to say that coming fast.

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

I'm just going to use suddenly it shattered.

And what was that similarly we used in our plan? I chose it shattered like glass.

So I'm gonna do that really fast.

Suddenly it shattered like glass.

By doing a short sentence there with our quick fronted adverbial will make it sound like it's happening really speedily.

Now I want to show Beowulf's reaction, have his emotion using some show not tell.

So I want him staggering backwards and his jaw dropping maybe to show that shock.

So I'm going to say as Beowulf staggered backwards.

So I'm just saying these two things are happening at the same time.

As he staggered backwards comma, his jaw dropped.

Now I could just stop there, but I'm actually gonna use this as a chance to have my question after a colon.

Because here that would work really well because we've got a thought running through his head, which would be something like maybe what on Earth had happened? So we've got our question after the colon there to really introduce this idea of this thought running through Beowulf's head.

Okay.

And then I want to show the dragon really quickly grabbing Beowulf.

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

I'm gonna say at that moment, what does the dragon do? It could, we could say it swooped down or its head swooped down.

Or we could say its head, ooh, plunged down would be really nice, wouldn't it? 'Cause that shows a lot of speed again to add some tension.

So at that moment the dragon's head plunged down and what did it do to Beowulf? Yeah, we could say it grabbed Beowulf or we could say it seized Beowulf.

Yeah, well done.

And it seized Beowulf in, ooh, let's describe those teeth in its, yeah, we could say razor sharp or we could say, hmm, what would be another compound adjective? Yeah, I like that.

Dagger-like.

In its dagger-like teeth.

Okay, I really like that.

We've, we're again keeping the pace really high, show these events coming thick and fast.

Now I want to show what that does to Beowulf.

It's gonna get a bit gory here because we wanna show those teeth really ripping his flesh.

Okay, so let's, let's keep that simple.

We could say the beast's teeth ripped his flesh.

Ooh.

And now I'm gonna make it even more gory here.

What could we say here? Which, what happened to that flesh when the teeth ripped into it? The beast's teeth ripped his flesh.

Oh yeah.

I could say which tore, I'm gonna think of a similarly here tore like, yeah.

Oh that's a horrible way of writing it, but it's gonna be really effective I could say.

Which tore like tissue paper.

The beast's teeth ripped his flesh, which tore like tissue paper.

Well I think maybe I should change this to ripped into his flesh.

Let's add that preposition there into.

I think that makes it a bit clearer.

Okay, now I wanna show Beowulf's pain with some more show not tell.

So we've got him maybe writhing in pain or writhing in agony.

Ooh, or maybe we could do one of our short sentences just to describe that pain really fast.

What do you think? Hmm.

Yeah, we could say the pain was, yeah, I like that.

We could say the pain was intolerable.

Or maybe could say the pain was blinding to show it's so painful that he can barely see.

I like that.

So short sentence, which again adds to that pace.

So now I wanna say what he's doing to show a bit of show not tell.

So maybe I could say writhing.

I can't say writhing in pain 'cause I just used that.

So what else could you say? Yeah, well done.

Agony would be good.

And then we could show the blood kind of covering him, couldn't we? So maybe writhing in agony.

Beowulf felt what? Yeah.

We could say felt blood pour over him.

So we're being very graphic, aren't we? But this is a good way of showing that description of this horror to our reader.

Okay, and I think I wanna finish with a rhetorical question.

So what's he thinking to himself at this moment? Maybe he could be thinking, how could he save his people now? He's still worrying about other people even though he's in this predicament maybe.

How could he save his people now? And maybe a second question's running through his mind.

Could this be the end maybe? Or would this be the end for him? So we are trying to show maybe that even Beowulf might be having some doubts at this point.

Could this be the end question mark? Okay, let's read this through.

Read aloud with me.

Gritting his teeth, Beowulf swung the heavy iron sword at the dragon's head.

The blade which had, oh, I think we need a yeah, a beast, isn't it? We've missed a word there.

Good spot.

Well done.

The blade which had been swung with all the old warriors might sunk deep into the beast's skull.

Suddenly it shattered like glass.

As Beowulf staggered backwards, his jaw dropped.

What on earth had happened? At that moment, the dragon's head plunged down and it seized Beowulf in its dagger-like teeth.

The beast's teeth ripped into his flesh, which tore like tissue paper.

The pain was blinding.

Writhing in agony, Beowulf felt blood pour over him.

How can you save his people? Now could this be the end? So let's check on the success criteria.

Have we used our cohesive devices, including our relative complex sentences? Well, we've got a relative clause here and we also had one here, which tore like tissue paper.

At the same time, we have also got lots and lots of other cohesive devices like non-finite ing complex sentence here.

We've got some short sentences scattered in here, like the pain was blinding.

And we've got rhetorical questions at the end there, which we just talked about and our quick frontal verbiage like suddenly, and at that moment.

We've also got that question after a colon here where we said what on earth had happened? So I think we can say we've met all three of these criteria.

Okay, now it's your turn.

So you're gonna have a go writing your third paragraph using your success criteria and your plan, making sure you think or say each sentence before you write it and that you check back your sentences once you've written them to make sure they're exactly what you plan to do.

Of course you can build on your oral rehearsal from before, but as you write you'll have much more time to think and expand your ideas and perhaps hit some more of these targets that we're aiming for in our success criteria.

So pause the video and have a go.

Well done, really good job.

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

I've written Gritting his teeth, Beowulf swung his heavy sword at the dragon's vast skull.

The blow was powerful, it was fierce.

But the ornate sword, which was his most trusted weapon stuck in the thick bone.

Instantly, its blade shattered like glass.

Staggered Beowulf felt his jaw drop; his eyes widened in shock.

How on earth had this happened? So again, we've got our range of cohesive devices here.

We've got gritting his teeth, our non-finite ing clause, which was his most trusted weapon as our relative complex sentence there.

Staggered is our fronted adverbial manner, and I've got a semicolon there.

I've got some of these techniques to increase pace.

It was fierce is a short sentence, instantly as a quick fronted adverbial of time.

And how on earth has this happened as a rhetorical question and I don't yet have a question after colon, that's coming up in a moment.

So here's the rest of my paragraph.

At that moment the dragon opened wide its vast maw and it grabbed Beowulf in its mighty jaws.

Instantly its teeth which were like daggers ripped into his flesh.

It was agony.

Beowulf writhed in pain, squeezing his eyes tightly shut.

Within moments, Beowulf was drenched in crimson blood.

Horrified, Wiglaf had only one thought.

How could he save his king? So you've got still those cohesive devices.

Another relative clause here.

I've got another non-finite ing clause and another fronted adverbial there.

Horrified, I've got my techniques to increase pace for instance, at that moment it's a quick fronted adverbial of a bit of time and instantly as well.

And I've got that short sentence, it was agony in as well.

Then I've got my question after colon at the end here, he had only one thought colon, how could he save his king? So I've really tried to hit all those success criteria here, but most importantly, tried to keep this pacy and tense, which is what we're really aiming for because this is such a dramatic scene.

Really well done if you've managed to do that as well.

Great job.

So let's try and keep that going now as we write our fourth paragraph.

So we're going to try and prepare to write this fourth paragraph in a very similar way.

So we've already written our third paragraph where Beowulf attacks again and the dragon bites him.

So now our fourth paragraph is where Wiglaf and Beowulf defeat the dragon.

So maybe the most exciting paragraph of all.

So this paragraph is of course the resolution.

It's where the problem in the whole story of Beowulf and the dragon, the existence of the dragon is resolved.

So this paragraph's going to contain lots of emotion, isn't it? We've got Wiglaf's rage at seeing Beowulf in the dragon's mouth.

We felt the dragon's anger when it's stabbed by Wiglaf in the belly and Beowulf's determination to kill the dragon with his dagger.

So got to try and show all those emotions in our writing, keeping up that pacy, tense atmosphere.

So have a look at your notes for the fourth paragraph.

Can you spot where you could include a question after a colon for this paragraph? And can you spot where you can include a relative complex sentence? So we're planning ahead for what you might want to include in our oral rehearsal now.

So pause the video, look at your notes, and have a think where you could use these two features.

Well done.

Great job.

Now we've all got different notes, so we'll all have different ideas.

But here are two of mine.

For the first one I could say Beowulf had only one concern colon, how could he put an end to this once and for all? So again, I've got a complete sentence on either side of the colon.

Here's another one.

Wiglaf had only one thought, colon.

Would the injured king survive? So it could be a question from Beowulf or from Wiglaf or even perhaps the dragon.

What about our relative complex sentence? I could say the dragon whose intestines were spilling out onto the ground, roared in agony.

So that relative clause is about the dragon.

So I've put that relative clause after the known phrase, the dragon.

Here's one more.

Instantly the dragon dropped Beowulf, who hit the her ground hard.

This relative clause is about Beowulf.

He's at the end of that main clause.

So the relative clause goes at the end of this sentence.

So bear that in mind as well.

Really well done for your ideas there that will really help you when you orally rehearse in a moment.

So let's do our oral rehearsal of this fourth paragraph in the same way as we did before based on our notes and our text map saying out loud the sentences we want to write using our different cohesive devices, different types of sentence, different fronted adverbials and punctuation, trying to include a relative complex sentence and trying to include these features that add pace and tension to our writing.

So, remembering we won't get it perfect when we orally rehearse.

It's just our first try at getting some sentences in our head ready to write.

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

Fantastic job, well done.

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

With a bellow of rage, Wiglaf lept at the dragon.

He had no choice.

He had to save his king.

Plunging his sword deep into the beast's fleshy stomach, he watched his blood and guts spilled out onto the floor.

Full of pain, the dragon dropped Beowulf who landed with a thud.

Wiglaf had only one concern: was his king still alive? He should not have worried.

Beowulf, who could hardly believe his luck, grabbed his trusty dagger.

Reaching up to the beast's throat, he stabbed hard and deep.

Instantly the magic dragon fell to the ground.

So Lucas used loads of those techniques we discussed, a range of cohesive devices, but also a range of techniques to add pace and tension.

And I think it's worked.

There's a really tense atmosphere and the action is coming thick and fast in Lucas's paragraph here.

Really well done for your oral rehearsal there as well.

Great job.

So now let's write this paragraph using the same process we used before, making sure we use our success criteria and our plan to really try and hit all these important features that will add tension to our narrative.

Pause the video and have a good writing this fourth and final paragraph.

So really push yourself to have a dramatic ending to this story.

Have a go.

Well done, fantastic job.

Here's how it might sound.

Wiglaf, who is desperate to defend his king leapt at the dragon, he had to hurt it.

He had to stop it in its tracks.

Wiglaf bellowed in rage as he plunged his ornate sword into its soft belly.

Instantly the skin split open, blood poured out, guts followed.

With a howl of pain, the vile creature dropped Beowulf suddenly to the ground.

Wiglaf could think of only one thing; would his king survive? So we've got a very tense first part of our paragraph.

We've got our cohesive devices here.

We've got a relative clause there.

We've got as to make it a complex sentence and with a howl of pain as a fronted adverbial.

We've got our techniques to add pace and tension.

He had hurt it as one of our short sentences and instantly as one of our fronted adverbial of time, a really quick one and then guts followed.

Here's another short sentence there.

We do have a question after a colon over here, with Wiglaf's thought being introduced by that colon.

Here's how the paragraph may end.

Beowulf, who could hardly believe he was still breathing, reached down to the leather scabbard on his belt.

He grabbed the dagger, the faithful silver dagger that hung there.

Desperately, he reached up towards the dragon's exposed neck and he stabbed.

He stabbed deep.

With a roar, he slit the beast's throat.

Almost immediately the dragon fell to the ground, raising a cloud of dust.

It was dead.

So I tried to end my story of Beowulf and the dragon really dramatically there.

So we've got our cohesive devices again, like my relative clauses here again, desperately being another fronted adverbial of manner and a non-finite ing clause here at the end.

We've got our techniques to increase pace and tension.

He stabbed deep as a really powerful short sentence there.

And almost immediately as a quick fronted adverbial of time.

I also finished with a powerful short sentence, didn't I? And we don't have a question after colon in this section because we did one in the previous run.

So I really tried to focus on getting pace in tension into my writing here, using my success criteria to help me remember some of the features that help us to do that.

Really well done for your fantastic writing there as well.

Great job.

Let's summarise our learning in this lesson.

We've written the climax and the resolution in "Beowulf and the Dragon", aiming to share the fast-paced, tense atmosphere of these events.

And we know we can use techniques like colons, short sentences and rhetorical questions to add pace to our writing.

We can connect ideas from our notes using a range of cohesive devices, including relative complex sentences.

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

Really well done for your effort in this lesson.

I hope you're really pleased with the writing that you've produced in this unit.

I've really enjoyed working on "Beowulf" with you and I'd love to see you again in a future lesson.

Great work and goodbye.