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

Today we're going to finish off writing our duel scene from act three, scene one of "Romeo and Juliet." This is a very dramatic ending to the scene with some huge emotions involved, so it's a great opportunity for us to show off our writing skills.

Let's make a start.

Today's lesson is called writing the second half of the duel scene, and it comes by unit called Shakespeare's "Romeo and Juliet" diary and narrative writing.

By the end of today's lesson, you'll have written the second half of the duel scene using a range of cohesive devices and all the elements of a narrative.

Now for this session, you should have with you the plan that we completed in a previous session.

However, if you don't have that with you, I will provide some notes that you can use.

Let's make a start.

Here are our keywords.

Narrative elements are the content of a narrative, often including action, description, dialogue and emotions.

An adverb is a word that describes or gives more information about a verb, often showing the manner in which it happens.

And cohesive devices are language features that contribute to text cohesion.

Here's our lesson outline.

We're going to start off writing the third event from our duel scene, and then we'll write the fourth and final event.

So as you know, we're halfway through writing our narrative version of the duel scene in the climax of "Romeo and Juliet." So we've already written these two paragraphs where Mercutio and Tybalt are duelling, and when Mercutio is in pain and dying.

So today, we'll be writing these two events in two paragraphs.

Paragraphs three, the third event, is going to be Romeo reacting to the death, and then paragraph four will be Romeo and Tybalt duelling to the death.

So you're going to write in the third person, and in the past tense, and we're going to aim to create a tense and pacey atmosphere, because as you can see, we're writing some very dramatic events here.

So using your plan if you need it, can you tell the events that lead from Mercutio's death to the end of our scene? Pause the video and have a go.

Well done.

Good job.

So hopefully you started with Romeo being incredibly upset that Mercutio's dead, and he's holding Mercutio's body close to him.

And then Benvolio warns Romeo that Tybalt is approaching again, and Romeo stands up and tells him that one or both of them must die.

And then they duel, pushing each other around the square until Romeo's able to land a fatal blow and Tybalt crumbles to the ground.

So we've got lots of dramatic events we need to include in these sections.

Now in our plan, we've planned to include a range of different narrative elements, action, description, dialogue, and emotion.

And these elements can actually be combined within the same sentence.

So look at this one, "Dropping his rapier, Mercutio grimaced in pain." Well, this includes action, dropping, and emotion, that grimace shows us Mercutio's pain.

Here we've got, "'Are you hurt?' cried Benvolio, rushing towards his friend." Well, we've got some dialogue, "Are you hurt?" and we've got action, rushing towards his friend.

And then in this one we've said, "As Mercutio's rapier glinted in the sun, he lunged towards Tybalt." Well, here we've got some description of that rapier glinting, and then again action as Mercutio lunges towards Tybalt.

So we can combine that narrative elements into the same sentence.

So here's Jun's plan for the third event where Romeo's reacting to Mercutio's death.

Have a read through of and see if you can spot where he's included the different narrative elements.

Pause the video and have a look.

Well done.

Good job.

So hopefully you spotted, yes, it's got loads of action.

For example, Romeo's frozen, then he falls to his knees, and then he held Mercutio's body.

You've got lots of description, for instance, those snow-white clothes being stained by blood.

We've got some emotion, so we've got his body filling with rage.

And we've got some dialogue, for instance, "Get up, Tybalt's approaching," being said by Benvolio.

Now I've just picked out a few there, but we've got all those different elements, and remember, we can combine them together within different sentences.

We are not having to keep them separate, but they're different elements we want to try and include in our writing.

Now look back at your own plan for this event.

Check that you can say each idea out loud in simple sentences.

So I've taken that first note from Jun's plan and I've said, "Romeo was frozen for a moment.

Then, he fell to his knees and he held Mercutio's dead body." I've kept it very simple.

For now I'm just practising making sure I know what I meant by each of those notes I've written, and saying it as a simple sentence.

Pause the video and talk through your plan in the same way.

Well done.

Good job.

So maybe you took a note like this and you said, "He rose to his feet and he saw Tybalt skulking in the shadows." I've kept it very simple for now, but now I'm really confident that I know exactly what I meant by each of those notes.

Good job.

Now, one thing we're going to try and include in our writing today is some adverbs, and we can use these to add detail to verbs.

Have a look at these examples.

I've got, "Get up," Benvolio gasped anxiously.

Mercutio swaggered boldly towards Tybalt.

As Romeo wept uncontrollably, Benvolio tried to comfort him.

Walking reluctantly towards Tybalt, Romeo tried to calm him down.

And each of these adverbs is paired with a verb to tell us more about it.

So he wept uncontrollably, he swaggered boldly, he gasped anxiously, and he walked reluctantly.

So in this case, these adverbs are telling us the manner in which the verb is done, the way in which it's done.

He's not just weeping, he's weeping uncontrollably.

We've added that extra detail to give our reader a clearer picture of what's going on.

And these adverbs can really help us to set the tense atmosphere we want to see in our narrative.

So can you think of some adverbs we could use to follow each of the verbs below to say how they were done? And try and choose ones that might fit the right atmosphere for our text.

Pause the video and see what you can come up with.

Well done.

Great job.

So if you said we could say urgently, bitterly, coldly or spitefully.

And of course, we could change that word "said" to a synonym of "said" as well, couldn't we? For lunged, we could say aggressively, viciously, violently or wildly.

For paced, we could have determinedly, confidently, quickly or irritably.

And for slashed with our rapier, we could have savagely, mercilessly, relentlessly or ferociously.

And all of these adverbs could help us to add to that tense and pacey mood.

So we've seen that we can use adverbs to add some extra descriptive detail.

Another way of doing that is to expand noun phrases using the word "that." Let me show you what I mean.

We've got this noun phrase here, "He pulled out his rapier." The noun phrase is in purple.

So instead we could say, "He pulled out the rapier that hung in a leather scabbard at his waist." So instead of saying his rapier, I've changed it to the rapier, and then I've used that and added extra detail about that rapier.

It's the rapier that hung in a leather scabbard at his waist.

There's some extra detail about where it is.

Here's another example.

I've said he gazed up with empty eyes.

Empty eyes is our noun phrase.

I can expand it using that.

I've said, "He gazed up with empty eyes that seemed to stare into Romeo's soul." Here's another one.

"The blades of the rapiers clashed and clanged." The rapiers is my noun phrase.

I can expand that like this.

"The blades of the rapiers that the two men wielded clashed and clanged." So I've taken the noun phrase, I've added "that" after it and added some extra descriptive detail about the noun phrase.

So take a look at these three sentences now.

For each sentence, how could you extend the sentence using "that" after the noun phrase that's highlighted in purple? So, "Romeo clutched the body that" something.

Pause the video and see what you can come up with for each one.

Well done.

Great thinking.

So for the first one I could say, "Romeo clutched the body that lay on the dusty ground." For the second one, I could say "Romeo wept bitter tears that mixed with Mercutio's crimson blood." And I've put this noun phrase at the start of the sentence, so here I could say, "The blood that gushed from the open wound was thick and scarlet." So each time, we've gone after the noun phrase using "that" and we've added some extra detail to the sentence, which again helps build a better picture for our reader.

Really well done for your ideas there.

So we've looked at two ways we can add extra detail to our writing.

As ever though, we're going to want to connect our ideas from our plan together using a range of cohesive devices, including different sentence types and some fronted adverbials.

We could choose adverbial complex, relative complex, and non-finite -ing complex sentences.

We could use compound sentences and fronted adverbials of time, just to name a few.

Here's an example.

"Tybalt calmly parried the blow, making a quick riposte towards Mercutio's chest.

Soon, both men were drenched in sweat and they were panting in the heat of Verona's midday sun." So here, I've got a non finite -ing complex sentence, using "making." I've got a fronted adverbial of time, "soon," and I've got a compound sentence using "and" there.

So I've taken my notes and I've connected them together using these different cohesive devices to show the relationships between them.

Now here's an example narrative paragraph from the last lesson.

Which cohesive devices can you spot here? Pause the video and have a look.

Well done.

Good work.

So maybe you spotted here, I've got a fronted adverbial of time, "at that moment." I've got a compound sentence here using "and." I've got a non-finite -ing complex sentence with "Dropping his rapier." That's a non-finite -ing clause, starting with that verb in its -ing form.

I've got relative complex sentence here with "who could see that the damage would be done" as my relative clause.

And I've got a frontal adverbial of time again here with "instantly." So lots of different cohesive devices there used to connect ideas together.

Really well done for spotting those.

And as you know, we can use these cohesive devices to connect ideas in different ways.

So here's a note from Jun's plan.

"Paced towards Tybalt, removed rapier from its scabbard." I could connect those two ideas together in many different ways.

I could say this as an verbal complex sentence.

"As Romeo paced towards Tybalt, he removed the rapier from its scabbard." I could use a non-finite -ing complex sentence.

"Romeo paced towards Tybalt, removing his rapier from its scabbard." Or I could do a relative complex sentence, "Romeo, who had removed his rapier from its scabbard, paced angrily towards Tybalt." And finally I could do a compound sentence, "Romeo removed his rapier from its scabbard and he paced towards Tybalt." So those same two ideas can be connected on lots of different ways.

None is better than the others.

We just choose the one we think is most appropriate in the context we're using it.

So how could you connect these ideas using different keys of devices? Rose to feet, saw Tybalt skulking in shadows.

Pause the video and see what you can come up with.

Well done.

Good job.

So you could say, "Rising to his feet, Romeo saw Tybalt skulking in the shadows," a non-finite -ing complex sentence.

Or you could use a fronted adverbial of time and a compound sentence using "and." "Suddenly, Romeo rose to his feet and he saw Tybalt skulking in the shadows." And finally, I've got an adverbial complex sentence.

"When Romeo saw Tybalt skulking in the shadows, he rose to his feet." None is better than the others.

You have to choose the one you think is most appropriate.

Really well done for coming up with so many ideas.

So now I want you to look again at your plan for this section, and this time I want you to orally rehearse, say out loud how you can connect your ideas with different cohesive devices, to go from the beginning to the end, seeing how you might connect different ideas together in different ways.

You don't have to stick to these, you can change them when you come to write.

But see what you can come up with as your first oral rehearsal.

Pause the video and have a go.

Well done.

Great job.

Maybe you took ideas like these and you connected them like this.

"Romeo, who desperately wanted revenge, felt his body filled with rage." A relative complex sentence.

And then I've written, "As he approached Tybalt, he flushed scarlet." I've got an adverbial complex sentence there.

So I've got two different types of pieces of device used to connect those ideas.

Really well done for your rehearsal.

That's going to really help you when you come to write.

So now we're ready to write this third paragraph, and this is our success criteria for today.

It says, I've written in the third person and past tense.

I've included the full range of narrative elements, action, description, dialogue and emotion.

I've connected ideas using cohesive devices that include fronted adverbials of time, and I've included adverbs to say how verbs have been done.

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

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

Okay, so I've got my success criteria and we're ready to begin.

So I want to describe Romeo doing two things, two actions to start off with, one of our narrative elements.

I want him falling to his knees and then hugging Mercutio's body.

So I'm going to start off with a fronted adverbial of time.

I'm going to say, "Immediately" to show that as soon as he realises that Mercutio has fallen down dead, he straight away is doing these things.

So I'm gonna say, "Immediately, Romeo fell to his knees," and I want to connect that idea to the hugging, and I'm just gonna start off by doing that with a compound sentence.

So I'm gonna say, "And he hugged Mercutio's body." I could say Mercutio's corpse, but I think here we're trying to show the affection that Romeo has, so I think corpse would be a bit too strong there.

How did he hug that body? Let's have a think.

Could we use an adverb here? Because that's one of our success criteria.

Hugged it tightly, tenderly, closely.

What do you think? Yeah, let's go for tightly to start with.

So he hugged Mercutio's body tightly.

Okay, let's read that back.

"Immediately, Romeo fell to his knees and he hugged Mercutio's body tightly." Okay, I like that.

Now I've got that idea of him crying over the body, and I want to have this idea of his tears kind of mixing with the blood, so I want to combine those two again.

So this time I'm going to use an verbal complex sentence.

I'm gonna say "as." So, "As he wept," this happened to the blood.

So I'm gonna say, "As he wept," I could say his tears mixed with the blood.

How else could I say that? I love that.

We could say his tears diluted the blood.

That'd be a really nice one.

So, "His tears diluted." And I think this is a chance for me to expand a noun phrase using "that." So I could say, "His tears diluted the scarlet blood that" what? Where is that blood? Yeah, I could say "that covered Mercutio body." Or I could say that lay, where? Yeah, I think that's good.

So, "That lay pooled on the," ooh, let's get some description in.

Maybe on the dust covered floor.

Okay, so let's check that back.

"As he wept, his tears diluted the scarlet blood that lay pooled on the dust covered floor." So we've got some description there, and we've used that to expand our noun phrase, the scarlet blood.

Okay, that worked really well.

Now I want to have Benvolio speaking to warm Romeo that Tybalt is back.

So I'm gonna start a new line, and I'm gonna open my inverted commas, and I'm gonna keep this really short.

I'm just going to say, "Tybalt's back." And how shall I have, gonna do my closing punctuation, gonna close my inverted commas.

But how should I have Benvolio saying them? What do you think we should say? Benvolio.

Yeah, I think he's gonna whisper.

So maybe we need an adverb here because a whisper can be very casual, can't it? But I think we need to have him whispering in a kind of tense way.

So how can we say that? Whispered agitatedly? Hmm, that's a bit tricky.

What if we said whispered anxiously? Let's have that.

So I'm gonna say this is Benvolio showing his anxiety about Tybalt returning.

"'Tybalt's back,' Benvolio whispered anxiously." Okay, I like that.

And then we've got to have Romeo's reaction to that.

He's gonna rise to his feet and then he's gonna see Tybalt, isn't he? So let's do a non-finite -ing complex sentence here, using "rising" as our verb in its -ing form.

So I'm going to say, "Rising to his feet," what did Romeo see? Yeah, we could say Romeo saw Tybalt.

What was he doing? Yeah, we could say skulking in the shadows or lurking in the shadows.

What do you prefer? Yeah, let's say lurking.

So, lurking in the shadows.

Okay, I like that.

But I'm wondering, instead of saying Tybalt, could we replace that with a noun phrase that has, it refers to Tybalt without saying his name? What could we say? Yeah, the older man, we've used that before I think.

Or we could say saw his new, or his new found enemy.

Because our reader's going to know, oh, that must mean Tybalt, because we're now trying to take revenge, aren't we, on Tybalt for having killed Mercutio? Let's check that.

"Rising to his feet, Romeo saw his newfound enemy lurking in the shadows." Okay, I really like that.

Now I want to try and show Romeo's emotions, so we can use different actions to show the emotions, can't we? So we said things like "he clenched his fists," or "he flushed red." What should we go for here? Yeah, let's do "he flushed red" or "he flushed scarlet," I think we had.

But hang on, we've actually already used the word scarlet, haven't we? So instead of scarlet, what could we say? Yeah, crimson would be good, wouldn't it? Now, why does he flush crimson? What is it he's wanting here? Yeah, he wants revenge, doesn't he? So I could say "wanting revenge." Is there another -ing word I could use instead, instead of wanting? Desiring, yeah, or craving, yeah.

If you crave something, you really desperately want it.

So I'm going to say "craving revenge." And this is actually a non-finite -ing clause as well, isn't it? Okay, "He flushed crimson, craving revenge." I like that a lot.

Okay, now I'm gonna do my final sentence, and here I'm going to have Romeo approaching Tybalt, and he's gonna draw that rapier, and I'm gonna combine that into one sentence.

So I think I'll start with another non-finite -ing clause and I'm gonna say pacing.

Now, how did he pace? What adverb could we use? Yeah, let's say furiously.

He's definitely very angry at this point, isn't he? And where is he pacing? "Pacing furiously towards Tybalt." Yeah, well done.

This time I think I'm just going to use Tybalt, so that my reader doesn't get confused here.

And then we're going to describe him drawing that rapier, so he drew, and I wonder if here I could use again "that" to this noun phrase.

I've got the rapier.

So the rapier that what? Yeah, well done.

We could say, "that hung from a scabbard," that's the holder you have for your rapier.

"A scabbard at his waist." And I think I'm going to finish this with an ellipsis to show some rising tension here.

We don't know what's gonna happen with this rapier.

So let's have a look.

Let's read this through, read it with me, and let's see if we've met our success criteria.

"Immediately, Romeo fell to his knees and he hugged Mercutio's body tightly.

As he wept, his tears diluted the scarlet blood that laid pooled on the dust covered floor.

'Tybalt's back,' Benvolio whispered anxiously.

Rising to his feet, Romeo saw his newfound enemy lurking in the shadows.

He flushed crimson, craving revenge.

Pacing furiously towards Tybalt, he drew the rapier that hung from a scabbard at his waist." Okay, I really like that.

Let's just check we've met our success criteria.

We've definitely used the third person past tense, for instance, "Romeo fell" instead of "I fell" or "I am falling." We've got lots of narrative elements, for instance, fell is again some action.

We've got some emotion, for instance, when he flushed crimson, we're showing his anger, and we did the same thing when he wept to show his sadness.

We've got some dialogue here from Benvolio as well, and some description where we say scarlet blood on the dust-covered floor.

So yeah, I can tick that one off.

We've got loads of cohesive devices to connect ideas together.

For instance, this fronted adverbial of time, our adverbial complex sentence here, and we've got lots of non-finite -ing complex sentences, and we had our compound sentence here at the start.

And we've used some adverbs, so we've said "tightly" here for instance, and at the end there, we had "furiously" as well.

So we've definitely met our success criteria.

Okay, you've seen my version, now it's your turn.

So make sure you use both your success criteria below and your plan as you write.

Make sure you think or say each sentence before you write it, and of course, that you check them back once you've written them.

Pause the video and have a go at writing this paragraph.

Well done.

Really good job.

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

I've written, "For a moment, Romeo was frozen on the spot.

Then, he fell to his knees and he clutched the body of his dead friend close to him.

Whilst he wept uncontrollably, his tears flowed into Mercutio's blood.

The blood that gushed rapidly from the open wound was thick and scarlet and it stained Romeo's snow-white clothes." So I've definitely got the third person past tense, Romeo was frozen.

I've got that full range of narrative elements.

I can see here, for instance, "fell to his knees" is an action.

"wept" shows me an emotion, and "snow-white" gives some description.

I've got lots of cohesive devices like my fronted adverbial of time here, "for a moment." I've got "whilst" to make an adverbial complex sentence, and "and" for a compound sentence, and I've got some adverbs.

I've got "wept uncontrollably" and "gushed rapidly" to say how those verbs were done.

Let's see how the end of the paragraph could look.

I've written, "'Romeo, get up.

Here's Tybalt approaching,' Benvolio gasped anxiously.

Rising reluctantly to his feet, Romeo saw Tybalt skulking in the shadows.

Romeo, who knew he must avenge his fallen friend, felt his body filled with pure rage.

Flushing scarlet, he paced towards Tybalt as he removed his rapier from its scabbard." So again, we've met these criteria really well.

We've got our full range of narrative elements, including some dialogue here.

We've got some emotion and some action.

We've got those cohesive devices, like a relative complex sentence, a non-finite -ing complex sentence there with "flushing," and "as" to make an adverbial complex sentence.

And we've got some adverbs, such as "anxiously" and "reluctantly." Really well done for how hard you worked there and for meeting those success criteria as well.

Great job.

So let's try and keep that up by writing the fourth and final event really well.

So we're going to focus on that fourth event on our narrative, the final one, where Romeo and Tybalt are duelling to the death.

So we're going to continue to write in the third person past tense, and to use those narrative elements.

We're going to use those cohesive devices to connect our ideas together.

And of course this is a very dramatic scene, so we're going to try and show how tense it is.

We've got a fight to the death going on, and we wanna try and show our reader just how dramatic that is.

So here's Jun's plan for the fourth event.

Read it through and see if you can spot if he's included each of our narrative elements here.

Pause the video and have a go.

Well done.

Great job.

So we've got loads of action, haven't we? All these actions going on during the duel, like lunging, and parrying, and fainting, and thrusting.

We've got lots of description, for instance of this jagged wound.

We've got emotion going on.

Romeo's incensed, he's really angry, and we've got some dialogue, like at the end here where I finished with Benvolio saying, "Romeo, run." So we've got those different elements and we're going to mix them together in our text to give our reader a really clear picture of what's happening.

So now look back at your own plan for this event, and check like you did before that you can say each idea out loud in simple sentences.

So I've taken this note and I've said, "They began to duel and their rapiers clashed and clanged together." So, pause the video and have a go at saying your plan in simple sentences like this.

Have a go.

Well done.

Great job.

Maybe you said things like this.

I've taken these two notes and I've said, "Romeo lunged towards Tybalt, but Tybalt parried the blow.

Then, Tybalt thrust towards Romeo, but Romeo feinted out of the way." I've kept it very simple for now.

I'm gonna add in that detail later on.

So as we've already said, we know it's possible to use cohesive devices to connect several ideas together.

So here are three ideas.

I've got plunged rapier into chest, jagged wound, oozing blood.

So I can connect them like this.

"As Romeo plunged his rapier violently into the older man's chest, a jagged wound opened up.

It oozed crimson blood as Tybalt fell heavily to the ground." So I've got two adverbial complex sentences, and I haven't combined all three ideas into one sentence.

I've kept them as two separate sentences.

But within each of those sentences, using the adverbial complex sentence helps us to connect data together.

Here's another way you could do it.

"Plunging his rapier violently into the old man's chest, Romeo cut a jagged wound that oozed crimson blood.

Immediately, Tybalt fell heavily onto the ground." So there, I've got a non-finite -ing complex sentence with "plunging," and I've got a fronted adverbial of time there with "immediately." So, notice I've used adverbs here like "violently" and "heavily" to say how the verbs have been done, and I've got that to expand the noun phrase.

In my second example, I said, "a jagged wound that oozed crimson blood." So again, we've got those two ways of adding detail we might want to continue using here.

So look back at your plan again now and see if you can orally rehearse how you could connect your ideas with cohesive devices in the way that we practised before.

Pause the video and talk through your plan.

Connect the ideas together and say them out loud.

Have a go.

Well done.

Good job.

So maybe you took ideas like this and you said, "Romeo lunged towards Tybalt who parried the blow," relative complex sentence.

"When Tybalt thrust his rapier forward, Romeo feinted in the other direction." We've got an adverbial complex sentence there.

And for this one, I could say, "Immediately, Romeo lunged viciously forwards again, flailing his sharp-tipped blade." So there, I've got a fronted adverbial of time, and a non-finite -ing complex sentence.

Really well done with your ideas there.

That's gonna really help you when you come to write in a moment.

So now I want you to try and write this fourth and final paragraph, and this one's going to be very dramatic, very tense, very pacey, so try and show that really well in your writing.

Again, try and use your success criteria and your plan as you write, saying your sentences aloud or to yourself, and then try to read them back really carefully once you've written them.

Pause the video and have a go at writing this paragraph.

Well done.

Fantastic job.

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

"'Mercutio's dead, and either you or I, or both must follow him,' Romeo snarled, narrowing his eyes.

Suddenly, they were duelling.

The blade of their rapiers clashed violently as they forced each other around the deserted square.

Romeo lunged viciously towards Tybalt, but the older man parried his blade away.

Tybalt thrust his weapon at Romeo's heart as Romeo feinted quickly in the opposite direction." So there, of course we've used the third person in the past tense, like in "they were duelling." We've used that full range of narrative elements.

I've got some dialogue there, "Mercutio's dead." "Narrowing his eyes" shows me that angry emotion.

"The deserted square" shows description, and "lunged" is of course an action.

We've got some cohesive devices, like "suddenly" as a fronted adverbial of time.

But to show a compound sentence and "as" to make an adverbial complex sentence.

And we've got some adverbs to show how things are done, for instance, "violently" and "viciously." Here's how the end of that section and the end of our whole text could look.

I've written, "Romeo, who was seething with rage, lunged at Tybalt a final time.

His sword flailed wildly and he plunged his rapier deep into Tybalt's exposed chest.

He cuts a jacket wound that oozed thick, crimson blood.

Breathing hard, Romeo watched Tybalt's body crumple and fall.

At last, the square was silent.

'Romeo, run,' Benvolio whispered urgently." So there, again, we've got the third person past tense, like "he cut." We've got those narrative elements, "seething with rage" to show emotion, "plunged" as an action, "thick crimson blood" as a description, and "Romeo, run" as some dialogue.

We've got our cohesive devices, like a relative complex sentence, a compound sentence with "and" there.

And at last is a fronted adverbial of time, and our adverbs to show how things are done, "wildly" and "urgently" as two examples.

Really well done for your effort there and in meeting your success criteria.

Great job.

So let's summarise our learning in this lesson.

We've completed a narrative retelling of the climax of "Romeo and Juliet." And we know that when we're writing a narrative like this, we include a range of narrative elements, like action, description, dialogue, and emotion.

We use our detailed plan to help us write, orally rehearsing how we can use cohesive devices to connect ideas together.

And we can include adverbs in our writing to say how verbs are done, and we can expand noun phrases using that to add detail.

Really well done for your effort in this lesson.

I hope you're really pleased with the writing that you've produced, and I'd love to see you again in a future lesson.

Goodbye.