Lesson video

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

Now we're going to be doing some fantastic writing today as we start our setting description and I can't wait to see what you come up with.

Let's make a start.

Today's lesson is called writing the first half of a setting description in "Sherlock Holmes," and it comes from a unit called, Sherlock Holmes descriptive and letter writing.

By the end of today's lesson, we'll be able to write the first half of a second description in Sherlock Holmes.

Now hopefully you have a plan for a setting description from the previous lesson.

If you don't have one, please don't worry.

I'll provide you with some notes that you can use instead, if you do have a plan, go and grab it now and then we can get to work.

Here are keywords for today's lesson.

My turn, your turn.

Fronted adverbial of place.

Preposition.

Complex sentence.

And historical context.

Well done.

So a fronted adverbial of place is a sentence starter that tells the reader where something is or where it happens.

And a preposition is a word or words that tell the reader where a noun is.

A complex sentence is a sentence composed of a main clause and any subordinate clause.

And the historical context is the events, lifestyle and living conditions that existed at a particular time in history.

So, here's our lesson outline for today.

We're going to start off by preparing to write, looking at some of the language features we're going to use in our setting description and how to change our notes into complete sentences.

Then we'll move on to writing the first and the second paragraph of our setting description.

But that's only the first half of the description.

We're not going to write the whole setting description today.

Let's start preparing to write.

So, we'll be writing a setting description, which is in the third person and in the present tense.

Not all setting descriptions are written that way, but that's how we'll write ours.

So we won't write like this.

Here we've written, I saw imposing new buildings tower over serene streets as elegant ladies strolled past.

There have used the past tense saw and strolled, and I've used the first person I've said I.

Instead, we would write this, Imposing new buildings tower over serene streets as elegant ladies stroll past.

Notice how we've changed those verbs into the present tense.

And now we're writing in the third person.

We're not using I or me or my action words in the first person.

And we also want to use a range of senses in order to show a particular mood.

So we could use our hearing sense.

We could say the sweet melody of Home's violin fills the dimly lit alley.

We could use our seeing sense.

We could say on one side of the city, imposing buildings lined serene streets.

And we could do some smelling as well.

We could say throughout the slum, the stench of rotten food fills the air.

Using those sensors helps our readers to build a picture of what's around them.

And there are several other key elements to a setting description that we are going to try and achieve today.

We want to use some rich vocabulary that could be words like these serene, imposing, dilapidate, stench, nauseating, havoc and impenetrable.

We'll also want to include the historical context to show our reader.

This is set in the Victorian era.

So we might refer to things like cobbles, the penny farthing, horse manure, urchins, smog, an omnibus, and maybe some gas lamps.

And we'll also want to use a range of fronted adverbials and prepositions.

Those are words and phrases like in the dark street on every corner, down a dark alley, inside, out the window, and across the cobbles.

And remember, a preposition phrase is made up of a preposition and a noun phrase.

For instance, across is a preposition, and the cobbles is a noun phrase.

So across the cobbles is a preposition phrase.

And sometimes preposition phrases can become fronted adverbials when we place them at the front of a sentence.

Either way, fronted adverbials and prepositions are really useful for showing where things are, or where they're taking place.

And they allow us to add in so much more detail to our setting descriptions.

So we need to choose appropriate descriptions using all the relevant senses to set the right mood for each place we describe.

So different parts of Victorian London would have a different mood in our description, so we'll have to use different descriptions to set that mood.

So let's see if we can have a go at matching up some descriptions with fronted adverbials and preposition phrases.

Now sometimes the fronted adverbials preposition phrase on the left hand side and sometimes on the right hand side.

So you're going to have to match them up really carefully here.

Pause the video and see if you can match up the ones that make the most sense together to create really good descriptions.

Have a go.

Well done.

Good job.

So let's have a look in A, we would say in the fierce and dark alleyways, pickpockets and thieves skulk biding their time.

So there we've got our fronted adverbial of place in the fierce and dark alleyways.

For B, we've got the stench of human waste rises from the festering open sewers.

So there we've got a preposition phrase at the end from is our preposition and the festering open sewers is a lovely descriptive noun phrase there about the slums. For C, we've got misery and hunger are etched on every face in the slums. This time again, a preposition phrase at the end, on is our preposition.

And then every face in the slums is a noun phrase.

And then for D, we've got across the manure covered streets, rats scuttle feasting on mouldy scraps.

And there we've got a fronted adverbial of place, across the manure covered streets.

Really well done if you've managed to match this up.

And I hope you can see that using a fronted adverbial at the start of a sentence or a preposition phrase elsewhere in a sentence are both good ways of adding to our setting description.

So we can connect ideas in our setting description as well, using complex sentences.

And remember, a complex sentence is made of a main clause and a subordinate clause.

There are different types of subordinate clause.

So there are different types of complex sentence.

Here are three.

We've got a verbal complex sentence, a relative complex sentence, and a non finite complex sentence.

And a verbal complex sentence contains an adverbial clause as its subordinate clause.

An adverbial clause is a type of subordinate clause that starts with a subordinating conjunction.

Those are words like as, when, because, and while.

So for instance, we could say a gang of urchins begs for scraps as an omnibus trundles past.

A gang of urchins begs for scraps is a main clause.

As omnibus travels past is an adverbial clause.

I know it's adverbial clause because it starts with as, a subordinating conjunction.

So there's a complex sentence.

Let's look at a relative complex sentence.

These contain as their subordinate clause, a relative clause that starts with a relative pronoun.

Those are words like who, whose, which.

So for instance, we could say market vendors whose faces are read from shouting bellow over the havoc of the busy street.

Notice we've got a relative clause, whose faces are red from shouting, starting with our relative pronoun who's, but here it's interrupted a main clause.

The main clause would be market vendors bellow over the havoc of the busy street.

So we've interrupted the main clause with a relative clause.

It's a relative complex sentence.

And the final type we're going to look at today is a non finite complex sentence.

That contains a non finite ING clause, starting with a verb in its ING form, for instance, bringing or showing or waiting.

So we could write an omnibus trundles pass clattering over the cobbles.

We have clattering a verb in its ING form to start a non finite ING clause.

Clattering over the cobbles is the subordinate clause, a non finite ING subordinate clause and an omnibus trundles past is the main clause.

Main clause and subordinate clause together make a complex sentence.

So we can see three great ways of combining ideas into complex sentences here.

So we can choose different types of complex sentence to connect the same ideas.

It's our choice as a writer which one we think is best.

So let's take these two ideas, Watson nestles in a plump leather armchair.

And he sips a glass of amber liquid.

We could connect those into an adverbial complex sentence with an adverbial clause.

As Watson nestles and a plump leather armchair, he sips a glass of amber liquid.

As is my subordinating injunction, starting my verb clause.

And then I followed it with the main clause.

I could do it with a relative complex sentence.

I could say Watson, who is nestled in a plump leather armchair sips a glass of amber liquid.

Or I could do it as a non finite complex sentence.

Watson nestles in a plump leather armchair sipping a glass of amber liquid.

Each of those is a great sentence.

They are all complex sentences.

They have different types of subordinate clause.

So they are different types of complex sentence, but they all do a great job of connecting those two ideas together in an interesting and imaginative way.

So now your turn.

How can we connect each pair of ideas here together to curate a complex sentence? You've got two pairs to connect.

You can connect them using any type of complex sentence that you choose.

Pause the video and have a go.

Well done good effort.

So for the first one, maybe you thought of an adverbial complex sentence like this.

An omnibus clatters across the cobbles as its passengers turn away from the sight of the slums. But you might have come up with a different idea, and that would be fine too.

Just make sure you've got a main clause and a subordinate clause.

This time my subordinate clause is, as its passengers turn away from the sight of the slums and it's that adverbial subordinate clause because it starts with that subordinating conjunction as.

For the second one, I went for a non finite complex sentence.

I have said, urchins beg desperately for scraps hoping they won't go hungry for another day.

So I've changed they hope into hoping instead.

And that makes it a non finite subordinate clause.

And joining it with that main clause makes a non finite complex sentence.

I'm sure you came up with something even more interesting than that, good job.

Now in the second part of this lesson, we are going to write the first section of our setting description in two separate paragraphs.

And here's an example plan for those two paragraphs.

We're going to do a paragraph about the view from above London.

We're talking about things like the smog, the river Thames, the imposing buildings, the decaying slums. And then we'll do a description of a street close to Sherlock Holmes's flat.

Where we've got a slum like environment.

So we're talking about the market vendors, the omnibus, the gangs of children, the stench of the sewer and the gas lamps and the thieves skulking in those alleyways.

So we've got two separate paragraphs there, London from above, and then a street view where zooming in closer towards Sherlock Holmes's apartments.

So as an example of what we're aiming for, here are some notes for a description of modern London.

So you won't be writing about this, but I'm just giving you an example of what you might include in your paragraph.

So I'm doing a view from above modern London, what can be seen and what different areas can we see.

So I've written in the sky aeroplanes and clear air.

Below the city stretches and there's a river.

On one side there are glittering glass skyscrapers and on the other endless houses.

So let's see how we could write that as a paragraph.

I could say in the sky aeroplanes and helicopters glide silently through the clear air.

I've done my first note.

I could say below, and notice how each of these starts with a fronted adverbial of place.

I said below the vast city stretches for miles in every direction as the river Thames winds through it like an uncurling snake.

I've got my next fronted adverbial, on one side, I could say, on one side glittering glass skyscrapers tower over streets filled with suited office workers.

And finally I'm saying on the other endless streets of identical houses stretched towards the horizon.

So I've taken my notes and I've made them into a complete paragraph, made of complete sentences and I've tried to include the language features we're aiming for, in our setting description.

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

And here we are just talking out loud.

We're not going to write anything here.

Here is my paragraph about modern London, my setting description of modern London seen from above.

So in this example, can you find an example of each of the following? Can you see any clues that show the historical setting that show this is modern London.

Can you see any complex sentences made of a main clause and a subordinate clause? Can you see any fronted adverbials or proposition phrases? And can you see any of that rich vocabulary we like to use when we describe? Pause the video and see if you can spot any of these features.

Just saying them out loud to your partner or to yourself.

Have a go.

Well done.

Great job.

Let's take a look at some examples of these features in this passage.

Do we have any clues to the historical setting? Yes we do.

We have aeroplanes and helicopters and we have skyscrapers made of glass.

So these both suggest it's modern.

We've got complex sentences.

For instance, we've got as here, starting a subordinate clause as the river Thames snakes through like an uncurling snake.

Have we got fronted adverbials and preposition phrases? Yes, we've got below and on the other.

And we've got on one side as well.

All of those are fronted adverbials there.

I can also see some preposition phrases like through the clear air.

And we've got some rich vocabulary words like vast and glittering.

Build that picture in my reader's eye of what I'm describing.

Really well done if you study those features.

That's what we're aiming for in our own writing, which is coming up next.

So now we're ready to write the first paragraph of our setting description.

Let's see if we do some fantastic work here.

So we're going to start by writing about London from above.

And remember we are writing about London from above in the Victorian era.

And we wrote some notes about some details to describe in this paragraph.

You might have your own notes.

If not, here's my example.

I said in the sky thick smog.

Notice how I've used fronted adverbial place there in the sky.

Then I said below vast metropolis, that means a huge city and grey wide river Thames.

Then I wrote on one side imposing buildings and serene streets and on the other decaying slums filled with misery.

So here we are really trying to draw attention to the huge size of London, the fact that it's this vast metropolis and the contrast between these very rich and very poor areas of Victorian London.

Now what we have so far are notes and we need to make those notes into sentences.

There are several ways of doing that.

In fact, there are loads and loads of different ways, but I'm going to show you three.

So let's take this note in the sky thick smog, we could say that the smog is doing something using a verb.

For instance, I could say in the sky, thick impenetrable smog hangs like a blanket over the city.

I've said that the smog is hanging, it's doing something.

Or I could use there is or there are, for instance I could say in the sky there is an impenetrable layer of smog that hangs over the city.

And I could say can be seen or can be heard.

For instance, in the sky a thick layer of smog can be seen hanging over the city.

So there I've used of verb as well, hanging, but I've show used can be seen as a way of making this note into a complete sentence.

Now there are many other ways of doing that, but those are three which you might find particularly useful today.

So can you try and do that now? Here's another note, below vast metropolis and grey wide river Thames.

Can you change it into a complete sentence that could be used in a setting description? Pause the video and have a go.

Well done, good effort.

So maybe you came up with some ideas like these.

I've said a verb in this one, spreads out.

below the vast metropolis spreads out in all directions as the grey wide river Thames snakes through it brimming with human waste.

And I've actually also got two types of complex sentence there.

I've got as to start my adverbial clause and brimming to start a non finite ING clause there.

This time I've used there is, I've said, below there is the grey wide river Thames snaking through the vast metropolis as it makes its way to the sea.

And that one's a complex sentence as well.

And finally, I've done, can be seen, below, the vast metropolis can be seen in all its glory while the great grey river curls its way lazily through the chaos.

So those are just some ideas of how we could change a note into a complete sentence.

And I'm sure you came up with a brilliant way as well.

So as we create these complete sentences, we'll want to include some of our rich vocabulary.

We could talk about imposing buildings, imperishable smog, serene streets, dilapidated houses, and a nauseating stench.

We might also want to add in ideas for other things happening in the places we're describing.

So what else is going on? You can use your imagination, you can make it up to think what might be happening in those places I'm describing.

So using this note I've got, on one side imposing buildings and serene streets.

I could change that into on one side imposing buildings tower over, there's my verb, serene streets.

And here's my extra detail where ladies and gentlemen stroll towards grand theatres and museums. So I've imagined what the people in the streets might be doing.

I could say this on one side, imposing buildings tower over serene streets, filled with well dressed city folk.

Again, I've imagined what's going on in those serene streets to add some extra detail for my reader.

And so long as your imagination works with our setting of Victoria London, that would be a brilliant idea for making some extra detail to make this even better.

So let's try and do some oral rehearsal.

That's where we practise saying our sentences out loud before we write.

And that means we'll all come up with different ways of constructing these beautiful sentences.

So I'd like you to try and say your sentences for this section aloud.

Using that rich vocabulary, using fronted adverbials and using preposition phrases.

Now you should use your notes for this section, but if you need to, mine are here for you to use, and I've included that rich vocabulary as well.

So this might take a while, pause the video and have a go at converting your notes into complete sentences.

Using all these details we want to add in.

Have a go.

Well that's a great effort.

So maybe you said something like this, in the sky impenetrable smog hangs over the city blocking out the sun's light.

below the vast metropolis stretches for miles as the grey wide river Thames glides slowly through.

On one side imposing buildings line serene streets on the other dilapidated slums are filled with misery.

Now I've kept mine fairly simple there.

Maybe you had it in some extra details about what's going on in those serene streets, maybe about what you can smell coming from the slums. Hopefully you've really managed to already rehearse your sentence as well.

'Cause that's going to prepare you so well when you come to write in a moment.

So we are now ready to write that first paragraph about London seen from above.

And this is the success criteria we're going to use to write today.

I have shown the historical context by referring to items for Victorian London.

I have used complex sentences to connect ideas, and I have used fronted adverbials and preposition phrases to say where things are in my description.

So we can tick those off as we write to make sure we're hitting all of our success criteria to make an excellent setting description.

Now I'm going to show you how I would write this paragraph.

Okay, I've got my success criteria stuck in here and I've got my notes for this first section as well.

So I'm gonna try and hit the success criteria as I write these into complete sentences.

Now I can see for this first one, I've got an idea for a fronted adverbial, in the sky.

So I could start the sentence that way, but what I could do is change this into just a preposition phrase later on in a sentence.

And I think that's what I'm going to do.

So instead, I'm going to start by referring to the thick smog.

So I'm going to describe that smog.

What's a great rich vocabulary word for the smog? I could call it thick or I could call it, yeah well done, impenetrable.

So I could say an impenetrable layer or an impenetrable blanket.

What should I go for? Yeah, let's do blanket.

So I'm going to say an impenetrable blanket.

And remember, impenetrable means it's so thick you can't even see through it.

So I'm gonna say an impenetrable blanket of smog.

Okay, now what does it do? Well I've got here, it's gonna be in the sky, but I can't do that straight away.

I need a verb, don't I? So could I say floats in the sky or do you think hangs in the sky? Yeah.

Okay, let's do hangs.

So I'm writing in the present tense.

So it's gonna be hangs not hung.

So hangs in the sky.

So I've made in the sky into a preposition phrase now, and that works really well there.

An impenetrable blanket of smog hangs in the sky.

I really like that, but I'm thinking I could say something else that it's doing.

Hmm? What if I said suffocating? I wonder what is it suffocating? I could say suffocating the people below or suffocating the city below.

Which do you think makes more sense? Yeah, I think the city, because it's not literally stopping people breathing, but it's as if it's making it hard for the city to breathe.

So I'm going to say suffocating the city below.

Okay, let's read that path to check we're happy with it.

An impenetrable blanket of smog hangs in the sky, suffocating the city below.

So I've already used the word smog, which is a piece of historical context.

I'm going to put a small tick there.

I've also used a preposition phrase, haven't I? In the sky.

So I'm going to put a more tick there.

And I've actually got a complex sentence here too, because suffocating is starting a non finite ING clause.

So I've actually already ticked off all three boxes.

I'm gonna keep ticking them though to see if I can hit them a few more times.

Now let's look at our next note.

I've said below vast metropolis and grey wide river Thames.

So I think this time I am going to use below as a fronted adverbial.

So it's a fronted adverbial of place, isn't it? Okay, so what's happening below? Well we've got the Thames going through the city.

So I think I'm going to say below the, I've got grey River Thames.

What's another word for grey I could use? Could say dark or murky.

Which do you prefer? Yeah, I agree with murky.

So I could say below the murky river Thames.

Or you can just say Thames as one word without river.

So below the murky Thames, hmm, what does it do through the metropolis? I could say go through the metropolis.

Or can you think of a better word? Yeah, winds is good or yeah, snakes.

What about snakes? That's a nice word because if you've ever seen a map of London from above the river Thames is very windy.

So snakes is a great word.

So below the murky Thames, snakes through, ooh, what's the ooh graph I need in through? Yeah, it's OUGH, isn't it? Through? Well done.

Hmm.

And then I think I'm just going to use the words from my plan.

I've got vast metropolis and I love the word vast and the word metropolis, so I'm going to keep those the same.

Okay, I think that looks really good.

Let's lock that in.

Okay, and let's read it back.

Ready, below.

Oh, hang on.

That's a fronted adverbial.

So what's the need after it? Yeah, comma, well done.

The murky term snakes.

Oh dear.

I forgot to cross my T through the vast metropolis, right? And that's a really efficient way of meeting this note here.

And I can take off my fronted adverbial again, can't I? Okay, now we've got two sentences where we're contrasting different parts of the city.

We've said on one side, imposing buildings on the serene streets, and then on the other decaying slums filled with misery.

So we're contrasting the rich and the poor areas.

So again, we're going to start with the fronted adverbial here I think.

And I'm going to use the one I've got here, but hmm.

On one side of what? Yeah, well done.

I could say on one side of London, couldn't I? That would be a really effective way of making it really clear to my reader where I'm talking about.

So one side of London, what do we see happening? What is there? Yeah, there's imposing buildings, but what do they do? Hmm, I wonder what they do in relation to these serene streets.

Imposing buildings.

Do what to these serene streets? Yeah, that's true.

We could say loom over those serene streets.

Or maybe they could line the serene streets, which you think is better? Yeah, I think loom would be a bit negative possibly.

So maybe line is a better bet.

So I could say on one side of London, posing buildings line the serene streets.

What did serene mean? Yeah, calm, placid, peaceful.

Well done.

So line serene streets.

Oh, now I wanna push this a bit further.

What is happening on those streets? I wonder who might be there.

Yeah, people could be walking.

And we want them to be kind of wealthy people, don't they? So I could refer to them as gentleman maybe.

And maybe what could they be wearing? Yeah, they could be wearing suits, couldn't they? So I could say gentlemen in suits, or I could say as suited gentlemen.

And we want to show that these streets are beautiful and calm.

So we could say rush past, but what would be a calmer synonym for walked than rush? Yeah, maybe you could say a suited gentleman strolled past.

Okay, let's have a look back at that sentence.

I like how we've added this extra detail about the gentleman.

Let's read it, on one side of London imposing buildings line serene streets as suited gentleman strolled past.

oh, hang on, I've got line in the present tense, but strolled is the past tense.

So we want this to be present tense, don't we? So let's cross out that ed ending.

And then we've made it present tense again.

Okay, so we could tick off fronted adverbial again, but I'm going to leave that one.

I think we are ready for our last sentence.

We're going to talk about the slums now.

So I think it will work well to use another fronted adverbial where I say on the other.

Hmm.

And what do we have on the other side of London? Yeah, we've got these decaying slums. So let's use that word from our notes here because it's a great word, decaying slums. And then we've said they're filled with misery.

So, hmm, let's just put decaying slums filled with, or how could we describe that misery? We could say awful misery.

Terrible misery.

Any other ideas? Yeah.

What about unimaginable misery? That's a great one.

Oh, that's a tricky word.

Let's check the spelling.

Unimaginable.

Let's count the syllables, unimaginable.

I think it's six syllables.

So I'm gonna make sure I try and get them all here.

Un, imagine, able.

Yeah, that looks right.

So on the other, the decaying slums filled with unimaginable misery.

Okay.

Shall read back that last sentence just to check it? On the other decay slums filled with unimaginable misery.

Oh, I think that's a verb missing.

Yeah, you do it here, doesn't it? Decaying slums are filled.

Because we're using the present tense for this description.

Okay, I think we've got it.

So let's read this through as a whole paragraph.

An impenetrable blanket of smoke hangs in the sky, suffocating the city below.

Below the murky Thames snakes through the vast metropolis.

On one side of London, imposing buildings line the serene streets as suited gentleman stroll past.

On the other decaying slums are filled with unimaginable misery.

Hmm, that's just one thing I want to improve.

Did you notice we had this repetition of the word below? So I think all I'm going to do is delete the first one.

And I don't think it's needed there.

Suffocating the city is absolutely fine on its own.

Okay, I'm really happy with that.

Hopefully that's a good example for you to follow.

Okay, now it's your turn to write the section about London seen from above.

You need to use your success criteria and your plan, or you can use the notes that I've given you in the past, if that's helpful.

Once you've finished, make sure you read your writing back to check that it makes sense.

And for any punctuation errors, it's also a good idea to think each sentence out loud in your head or as a whisper before you write it to make sure it's a really good one.

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

Fantastic work.

Well done.

So here's an example of how this section could look.

I've said, in the sky an impenetrable blanket of smog almost blocks out the sun's feeble light.

Below the wide grey river Thames snakes through the vast metropolis brimming with sewage.

On one side of the city, imposing buildings line serene streets, as ladies and gentlemen stroll past.

On the other decaying slums overflow with millions of hungry people.

So let's check our success criteria.

Have I shown the historical context? Yes I have.

I've used things like smog and decaying slums. Have I used complex sentences? Yes, I've got brimming there as a non finite ING clause and I've got as to create that adverbial clause as well.

And I've got fronted adverbials and preposition phrases, for instance in the sky on the other I can see lots more as well.

So hopefully you've managed here all those success criteria as well.

And I hope you're really pleased with your first paragraph.

Let's do another.

So we're now ready to write the second paragraph of our second description about London.

So we're going to zoom in on a London street now.

And remember it's going to be a slum like street, which is near to Sherlock Holmes's house.

So here are some example notes of things we might see, hear and feel.

We've got shouts of market vendors and clatter of omnibus.

We've got gangs of children begging for scraps.

We've got a fronted adverbial here in the air, nauseating stench of sewer and on every corner gas lamps flicker and thieves skulk.

In this section remember we want to show a chaotic, unpleasant mood.

So far we've kind of shown London from above and we've not really set a particular mood yet.

As we zoom in here, we want our readers to really feel the chaos of the slum and how difficult life would've been there.

So as before, we're gonna need to make our notes into full sentences.

So here's an example of a note, shouts of market vendors and clatter of omnibus.

So we could say what the vendors and the omnibus are doing using verbs.

I could say market vendors shout across the street as a omnibus clatters past.

We could also use there is or there are, I could say in one street there are market vendors shouting at each other and there is an omnibus clattering over the cobbles.

And again, we could use, can be seen or can be heard.

For instance, market vendors can be heard bellowing loudly and an omnibus can be seen trundling down the busy streets.

So these are three great ways of converting notes into sentences.

They're not the only ways and I'm sure you can think of other ones as well.

So let's have a go.

Can you change the note below into a complete sentence that could be used in a setting description? I've written gangs of children begging for scraps.

Pause the video and see if you can make it a complete sentence.

Well done.

Really good job.

You could write something like this.

On every street corner there are gangs of hungry children begging desperately for scraps.

I could say as gangs of hungry children roam the streets, they search desperately for scraps to fill their aching stomachs.

I've given them a verb there, roam.

And I've done can be seen here.

Gangs of hungry children can be seen sitting on the filthy cobbles with hands out stretched begging desperately for just a morsel of food.

I bet you thought of some great ways of converting that note to a sentence, well done.

So let's do our oral rehearsal of this section.

We've got some rich vocabulary here we could use again.

Havoc, skulk, urchins, nauseating, and stench could all be useful here.

Remember we want to build this mood of chaos and a great way to do that is to use our senses, what are we seeing, hearing and smelling in this slum like street.

So I want you to say your sentences for this section out loud using rich vocabulary and fronted adverbials and maybe some preposition phrases as well.

Don't forget that rich vocabulary and the historical context.

So I've got my notes here.

Use yours if you have them, but if you need mine, use those as well.

Pause the video and have a really good go at orally rehearsing this paragraph.

Well done.

Fantastic effort there.

That's gonna really help you later.

So maybe you said something like this.

In the havoc of one busy street, the shouts of market vendors compete to be heard over the clutter of the omnibus over the filthy cobbles.

As gangs of urchins slouch hungrily on the pavements, they beg desperately for scraps.

The nauseating stench of the open sewer hangs in the air.

On every corner gas lamps flicker while thieves skulk in dark alleyways.

So I've got some fronted adverbials there, on every corner.

I've got some complex sentences I've got, as gangs of urchins slouch hungrily on the pavements.

I've got my historical context where's that that omnibus, market vendors, open sewer.

And I've got some rich vocabulary, nauseating stench, havoc and so on.

Hopefully you managed to do a really good oral rehearsal to help you out.

So now it's your turn to write this second section of our work today.

And this is the section about our busy London Street.

You're going to use your success criteria again, it's the same success criteria we had before and your plan.

And remember, once you finish read your writing back to check it makes sense and to check for any of your punctuation errors.

So pause the video and have a go at that paragraph.

Well done.

Great job.

Here's an example of how this section could look.

Maybe you wrote something like this.

On one busy street, there is havoc.

Market vendors bellow as an omnibus trundles past, clattering loudly.

Urchins beg desperately for even a scrap of food.

In the air, the nauseating stench of human waste is suffocating.

Gas lamps flicker dimly on every corner while gangs of ruffians skulk in the alleyways waiting for the next victim.

So do I have historical context? Yes, I've got omnibus and urchins.

Have I got complex sentences? Yes, I've got while and waiting here.

In the same sentence even.

I've got an adverbial clause with while, and a non finite ING clause with waiting.

And I've got fronted adverbials and preposition phrases on one busy street and in the air are both fronted adverbials but I have some preposition phrases as well.

I've got on every corner after my gas lumps there.

As an example of a preposition phrase.

So hopefully you may have to hit those success criteria as well, great job.

You've done fantastic work in this lesson.

Really well done.

Let's summarise our learning.

We've learned that we can write a setting description in the third person and in the present tense, using rich vocabulary that covers a range of senses and sets a particular mood.

We've learned that we can connect ideas together using a range of types of complex sentence.

We've learned that we can share the historical context by referring to items from the time period we're describing, and we've learned that we can show where items are in our description by using a range of fronted adverbials and preposition phrases.

I hope you're really proud of the writing you've done in this lesson.

You've done an amazing job and I can't wait to see you again in a future lesson.

Goodbye.