What are the aims and purpose of our curriculum?

With this curriculum, we aim to develop confident, articulate and accurate readers, writers and speakers. Pupils read a diverse range of increasingly complex and deep texts, write for a wide range of purposes with technical accuracy, and have multiple opportunities to develop their spoken language capabilities.

What overarching curriculum principles inform the design of our curriculum?

This principle recognises the important role that knowledge, and vocabulary as a particularly important type of knowledge, plays in learning. We map vocabulary across the curriculum, introduce it at the most appropriate moment and review it where necessary. New vocabulary, called key words, are signalled in bold in our lessons to indicate their importance. We use keywords to teach the most important new vocabulary, but other new vocabulary is defined or glossed as they appear. We have partnered with Mrs Wordsmith to develop pupils’ narrative vocabulary. Our curriculum complements teaching pupils the knowledge they need to understand a text or topic with the space to develop their own ideas about the text or topic.

A careful and purposeful sequencing of our curriculum content underpins the design of our curriculum, ensuring that pupils are able to build on and make links with existing knowledge. Concepts are mapped across year 1 to year 11, ensuring coherence and allowing for their incremental development over time. Units often include links to different domains or topics within English, allowing for retrieval of previously taught content and demonstrating how closely linked different ideas can be. For example, technical writing developed in key stages 1 and 2 underpins writing in the secondary curriculum, but is subtly revisited and extended to meet the demands of the new year groups. Similarly, in the 

, learning draws on conceptual understanding of identity and belonging that has been taught across primary and secondary.

Our evidence-informed approach enables the rigorous application of research outcomes, science of learning and impactful best practice both in education in general and at a subject specific level. For example, the design of our resources reflects findings from 

Mayer’s principles of multimedia learning

. We also draw on findings from research organisations such as the 

. At the subject level, we have drawn on ‘The Simple View of Reading’ and ‘The Simple View of Writing’ to structure how we develop the different domains of reading and writing from primary to secondary, and build expertise on top of strong technical foundations.

Our flexible approach helps schools use our resources in a way that suits their context and meets their different needs. Our curriculum can be used in its entirety or units can be selected to complement existing curricula. For instance, our ‘appreciation of poetry’ thread can be taken, adapted and implemented to provide a coherent set of poetry units in your curriculum. Our 

 is carefully organised by domain so schools can use only single domains, such as handwriting, whilst continuing to use the rest of their own school curriculum. Our curriculum often provides different options so that schools and teachers can decide what knowledge is best for their pupils, for example when teaching about non-chronological reports 

 - or teach through both. Our resources are adaptable so that, for example, teachers can easily replace models with their own live modelling, can edit or add checks for understanding, or adapt practice tasks to better reflect the prior knowledge of their pupils. At key stage 4 teachers and pupils can select a pathway aligned to the most frequently used exam board specifications for GCSE English Literature: 

Our commitment to breadth and diversity can be seen in our choice of texts and authors. We are committed to showcasing incredible writing by the widest possible range of diverse authors. At primary, pupils study writers such as 

, as well as reading books on a wide range of cultures. At secondary, we offer GCSE Literature units on diverse texts including comprehensive resources on 

 and the new diverse poetry anthologies from AQA and Edexcel, 

. At key stage 4 teachers and pupils can select a pathway aligned to the most frequently used exam board specifications for GCSE English Literature: AQA, Edexcel or Eduqas.

Our curriculum is intentionally designed to facilitate high-quality teaching as a powerful lever to support pupils with SEND. Aligned with EEF guidance, our resources have a focus on clear explanations, modelling and frequent checks for understanding, with guided and independent practice. Lessons are chunked into learning cycles and redundant images and information are minimised and the narrative that accompanies stories and explanations are contained in a separate document, rather than on slides to manage cognitive load. We have removed reference to year groups in our resources so that they can be used when pupils are ready, regardless of their age. Our resources are purposefully created to be accessible, for example by using accessible fonts, colours with good contrast, and captions in our videos. In the core English domains such as handwriting, spelling and grammar, we focus on securing small steps to help all pupils build their confidence and accuracy in writing.

What subject specific principles inform the design of our curriculum?

Pupils regularly read a range of text types as a group and independently, have frequent opportunities to develop personal responses to texts, and build their background knowledge, tier 2 vocabulary and fluency to support comprehension.

Our lessons support the development of reading competence and independence. We use our lessons to ensure pupils have the background knowledge and vocabulary they need to access a text, and we give pupils the space, structure and support to develop their own ideas in response to a text. Throughout the reading and explanation sections of lessons, there are frequent discussion points to help pupils form and refine their ideas.

Writing for a range of purposes, expressing creativity and building writing stamina are developed alongside a deep understanding of grammar, sentence construction, disciplinary writing and underlying spelling patterns.

Our writing curriculum explicitly teaches pupils the grammar knowledge, handwriting competence and spelling rules to make them confident and accurate technical writers. This reduces cognitive load so pupils are able to write with more creativity and freedom. Building technical competence is paired with frequent writing practice throughout the curriculum, but the balance between them shifts over time. We prioritise opportunities for pupils to write with freedom so they develop their writing personality.

Frequent opportunities to develop the components of spoken language are included throughout the curriculum, and each lesson gives pupils multiple opportunities to talk and express their opinion.

Speaking is at the heart of our curriculum. There are opportunities for pupils to express their views and develop their ideas through talk. Throughout all domains, there are tasks with spoken language outcomes. We have deliberately moved away from a model where the final task in an English lesson is always a writing task. We also have a ‘developing spoken language’ domain that includes lessons and units on debate, presentations and performance to help build pupils’ competence and confidence.

Text choice represents a diverse range of voices, backgrounds and cultures so the curriculum provides windows and mirrors to all pupils.

We have included writers and books from a diverse range of cultures and backgrounds, and deliberately chosen GCSE text options that focus on under-represented groups. From year 1 to year 11, our curriculum includes texts that will be windows for some pupils and mirrors for other pupils.

There is a single pathway through the resources that is ambitious for all pupils by offering a low floor and high ceiling in each lesson.

We do not split our resources into different ability groupings. Instead, all pupils can follow the same pathway through the curriculum no matter what their starting point is. We have carefully written questions and designed tasks to ensure it is possible for all pupils to attempt them. We expect teachers to adapt the lessons: support and scaffolding can be added or removed depending on the needs of pupils in the context.

How does our curriculum reflect the aims & purpose of the national curriculum?

. First, pupils need to ‘read easily, fluently and with good understanding’. Reading high-quality texts is the cornerstone of our curriculum, and throughout our lessons pupils practise reading to develop their fluency and understanding. As the curriculum develops, pupils read increasingly challenging texts and think about them in more complex ways.

Next, pupils should ‘develop the habit of reading widely and often, for both pleasure and information’. Our curriculum encourages broad reading habits. In our primary ‘developing reading preferences’ and ‘book club’ units, pupils explore their reading habits and look at different recommended texts based on genre preferences. At secondary, pupils read a wide range of text extracts during key stage 4 English language units: units such as 

 are explicitly designed to build pupils' reading culture and awareness so they read more for pleasure.

Thirdly, pupils need to ‘acquire a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language’. Keywords are listed at the beginning of all lessons, and are then repeated throughout the lesson to ensure important vocabulary is embedded. We also have a ‘vocabulary’ thread at primary to group the units that are only focused on vocabulary development. Similarly, grammar teaching is a key feature of the entire curriculum: at primary, we have 

; at secondary, explicit grammar instruction is embedded within wider writing units. Across our curriculum, pupils also study units focused purely on reading or spoken language, and during these units they develop their understanding of the corresponding linguistic conventions.

Pupils also need to ‘appreciate our rich and varied literary heritage’. Our curriculum covers a broad range of classic texts from across our literary heritage, teaching five Shakespeare plays, learning about multiple romantic poets, and reading classic Victorian stories such as 

. Our curriculum also includes modern examples of our rich and varied literary heritage, such as 

Drew Daywalt’s ‘The Day the Crayons Quit’

Next, pupils need to ‘write clearly, accurately and coherently, adapting their language and style in and for a range of contexts, purposes and audiences’. Pupils start developing their confidence in this in primary, and then become increasingly confident with it as they move through secondary. We prioritise pupils developing their writing clarity and accuracy so they can later adapt it for different contexts. At primary, pupils study 

 in discrete units and threads so that they have a strong foundation of clarity and accuracy. Pupils also study units in areas such as 

 to help them build their writing agency and vary their writing for different contexts.

Pupils also need to ‘use discussion in order to learn; they should be able to elaborate and explain clearly their understanding and ideas’. Discussion is embedded throughout the curriculum and lessons: we use a discussion symbol to indicate key opportunities for discussion in lessons, and we have included a high percentage of tasks that have spoken outcomes. Outside of its role in all lessons, we have a ‘developing spoken language’ thread to help build pupils’ accuracy and confidence in spoken language: at primary, we have at least two dedicated 

Finally, the curriculum needs to ensure pupils ‘are competent in the arts of speaking and listening, making formal presentations, demonstrating to others and participating in debate.’ This aim is covered extensively in the 

 thread mentioned above, as well as in other parts of the curriculum. From primary onwards, pupils learn 

the foundations of speaking and listening

. These are then picked up again in secondary as pupils practise more formal debate conventions and develop all the skills needed to give confident presentations.

What teaching time does our curriculum require?

Our curricula for key stages 1-3 are designed for 36 weeks of curriculum time across the school year which leaves time for other activities both within and beyond the curriculum such as assessments or school trips. At key stage 4, year 10 also has 36 weeks of curriculum time, but year 11 has only 24 weeks (approximately 2 terms) to recognise that schools will not be teaching new content in the run up to the GCSE exams.

In our primary English curriculum for key stages 1-2, the number of lessons we provide per year varies due to the changing nature of the subject. In year 1, we provide around 4 lessons per week to allow time for your phonics programme. This increases to over 6 lessons per week in year 2, and over 7 lessons per week in years 3 to 6. Our resources are designed to be taught by domain, so separate time in your timetable needs to be set aside for grammar, spelling, handwriting and reading, writing and oracy lessons. The set up of each class is different, so we recommend adapting the curriculum to fit into the shape of your class or school cadence.

In our secondary English curriculum we provide four lessons per week in key stage 3, and five lessons per week in key stage 4. In key stage 4, our curriculum has been designed to teach three lessons of English Literature per week and two lessons of English Language per week. We recommend teaching one fiction and one non-fiction English Language lesson per week. However, the curriculum can also be taught with consecutive units of English Literature and English Language. We think schools are in the best place to make informed decisions about what works for their particular context.

We use threads to signpost groups of units that are linked around a particular topic or concept. We use the term thread, rather than vertical concepts, themes or big ideas, because it helps us to bring to mind the visual concept of a thread weaving through the curriculum.

Modern literature strand 1: identity, belonging and community

Modern literature strand 2: power, control and oppressive regimes

Our threads help teachers navigate our English curriculum by identifying and mapping important concepts in English teaching. At primary, we have threads for the domains of 

 Knowledge and skills within reading and writing are broken down into narrower threads, such as 

‘Reading and writing texts that inform’

At secondary, our threads are selected to indicate connections by period, concept or theme. This includes threads such as 

 are two threads that link to GCSE outcomes.

Some threads are phase specific whilst others span primary and secondary. Domain threads tend to be primary only because the isolated teaching of grammar, spelling and handwriting normally concludes in primary school. Our 

 thread for example, weaves across primary and secondary, mapping how pupils gain increasing knowledge and skill over both phases.

Recommendations from subject specific reports

How does the curriculum address and enact recommendations from subject specific reports (e.g. EEF guidance reports & Ofsted Research Review)?

Recent EEF guidance and the Ofsted subject report for English have advocated the importance of explicitly teaching and extensively practising the building blocks of literacy to ensure pupils have the working memory capacity to focus on fluency and creative ideas in their reading and writing. Our curriculum fully embodies these recommendations by providing comprehensive grammar, spelling and handwriting resources. We also break complex written tasks down into manageable small steps that can be taught, practised and learnt so that pupils are able to focus their working memory on writing creative original ideas fluently. For example, in the 

year 3 unit ‘The Man on the Moon: narrative writing’

, pupils develop their narrative writing by mastering each part of the narrative journey in isolation: pupils spend multiple lessons on opening, build-up, climax and resolution writing so that they develop a more coherent understanding of the key elements of narrative writing.

How does the curriculum deal with elements that arise from the specific needs of the subject?

How do our primary and secondary English curricula differ?

Despite a number of important similarities, primary and secondary English differ significantly in emphasis. At primary, pupils' learning is organised across the domains of handwriting, spelling, grammar, vocabulary, and reading, writing and oracy. At secondary, all these domains are combined because while at primary pupils are still building their word-reading and transcription skills, at secondary it is presumed that the majority of pupils have developed these competencies.

How did you choose the texts in the curriculum?

Text selection is the most challenging aspect of English curriculum design. There are near-infinite possibilities and combinations that can form a high quality English curriculum. Our text selection has been drawn from the expertise in our curriculum partners, 

. We chose texts to reflect the full range of life in the United Kingdom, and attempted to represent all backgrounds, regions and cultures, whilst also giving pupils a firm grounding in the history and traditions of English Literature.

What books are featured in the curriculum?

'A Superhero Like You’ by Dr. Ranj Singh

‘The Three Billy Goats Gruff’, traditional

‘The Magic Porridge Pot’, traditional

‘Five Little Ducks Went Swimming One Day’, traditional

‘Zim Zam Zoom’, ‘Firework’, ‘Splish! Splash! Splosh’, ‘BEwARe’ by James Carter

Twyford Church of England Academies Trust

Secondary English Curriculum

Secondary

English

Key Stage 1

Key Stage 2

Key Stage 3

Key Stage 4

Primary

Art and design

Core

GCSE

Citizenship

Computing

Cooking and nutrition

Design and technology

Edexcel

Eduqas

French

Edexcel B

Geography

German

History

Maths

Music

Physical education

Science

Spanish

Religious education

Literature

Appreciation of poetry

Developing fiction writing

Developing spoken language

English Language GCSE

Exploring the Gothic

Nineteenth century literature

Non-fiction reading and writing

Shakespeare and the outsider

Language

In 'Animal Farm: The Pigs and Power', pupils develop a clear understanding of the plot, main characters and themes of the novella. In the second exploration unit, 'Animal Farm: Barriers to Leadership', pupils undertake more nuanced analysis of the pigs grasp for power.

Modern text: first deep dive

In 'Lord of the Flies', pupils explore how power corrupts and destroys communities. 'In Animal Farm: The Pigs and Power', pupils focus on how power corrupts the pigs, leading to the downfall of their utopian dream.

'Lord of the Flies'

'An Inspector Calls': understanding context and Priestley’s influences

'An Inspector Calls': understanding and exploring key themes

'An Inspector Calls': the importance of setting and stage directions

'An Inspector Calls': exploring Priestley's use of structure

'An Inspector Calls': exploring the character of the Inspector

'An Inspector Calls': exploring the character of Mr. Birling

'An Inspector Calls': exploring the character of Mrs. Birling

'An Inspector Calls': exploring the character of Sheila

Writing analytically about Priestley's presentation of the older generation

Using context effectively in writing about 'An Inspector Calls'

'An Inspector Calls': exploring the character of Eric

'An Inspector Calls': exploring class and power through Gerald and Eva

'An Inspector Calls': exploring class and power in a model essay

'An Inspector Calls' : annotating essay questions and writing a thesis statement

Writing introductions and conclusions for an 'An Inspector Calls' essay

Planning and writing an essay on 'An Inspector Calls'

Modern text: first study

In this unit, pupils start their exploration of Orwell's 'Animal Farm' by focusing on the pigs and how they weild power. Pupils first read the book before exploring symbolism, key characters and Orwell's methods. They finally hone their essay writing skills and write about the pigs' use of power.

Animal Farm: the pigs and power

An Inspector Calls: power and responsibility

In 'Macbeth: Lady Macbeth as a Machiavellian Villain', pupils focus on the role that Lady Macbeth plays in the downfall of her husband. In 'Macbeth: A Tragic Hero', pupils become more critical of Macbeth's own decisions, evaluating whether he could be considered a tragic hero.

Shakespeare: first deep dive

In 'Othello', pupils explore the role that Desdemona played in her husband's downfall. In 'Macbeth: Lady Macbeth as a Machiavellian Villain', pupils analyse the impact of Lady Macbeth's manipulation.

'Othello'

In this unit, pupils read and analyse 'Macbeth' by focusing on the role of Lady Macbeth in the tragedy. They start by reading the full play, before moving on to a close analysis of key characters and themes. They then zoom in on Lady Macbeth and develop an essay on her as a Machiaevellian villain

Exploring the conventions of Shakespearean tragedy in 'Romeo and Juliet'

Exploring how the prologue sets up the theme of fate in 'Romeo and Juliet'

Exploring Romeo's unrequited love for Rosaline in 'Romeo and Juliet'

Exploring Lady Capulet and the Nurse’s views on marriage in Act 1, Scene 3

Exploring Benvolio and Mercutio as Romeo's counsellors in Act 1, Scene 4

Exploring love and foreshadowing in Act 1, Scene 5 of 'Romeo and Juliet'

Exploring the development of Romeo and Juliet's relationship in Act 2, Scene 2

Comparing Romeo’s love for Juliet with his love for Rosaline

Writing analytically about Shakespeare's presentation of Romeo and love

Exploring the role of Friar Lawrence in Act 2, Scene 3 of 'Romeo and Juliet'

Exploring the role of the Nurse and comedy in Act 2, Scene 4

Exploring love, masculinity and fate in Act 3, Scene 1 of 'Romeo and Juliet'

Exploring symbolism in Romeo and Juliet's last meeting in Act 3, Scene 5

Exploring Lord Capulet's views on women and marriage in Act 3, Scene 5

Planning an essay on the role of fate in Shakespeare's 'Romeo and Juliet'

Writing an essay on the role of fate in Shakespeare's 'Romeo and Juliet'

Shakespeare: first reading

Macbeth: Lady Macbeth as a Machiavellian villain

Romeo and Juliet: exploring the role of love and fate

In 'A Christmas Carol: Scrooge's redemption, pupils trace the way Scrooge changes across the text as a result of his interaction with the ghosts. In 'A Christmas Carol: a ghost story', pupils  examine the use of gothic tropes in more detail and in particular the use of the supernatural and the ghosts, which allow the past to interrupt the present and even future.

Nineteenth century text: first deep dive

In 'Victorian Childhood', pupils read a number of non fiction extracts about the suffering of poor children and campaign for better laws to protect them as part of a persuasive speaking role play. In 'A Christmas Carol', pupils learn about Dickens as a social campaigner and the way in which he wrote the novella to encourage people to help the poor.

Victorian childhood: non-fiction reading and writing

'A Christmas Carol' Stave 1: Scrooge the Miser

'A Christmas Carol' Stave 1: The Characterisation of Scrooge

'A Christmas Carol' Stave 1: Meeting Marley's ghost

'A Christmas Carol': Scrooge as a very Victorian character

'A Christmas Carol': planning an essay on Scrooge

'A Christmas Carol': writing about Stave 1

'A Christmas Carol' Stave 2: the first of the three spirits

'A Christmas Carol' Stave 2: Scrooge's childhood and Fezziwig

'A Christmas Carol' Stave 2: Belle

'A Christmas Carol': writing about Stave 2

'A Christmas Carol': improving analytical writing

'A Christmas Carol' Stave 3: the second of the three spirits

'A Christmas Carol' Stave 3: Christmas around the world

'A Christmas Carol' Stave 3: the Cratchits' Christmas

'A Christmas Carol' Stave 3: Scrooge and Fred as opposite characters

'A Christmas Carol' Stave 3: Ignorance and Want

'A Christmas Carol': writing about the presentation of children

'A Christmas Carol' Stave 4: the last of the three spirits

'A Christmas Carol' Stave 4: a significant death

'A Christmas Carol' Stave 4: death in the novella

'A Christmas Carol' Stave 4: Scrooge's fears

'A Christmas Carol' Stave 5: the change in Scrooge

'A Christmas Carol': symbolism in the novella

'A Christmas Carol': Scrooge's redemptive journey

'A Christmas Carol': planning an extended argument

'A Christmas Carol': writing an extended argument

Nineteenth century text: first study

A Christmas Carol: Scrooge's redemption

In 'Jekyll & Hyde: Detective Fiction', pupils explore how Stevenson uses the conventions of gothic fiction to expose key themes such as secrecy and concealment. In 'Jekyll and Hyde: Gothic Fiction', pupils build on this to explore how gothic texts are often concerned with hidden and illicit desires. 

In 'Sherlock Holmes: Short Stories', pupils explore the ways in which victims and villains are portrayed, evaluating whether some villains are portrayed more sympathetically than others. In 'Jekyll and Hyde: Detective Fiction', pupils examine the ways in which Stevenson uses and subverts the conventions of detective fiction both to build suspense and to critique Victorian society.

Sherlock Holmes: short stories

Jekyll & Hyde: duality and evil

In 'Edexcel Belonging Poetry', pupils compared the language, form and structure of a variety of poems connected by the themes of culture and identity. In 'Edexcel Belonging Poetry continued', pupils work on making more nuanced comparisons between poems.

Poetry anthology: continued study

In 'Single Poet Study: Maya Angelou', pupils explored how Angelou uses her poetry to present strong relationships to people and place. In 'Edexcel Belonging Poetry', pupils analyse how a variety of different relationships to culture and place have been presented across time.

Single poet study: Maya Angelou

In this unit, pupis explore 12 of the 15 poems from the 'Belonging' anthology. Pupils complete two lessons on each poem: one on understanding and one on analysis. Pupils study the poems in a thematically linked order so they can complete comparative and thematic lessons at key points in the unit.

KS3 & KS4 English curriculum

Unit sequence

Year 7

Year 8

Year 9

Year 10

Year 11

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