Wolf Brother

Teacher’s Booklet

Pearson Education Limited, Edinburgh Gate, Harlow, Essex, CM20 2JE

England and Associated Companies throughout the World
© Pearson Education 2006

The right of Emma Lee to be identified as the author of this work

has been asserted by him in accordance with the Copyright,
Designs and Patents Act of 1988.

The original edition of Wolf Brother is published in the UK by

Orion Children’s Books

All rights reserved. No part of this publication may be

reproduced, stored in a retrieval system, or transmitted in any
form or by any means, electronic, mechanical, photocopying,
recording, or otherwise without the prior written permission of
the Publishers or a licence permitting restricted copying in the
United Kingdom issued by the Copyright Licensing Agency, 90
Tottenham Court Road, London, W1T 4LP

ISBN-10: 1-4058-2272-4
ISBN-13: 978-1-4058-2272-5
First published 2006

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Introduction
Synopsis

Wolf Brother follows the story of Torak, an orphan boy who is injured and on the
run from an evil he does not understand and which killed his father. His only ally
is a wolf cub he has rescued. Set 6000 years ago, this is a world ruled by the
elements and fear. Torak’s quest, given to him by his father, is to save the world
by carrying three items of power to the Mountain of the World Spirit. This is the
first title in a seven-part series called Chronicles of Ancient Darkness.

Teaching Wolf Brother at Key Stage 3

Whilst the quest genre may be familiar, the way the text is written adds much to
the atmosphere and mood of the narrative, enabling readers to empathise with
the characters as they make complex choices and undertake a series of
potentially fatal actions. Teaching Wolf Brother provides opportunities to explore
how writers build tension and use language to evoke moods, craft new worlds
and create fully-rounded characters. There are rich possibilities for exploration of
word and sentence level features in term of settings and characters, whilst the
shifts in narrative perspective allow more confident pupils ways to explore the
shaping of their own narratives. There are also opportunities for comparison of
the text with other quest narratives. The themes and fast-paced narrative are
accessible and engaging and the two strong central male and female teenage
characters (Torak and Renn) mean the text will appeal to a wide audience.
Difficult choices, loss, friendship, loyalty and social conscience form the central
themes and issues that weave through the narrative, giving teachers the
flexibility to explore more complex objectives.

Structure of this resource

This resource provides suggestions for activities which can be easily slotted into a
scheme of work around the novel. It consists of two parts: the overview of teaching
and learning and the resources.

The overview of teaching and learning aims to secure progression in learning, rather
than just progression through the pages. It has been divided into nine natural sections.
The overview for each section indicates:

• the chapters to be read

• the features of the text to be explored
• the learning aims for the section (including Assessment focuses)
• brief descriptions of the approaches to teaching.

The resources comprise:

• Pupil worksheets (which can be photocopied)

• Teacher support sheets/OHTs etc
• Assessment criteria, grids etc.

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Overview of teaching and learning

Section Features to explore Learning targets Activities

during reading
Chapters 1–6 • Checking pupils’ Learning focuses Activity 1: Pre-reading skills
Alone in the understanding of pre- To be able to: • Looking at the map from the introduction to the novel, and having
World historic times. • use questioning, read the blurb on the back, pupils work in pairs to discuss what
• Predicting what will prediction, genre they think this is going to be, and what they think might
Resources happen to Torak and Wolf. speculation and happen.
Map from novel, • Asking questions about visualisation through • They share these ideas with another pair.
copied and the setting and characters active reading to
enlarged as the text develops. infer meaning from Activity 2: Predicting settings
Resource Sheet • Building a sense of the text • In the same pairs, pupils use Resource Sheet 1 to link the quotes
1 empathy with Torak and • understand how a on the sheet to the map settings.
Resource Sheet Wolf. writer uses sound • Pupils note down other key features, nouns and adjectives they
2 • Building up a picture of effects and figurative would expect to find when the writer describes the Wide Water, the
Torak’s world. language to enable Forest, Raven camp, the cave and the ice river. (Later, when reading
• Inferring and deducing to the reader to imagine these sections, compare pupils’ predictions with the words of the
come to an understanding the setting. text.)
of Torak’s actions and
motivation. Extension
• Establishing a relationship Assessment focuses • If time allows, distribute Resource Sheet 2 which takes pupils
with Torak. and Framework through the stages of producing a set of resources for Year 6 pupils
• How a writer uses sound objectives on Pre-historic Life.
and figurative language to Reading AF3: 7R6, 7R8
convey setting and Reading AF5: 7R12,
atmosphere when 7R14
describing the world which
Torak inhabits.
• How the writer uses
extended sentences to
give detail and build up
visual and auditory
sensation.

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Section Features to explore Learning targets Activities
during reading
Chapters 7–11 • How the writer develops Learning focuses Activity 1: Inferring
Capture relationships between To be able to: • Pupils re-read the opening of Chapter 7, in which we are introduced
various members of the • understand how a to the characters of Renn, Hord and Oslak.
Resources Raven clan and Torak. writer builds up • Ask pupils to look through the rest of the chapter and pick out
Resource Sheet • How the writer deepens relationships evidence from the text about the relationships between the four
3 (OHT) our understanding of between characters characters. What do they notice about who’s in charge and how the
Resource Sheet Renn, Torak, Fin-Kedinn and identify clues three clan members feel towards each other?
4 and Hord and enhances within the text that • Show pupils Resource Sheet 3 (OHT) and ask them to suggest
our relationship with reveal character what inferences the reader might make from these two examples.
them. • use drama to deepen Annotate on the OHT, and embed the idea that readers’ relationships
• How good readers read an understanding of with characters are largely directed by what the writer allows us to
backwards and forwards a character and build know about them.
through the text to up empathetic
answer questions. understanding. Activity 2: Empathising through drama
• How the writer shifts from • Using Resource Sheet 4, lead pupils through the freeze-frame tasks
Torak’s narrative as a way of exploring character in Chapter 7.
perspective to Wolf’s. Assessment focuses • Finish by sharing ideas about what has been learned about
• How the writer uses and Framework characters through this work.
sentences and words to objectives
build up a sense of Reading AF3: 7R6, 7R8
tension when describing Drama skills:
Torak and Wolf’s escape. 7S&L15, 7S&L18
• How the writer makes
links between chapters.

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Section Features to explore Learning targets Activities
during reading
Chapters 12– • How the writer uses Learning focuses Activity 1: Creating action and description in narrative
14 language, punctuation, To be able to: • Distribute Resource Sheet 5 and ask pupils to work in pairs on Task
Escape sentences and paragraphs • identify and discuss 1, to make decisions about uses of language.
to create a sense of the word and • Pupils then work independently on Task 2, which will require close
Resources tension when describing sentence level attention to Chapter 14, and note-making.
Resource Sheet the escape. features a writer has • Take feedback on the effects of these when discussing their use.
5 • How a writer develops chosen to use,
Resource Sheet complications within plots. exploring how these Activity 2: Making judgements and predictions
6 (OHT) • How good readers explore create tension • Share with pupils Resource Sheet 6 (OHT) which is a sample
Resource Sheet how Torak, Renn and Wolf • discuss the effects of response to a question on how the author builds up tension and
7 develop and become more the figurative devices action in Chapter 14. Explain to pupils that they will be writing a
Resource Sheet complex as the narrative which a writer fuller version of this. Elicit the ways the pupil has structured his/her
8 unravels. chooses to use to work and used evidence.
• How writers use a wide create settings within • Distribute Resource Sheet 7 and ask pupils to work on it
range of punctuation in the narrative. independently. They might wish to use Resource Sheet 8 to help
narrative. them structure their work.
• How the writer uses
sentence fragments, one- Assessment focuses
word sentences and and Framework
simple sentences when objectives
creating tension when Reading AF5: 7R12,
describing the escape. 7R14
Speaking and Listening:
7S&L12

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Section Features to explore Learning targets Activities
during reading
Chapters 15– • How the writer uses the Learning focuses Activity 1: Beginnings and endings
17 conventions of the quest To be able to: • Ask pupils to consider what differences in style and content one
The First genre. • understand the ways might get in a beginning and an ending of a chapter. Elicit ideas such
Prophecy • How the writer reveals writers link as setting the scene, cliff-hangers, summing up a previous event etc.
Torak, Renn and Wolf paragraphs and
Resources through complications in chapters, exploring Activity 2: Linking chapters
Resource Sheet the plot. the devices they use • Distribute the cut-out openings and endings of Chapters 14 to 18
9 • How writers use clues to create cliff- from Resource Sheet 9 to pairs and ask them to work through,
within the text to hook the hangers between dividing them into two groups of likely beginnings and endings.
reader. chapters • They try to sort into a sequence, sticking them onto a flip-chart or A3
• How writers organise the • use talk to speculate sheet. Annotate the composite sheet, adding reasons why the
texts to create cliff- and hypothesise, statements are linked. Pupils should also explain why they have
hangers at key moments then justify personal chosen the order that they have.
in the narrative. responses. • End by sharing predictions about what will happen in each chapter.
• How good readers tease
at puzzles within the text, Assessment focuses
such as the meaning of and Framework
the prophecy. objectives
• How good readers can Reading AF4: 7R7, 7R12
make links between this Speaking and Listening:
quest tale and other quest 7S&L12
stories they may have
seen or read.

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Section Features to explore Learning targets Activities
during reading
Chapters 18– • How the writer creates Learning focuses Activity 1: Narrative perspectives
20 character, looking at the To be able to: • Explore the way Michelle Paver uses multiple narrative/narrative
The Second Walker. • use key vocabulary perspective. Start by reading out anonymous sentences from the
Prophecy • How the writer uses correctly when text and ask if pupils can identify the voice of the character. For
personification to bring talking or writing instance, some sentences from Torak’s perspective and some from
Resources the Walker’s valley to life about the word and Wolf’s. What are the defining features of their distinctive voices?
Resource Sheet in Chapter 18. sentence level
10 • How good readers can features of the text. Activity 2: More on narrative perspectives
Resource sheet explain the effects of the • understand the ways • Give out Resource Sheet 10 and ask pupils to work through it
11 language and punctuation a writer can use independently.
choices a writer has language features to • They then share ideas with a partner: what viewpoints/voices does
made. indicate a particular the author use? Why? What effect do they have?
• How good readers can use point of view or • Distribute Resource Sheet 11 and ask pupils to work through it to
the appropriate narrative identify the features/voices.
terminology to discuss the perspective.
literary and figurative
features of the text when Assessment focuses
discussing the setting of and Framework
the Walker’s valley. objectives
• How Michelle Paver makes Reading AF2: 7R2, 7W21
each character’s narrative Reading AF5: 7R12,
distinctive so that readers 7R14
know when there has
been a shift in
perspective.

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Section Features to explore Learning targets Activities
during reading
Chapters 21– • How good readers hear a Learning focuses Activity 1: Quest features
22 reading voice that To be able to: • Using Resource Sheet 12, pupils work in small groups to discuss
The Third represents that of the • identify the key the key features of a quest story. This links into other ‘Save the
Prophecy narrator, and understand features of genre World’ quests such as Star Wars, The Matrix and Lord of the Rings in
that this voice is different, and consider how film, or The Conch Bearer, Lord of the Rings and The Lion, The Witch
Resources depending on the these relate to other and The Wardrobe in fiction.
Resource Sheet narrator. familiar texts.
12 • Where Michelle Paver uses • Explore how texts Activity 2: Quest analysis
Resource Sheet deliberate repetition in the tackle the idea of a • Explore the features of Wolf Brother in comparison with other quest
13 text. quest, considering stories using Resource Sheet 13.
• How Michelle Paver similarities and • Finish by composing a set of quest story instructions, based on the
extends and deepens her differences and using features agreed, such as ‘First, take a hapless hero who has been
portrayal of Renn, Wolf knowledge of other kept unaware of his fate. Add one feisty or loyal companion who…’
and Torak as the plot texts to support etc.
develops. reading.
• How Michelle Paver has
exploited features of the
quest genre when writing. Assessment focuses
• How the plot compares and Framework
with other quest tales. objectives
• Tracing developments in Reading AF4: 8R14
the characters of Renn,
Torak and Wolf over time.
• Tracing developments and
shifts in themes such as
loyalty, friendship,
bravery, heroism and
courage across the whole
text.

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Section Features to explore Learning targets Activities
during reading
Chapters 23– • How Michelle Paver Learning focuses Activity 1: Hero tracking
26 evokes the setting of the To be able to: • Before pupils start the main task, ask them to discuss with a partner
The Past Catches ice river. • use imaginative and what they understand by ‘heroic’, and note down any related words,
Up • How good readers build literary reading skills such as bravery, cunning or strength. Then, link these words to any
up a mental map of the to explore the events in Chapters 23 to 26 and say to whom they might apply.
Resources ice river as they visualise subtleties of the text. • Ask pupils to work individually to create a ‘hero’ graph up to and
Resource Sheet the images in the text. • develop a personal including Chapter 26. This explores the heroic features pupils
14 • The links between the plot response to the text, consider the three characters to have. Pupils should use a different
and the themes of the considering colour to plot Renn, Torak and Wolf, and discuss who they think the
novel when compared viewpoint about the real hero of the novel is thus far, using the graph as evidence.
with another quest characters and Alternatively, groups can plot different versions of this and the
narrative. events, and using teacher can superimpose the graphs upon one another to produce a
• Developing judgements speculative language class version.
and preferences about to discuss these. • This activity should be followed up in the last session when the final
characters such as Torak, two columns can be completed.
Renn, Wolf, Fin-Kedinn
and Hord. Assessment focuses
• Developing a personal and Framework
response to Wolf Brother objectives
and the themes within it. Reading AF3: 7R6, 7R8
Reading AF6: 7R17

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Section Features to explore Learning targets Activities
during reading
Chapters 27– • How Michelle Paver Learning focuses Activity 1: Unresolved issues
29 prepares us for the To be able to: • Re-read the section describing Torak’s initial capture in Chapter 9,
Raven Camp ending. • use imaginative and when Torak fights with Hord. What signs are there that Renn would
• How Michelle Paver literary reading skills help Torak escape? What signs are there that Fin-Kedinn was helping
Resources provides answers for to explore meaning Torak defeat Hord in order to prove that he is the Listener?
Resource Sheet previously unanswered within the text, and • Distribute Resource Sheet 15 and ask pupils to come to conclusion
15 questions as readers to build up a picture about whether Fin-Kedinn may have assisted Torak, and then create
move towards the ending of the text as we a scale such as the one shown.
of the text. read
• Why the writer chose to • explore how a writer
end the text in the way ties up themes and
she has: discussing issues from the
whether this is the novel, and how they
demands of convention or resolve puzzles from
personal choice. earlier in the text.
• Looking back over the text
to explore unanswered
questions relating to Fin- Assessment focuses
Kedinn’s behaviour. and Framework
• Re-reading and re- objectives
interpreting previous clan Reading AF3: 7R6, 7R8
scenes to clarify Reading AF4: 7R15
understanding about the
characters of Hord and
Fin-Kedinn.
• Speculation prior to the
ending.
• Prediction about the
ending.
• Justifying a personal
response about a
character or theme.

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Section Features to explore Learning targets Activities
during reading
Chapters 30– • How Michelle Paver Learning focuses Activity 1: Recalling techniques
32 prepares us for the To be able to: • Ask pupils to recall from memory all the techniques a writer might
The Final Battle ending. • comment on the use to create tension in a piece of writing. Then they should look
• How Michelle Paver’s word and sentence back at their previous assessment, and what targets/improvements
Resources language choices create a level features a were required. Fill in the first column of the grid on Resource Sheet
Resource Sheet sense of action and writer has chosen to 16.
16 (Assessment) urgency in the final use, exploring how • Pupils should also look again at the connectives supplied and remind
chapters. these create tension. themselves how these can be used.
• How Michelle Paver has • use analytical writing
left unanswered questions features to express a Activity 2: Assessed response
and clues at the end of personal view • Set a task to re-read the fight scene with the bear in Chapter 32 and
the novel in anticipation of explaining how and ask pupils to write a second assessed response which explains how
the sequel. why a writer has the writer creates tension in this scene.
• How Wolf Brother matches used particular • Pupils need to explore the way Michelle Paver uses vocabulary
or differs from the features when (powerful verbs), sentence fragments, punctuation, one-sentence
requirements and writing. paragraphs and repeated sentence structures to create tension. Go
restrictions of the quest on to explore how she uses personification, onomatopoeia and
genre. alliteration to bring settings to life. Take feedback on the effects of
• Pupils’ personal responses Assessment focuses these when discussing their use.
to the novel. and Framework
• Reflecting on the text as a objectives Activity 3: Self-evaluation and assessment
whole. Reading AF3: 7R6, 7R8 • Pupils fill in the second column of Resource Sheet 16 when they
Reading AF4: 7R15 have finished and compare progress from first assessed response.
Reading AF5: 7R12,
7R14

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Pupil Resource Sheet 1
Task

1 There are five main settings in the story: the Raven camp, the Wide
Water, the ice river, the cave and the Forest. In order to visualise these
settings, look at the following details that are taken from the story.
Which setting do you think they apply to, and why?

…a brilliant green… It smelt of pine-smoke and fresh

blood

Torak saw four big reindeer-hide A bewildering amount of people

shelters

…thick with willows… …as it thundered over a sheer wall of

rock, it was appalling in its fury

it turned from blue to dark green to Cold flowed from it: an acrid uprush
black of air like the breath of some ancient
creature that has never seen the sun

It felt slimy, like dead flesh Nothing but glimpses of glistening

red stone

All around, he heard weird creaks …knife-sharp crags and gaping

and echoing groans gullies…

2 Add these phrases to your copy of the map, linking them to where you
think they describe.

3 Imagine you are in each of these three settings – the Wide Water, the
ice river and the Forest. What would you expect to see, smell, hear and
feel? Add nouns and adjectives to the map to show the other things
(from those mentioned above) you would expect the writer to include
when describing the location.

For example, FOREST – the shrieks and cries of black crows.

Wolf Brother Pupil Resource Sheet 1

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 1

Pupil Resource Sheet 2

Task
You are going to work independently to produce a fact sheet aimed at Year 6
pupils to inform them about pre-historic life. You will need to include:
• a plan to show what you are going to research
• information from different sources
• facts about pre-historic life that Year 6 students would find interesting.

STAGE ONE: The plan

Create your own QUADs grid, using an A3 sheet of paper, like the one below.
This will help you to think about what your reader would want to know, or would
find interesting.

Questions Answers Details Source

1) How did
people
live?
2)

Start the grid as follows:

• First, write down about 10–20 questions that you would want to know
the answer to if you were the reader. You may wish to do this on post-it
notes so that you can do the next bit more easily.

• Put the questions in order of importance, and, if possible, group

them. For example, you might have three or four questions about the
way people lived. These should really go together, so you can use the
post-its to move your questions around into an order. This makes it
easier when you come to organise your project.

• Now decide on four or five headings for your groups of questions, so

that your resource pack will be easy to navigate (e.g. How people lived)

• Then you need to list the sources of information you could use. Note
down key words in a separate notebook to use in a search engine on the
Internet to ensure you get the right websites.

Wolf Brother Pupil Resource Sheet 2

Pearson Education 2006
 2

STAGE TWO: Finding the information

• As you complete the grid, finding answers to your questions, you should
put these into your own words. Then you can use a quote from the text in
the ‘Details’ box.

• Put the source of the information (e.g. the name of the book, website
etc.) into the final column.

• Now pass your notes to a partner who will look over your questions to
check that they are well linked.

STAGE THREE: Write up/create your resource pack

• This might be just a written account with clear headings and explanations,
but you might also wish to use images, diagrams, maps etc.

• Make sure you use vocabulary and sentences that are appropriate for your
reader, and try to make sure it is entertaining. You might want to think
about how the writers of the Horrible Histories make their history
resources attractive and interesting.

Wolf Brother Pupil Resource Sheet 2

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 Pupil Resource Sheet 3 (OHT)

‘You took our roe buck,’

said the girl. To the big
man she said, ‘Oslak, I
think you’re choking him.’

‘I’ll take that,’ said

Oslak. Still gripping
Torak, he relieved him
of his weapons and
tossed them to the girl.

Wolf Brother Pupil Resource Sheet 3

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Teacher Resource Sheet 4
Task
Pupils should create a freeze-frame that sums up the most important part of
Chapter 7 as they see it and shows viewers how the group think the characters
feel about each other.

Give pupils a description of the task, which could be noted on the board
for reference. Pupils will find it easier to work without paper.

STAGE ONE: Creating

Group pupils into fours and advise them to use space, height and distance to
show how close the characters are to each other. For instance, whilst closeness
can show friendship, it can also be a threat. Tell pupils to try to capture
something of their personality and the relationships between them.

You may need to model this by taking two or three confident pupils and creating
a demonstration freeze-frame with them.

STAGE TWO: Sharing

Now ask groups to share their freeze-frame with the rest of the class. They
should be able to tell who represents each character from their frozen poses.

Ask pupils:

When you look at other groups’ freeze-frames, can you tell which character they
represent?
If you can see who they are, what helped you to guess?
If you couldn’t guess who they represent, what would they also need to do to
show who they were?

STAGE THREE: Responding

Pupils work in pairs to suggest what can be inferred from how each character is
described in Chapter 7. Can they predict which relationships will get stronger and
which will weaken as the story develops? Pairs join up to make fours and
compare their predictions.

Wolf Brother Teacher Resource Sheet 4

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Pupil Resource Sheet 5
Task
When writing, the writer makes us share the character’s sense of tension as
actions unfold through their selection of vocabulary, types of sentence and so on.
Similarly, when trying to help us imagine a scene, a writer can use language to
help us visualise a setting or environment.

In Chapter 14, Michelle Paver combines moments of action with moments of

description.

1 Look at the techniques listed below and decide whether you would
expect to see them in action, description or both. Work with a partner.

two or three verbs in a

powerful verbs adjectives
sentence

short sentences complex sentences similes

personification one-sentence paragraphs exclamation marks

adverbs compound sentences metaphors

onomatopoeia alliteration commas

2 Now create two tables like the one below, listing all the techniques you
would expect to see in action and in description. Look through Chapter
14 to find examples.
3 Explain why you think this technique is good for action or description. An
example has been completed for you. Try to analyse the techniques the
writer uses, in order to think about the effect they have. This means you
will have to explain why you think the technique is useful.

Technique Example Effect

Adverbs ‘frantically’ This is effective

because it makes it
clear how a character
did something and this
makes their actions
seem more dramatic.

Wolf Brother Pupil Resource Sheet 5

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Pupil Resource Sheet 6 (OHT)

Follow with a connective

Start with a connective
to introduce evidence
to show sequence

The first technique Michelle Paver uses to build

up tension is using adverbs, such as ‘frantically’.
This adds information to the verb to make it
clear how the character did something.
This adds tension because it makes us see how
the character is acting and it makes it clearer.
We also get to see a bit of their feelings, which
helps us empathise with the character.

Explain the
effect
Develop the idea
with another
connective

Wolf Brother Pupil Resource Sheet 6

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Pupil Resource Sheet 7

Task
Writing to analyse, review and comment
Comment on Michelle Paver’s uses of language and how these contribute to
tension and description in Chapter 14.

STAGE ONE: Assessing your writing

You will need to show what you have learnt about the way Michelle Paver uses
words and sentences to build up tension and action in Chapter 14. In English, it
is important that you can transfer the ideas and comments from your spoken
language or your planning into writing, as this is a common way of assessing
what you have read. You have to balance all that you know about writing with
what you have learnt about reading, and so you have some prompts to help you
structure a paragraph.

When you have completed the novel, you will have another opportunity to show
that you are developing the skills to write about what you have read, so you will
need to show your teacher that you can do this without the prompts to help you.

STAGE TWO: Intended learning outcomes

You will need to show that you can:

• comment on the words Michelle Paver has used, explaining how these add
to the tension or description
• comment on the way Michelle Paver uses different types of sentence to
build up the tension or description
• explain what you think the effect is of the devices you pick out.

STAGE THREE: Planning

Use the tables you completed earlier (Resource Sheet 5). You may need to
group your ideas together, or organise them in some way – for example, writing
about the author’s use of description first.

STAGE FOUR: Writing

Now write your analysis, using your own evidence to explain the effects of the
techniques Michelle Paver uses. You can use the connectives table on Resource
Sheet 8 to help you, as it includes the kind of words to start you off and build
up your writing. You will need to use at least one word from each column in each
paragraph. The more you use the words from the final column, the better you
will be at explaining the effects the author has created.

Remember, this is your first attempt and you will have another
opportunity to show what you have learnt about this type of
writing. Your teacher will set you a target which you will need to
work on during your next assessment piece on Wolf Brother.

Wolf Brother Pupil Resource Sheet 7

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 Pupil Resource Sheet 8
To start your first To add a piece of To explain an effect
paragraph… evidence from the or speculate an idea…
text…
Firstly
Initially
This makes it seem like
At the start For example
It sounds as if
One way Such as
It makes it sound like
For instance
It makes the reader feel
To start paragraphs in To demonstrate this point
It has the effect that
the middle… As revealed by
It suggests that
To exemplify this point

Moreover
Additionally
+ This is shown when
This is illustrated by
+ It seems as if the writer
wants us to think
Possibly
Furthermore Perhaps
To make a similar It might be that
Another
Also point… It could be that
In addition It makes us think
Similarly
To start your final Likewise
paragraph… And the most
Like
In the same way important words…
To summarise Equally
To conclude As with Because…
Finally Which…

Wolf Brother Pupil Resource Sheet 8

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Pupil Resource Sheet 9

Just as Wolf was about to attack, it shook itself and

shambled away. But through the tangle of its broken
thoughts, Wolf sensed that it would be back.

Panic seized him. Not blind, he thought. No, no

please, not blind.

Renn shivered. ‘Just as long as nothing else can, too.’

The female tailless was whimpering and waving her

forepaws, so Wolf left her and hurtled down the track.

The fog stole up on them like a thief in the night.

Torak came up spluttering with cold, fighting the

river.

Torak overbalanced and crashed into the river.

Torak woke at dawn feeling stiff and sore.

Wolf Brother Pupil Resource Sheet 9

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Pupil Resource Sheet 10
Sometimes different parts of a novel are written from the perspectives
of different characters. Readers often empathise with the character
that is the focus of the narrative viewpoint. Therefore, if the narrative
viewpoint changes, so do the reader’s feelings about the character. If
the author had chosen not to tell parts of the story from Wolf’s point of
view, then our feelings about him would have been very different.

Task
Complete the table below, picking out examples from Chapters 18 to
21. The first row has been completed for you.
• Fill in the definition column for each technique.
• Fill in the example column if the technique applies to Wolf Brother.
Three techniques are used in Wolf Brother and three are not.
• Using a different coloured pen, write your own sentence to
demonstrate each of the techniques not used in Wolf Brother. You
will need to make these up. An example has been done for you.

Technique Definition Example

1st person narrative When the writer “I climbed up onto
writes as if they are in the back of the giant
the story, using “I” mechanical horse.”

3rd person narrative “Nadia knocked on

the door and waited.”

Past tense

Present tense

Single narrative
viewpoint

Multiple narrative
viewpoint

• What difference do you think there would have been to the story if
Michelle Paver had chosen to write it in another way? For instance,
what would have been the difference if she had written as if she
were Torak?

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Pupil Resource Sheet 11
Task
Look at the following examples taken from Chapters 18 to 21.

Work with a partner to categorise the examples by deciding which

character’s viewpoint it represents – Wolf’s, Renn’s or Torak’s. Then
group the examples together and explain what helped you decide in
each case. Discuss your decisions with another pair, looking at the
similarities and differences in your choices. What makes it easy or
difficult to decide on the viewpoint represented?

‘We can’t go in there’

Far away, he heard the lonely howl of Tall Tailless.

Fear gnawed at him

Frozen in horror, she’d watched the bear rear up on its hind legs,
towering over the spruce

He felt each pad strike the rocks as never before.

He watched Wolf for the least sign of alarm, but the cub plodded
along, unafraid.

He yawned.

Once they shot a reindeer, only to find that they’d hit a log.

She was clearly having doubts again.

The Dark came.

The demon was fast, but he was faster.

When Torak crawled stiffly from his sleeping-sack, the valley below
had disappeared.

With the pouch in his jaws, Wolf disappeared into the fog.

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Pupil Resource Sheet 12

Task
Wolf Brother is an example of a quest story, like many other stories or
films with which you may be familiar. It can be categorised as a ‘Save
the world’ quest, since it involves the hero making decisions and
undertaking actions that prevent the destruction of the world they
inhabit. This can be a small setting, a global setting, or even a
universal setting.

1 Work in a small group to list as many quest stories as you can

think of that demonstrate a similar storyline. These can be
films, novels, plays, poems, cartoons or any other form of
story with which you are familiar. You might want to start with
Lord of the Rings or Harry Potter.

When you have completed your list, share it with other groups.

2 What do you think you need to make a quest story?

Devise a list of features that many of your examples share.
For instance:

• What always happens in a quest story?

• What kind of person is the hero?

• Who undertakes the quest?

• What are their friends like?

• What sorts of places/settings are there?

• What happens at the beginning of the quest?

• What’s the purpose of the quest?

• What are the ‘baddies’ always like?

• What helps overcome the ‘baddies’?

• What other common features can you think of?

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Pupil Resource Sheet 13
Task
Complete the following table in order to compare and contrast Wolf
Brother with a quest story you know well. An example, using Star
Wars, has been completed for you.

Wolf Brother Star Wars Your choice

Torak, the hero, is a bit Luke Skywalker, the hero, is

of an accidental hero. a bit of an accidental hero.
He needs his friends to He needs his friends to help
help him save the world. him save the world. He has
He has a background a background that he
that he doesn’t know doesn’t know about that
about that means it is means it is his fate to save
his fate to save the the universe from ‘the Dark
forest from evil. Side’.

Renn, the lead female, Princess Leia, the lead

is feisty and tom- female, is feisty and tom-
boyish… boyish. She is respected by
her people for her talents.
She is sometimes the cause
of the tricky situations Luke
gets himself into.

Wolf is Torak’s best Han Solo is Luke’s best

friend… friend. Whilst they have
many things in common,
Han is often the one who
gets Luke out of the scrapes
he gets into. He’s funny and
an enjoyable character.
Some might say he’s the
real hero of the film.

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 The story starts with… The film starts with a
terrible evil force, the Dark
Star, which threatens Luke’s
world. Although he doesn’t
feel it’s his place to save the
universe and he doubts his
abilities, he is the only one
who can do it.

The evil force is The evil force is destroyed

destroyed when… when Luke faces Darth
Vader, the source of all the
destruction, in a battle that
is nearly fatal for Luke.

Along the way… Along the way, Luke’s friend

and guide, Obi Wan Kenobi,
is killed by the evil forces
that terrorise the world. This
gives Luke the strength to
carry on and fight against
the Dark Side.

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Pupil Resource Sheet 14

Task
Throughout the novel, the three main characters act in different ways that a reader might describe as heroic. As you look
back over the novel so far, plot each character in a different colour, giving them an overall mark out of 10 for each section
(10 = completely heroic; 0 = not heroic at all). You will be completing this graph when you have finished the novel. You must
be able to give examples of incidents from the novel that support your view.

10
Heroism

0
Alone in the Capture Escape The First The Second The Third The Past Ice River The Final
world Prophecy Prophecy Prophecy Catches Up Raven Camp Battle
Chapter 7-11 Chapter 12-
Chapter 1-6 14 Chapter 15- Chapter 18- Chapter 20- Chapter 23- Chapter 27- Chapter 30-
17 20 22 26 29 32

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Pupil Resource Sheet 15
Task
A writer often leaves clues for a reader, hinting at particular actions
that are yet to come. Good writers hide these so well that it takes a
particularly clever reader to work them out. Good readers look back
over the text to work out mysteries that the writer has set for them.
Read the following extract before exploring the ways in which Michelle
Paver has left clues for the reader.

‘Why did you let me fight Hord? Why did you keep me tied up while the
clan meet decided whether to sacrifice me?’
‘To see what you were made of,’ Fin-Kedinn said calmly. ‘You’re no
good to anyone if you can’t use your wits.’ He paused. ‘If you
remember, I didn’t keep you under close guard. I even let you have
the wolf cub with you.’
Torak thought about that. ‘You mean – you were testing me?’
Fin-Kedinn did not reply.

1 As we read Chapter 29 of Wolf Brother, it becomes clear that

Fin-Kedinn may have meant to help Torak from the beginning.
Re-read Chapter 9 with a partner, and note down all the clues
you think Michelle Paver may have left for us to interpret.

2 Plot the clues on a 0–10 scale (0 = Fin-Kedinn definitely did

not help Torak; 10 = Fin-Kedinn definitely helped Torak). Add
your reasons in a thought bubble. By the end of this activity,
you should be able to answer this question:

Did Fin-Kedinn help Torak beat Hord?

Use a scale like the one below on which to plot your evidence.
You should be able to base your answer on the percentage of
clues that you find. An example has been plotted for
you.

This shows he’s

deliberately drawing
Torak’s attention to the
fire and the broth, so he
is helping him.

‘Fin-Kedinn
prodded the
fire’
0 10

Fin-Kedinn Fin-Kedinn
definitely did not definitely helped
help Torak Torak

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 1

Pupil Resource Sheet 16

Task
Your task is to write an assessed response having first looked at your
previous work. The title for the assessed response is:

How does Michelle Paver create tension during the fight scene
with the bear in Chapter 32? You will need to consider all the
techniques and features of writing she uses to create tension.

Remember: you are trying to show that you understand the way
Michelle Paver uses words and sentences to create tension, so you will
need to find examples where she has used particular techniques, such
as short sentences, to make the writing more dramatic.

You will also need to revise the connectives from the table on
Resource Sheet 8. These will help you to extend your writing and
really explain your ideas. Remember, just identifying the techniques
and giving an example will only get you part of your final level. You
need to explain how and why the writer has used these techniques.

STAGE ONE: Recall all the features a writer can use to add tension to
a piece of writing.

STAGE TWO: Check your first assessment piece to look at what you
did well, and what targets you may still need to work on to develop
your writing. You can use the table to see what your teacher will be
looking for.

Fill in the first column of the table on the next page. Add a face to
show whether you showed this all the way through ☺, whether you
showed this once or twice , or whether you don’t feel confident with
this or haven’t quite mastered it yet .

STAGE THREE: Complete your assessed response.

STAGE FOUR: Fill in the right-hand column of the table.

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 2

My first

second
piece

piece
My
I can identify techniques that make writing tense

I can use the correct vocabulary when talking

about writing

I can find examples from the text

I can explain why particular words add to the

tension

I can explain why particular sentences add to the

tension

I can use speculative language when writing about

why a writer has used a particular technique

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Guidelines for assessing reading task
Analyse the way Michelle Paver uses words and sentences to build up tension in chapter 14 of Wolf Brother.

AF2 – understand, describe, select AF3 – deduce, infer or interpret AF5 – explain and comment on AF6 – identify and comment on
or retrieve information, events or information, events or ideas from writers’ use of language, including writers’ purposes and viewpoints,
ideas from texts and use quotation texts. grammatical and literary features and the overall effect of the text on
and reference to text. at word and sentence level. the reader.

Level 3 From some parts in the excerpt: From some parts in the excerpt: From some parts in the excerpt: From some parts in the excerpt:
Identifies simple, most obvious points Responses show meaning established at A few basic features of writer’s choice of Comments identify main purpose e.g. The
a literal level, but little sense of meanings language identified, but with little or no writer wants us to feel tense
May show some misunderstanding beyond this supporting comment e.g. ‘She uses
adverbs.’ Expresses personal response but with
Uses some reference, but not always Straightforward comment based on a little awareness of the writer’s viewpoint or
relevant e.g. often paraphrasing or single point of reference effect on the reader e.g. I think the
retelling the narrative rather than chapter makes me want to read on to find
supporting comment Responses based on personal out what happens
speculation rather than reading of the text

Level 4 Across the whole excerpt: Across the whole excerpt: Across the whole excerpt: Across the whole excerpt:
Identifies some relevant points Comments make inferences based on Some basic features of writer’s use of Main purpose identified
evidence from different parts of the language identified e.g. ‘She uses some
Uses some generally relevant textual excerpt e.g. explains that the fact there is adverbs to build up tension.’ Simple comments show some awareness
reference or quotation to support no bird sound means the bear could be of writer’s viewpoint e.g. ‘Michelle Paver
comments , e.g. refers to most obvious near and that tension is built up when they Simple comments on writer’s choices e.g. wants you to feel tense when she says ‘he
details but is unselective or lacks focus see the injured tree ‘The adverbs show us how Torak was couldn’t hear any birds.’
feeling.’
Inferences often correct, but comments Simple comment on the overall effect on
not always rooted in the text, or retelling the reader e.g. This makes us feel that it’s
narrative too quiet and something will happen.

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Level 5 Across the whole excerpt: Across the whole excerpt: Across the whole excerpt: Across the whole excerpt:
Most relevant points clearly identified, Comments develop explanation of inferred Various features of writer’s use of Main purpose clearly identified, often
including those from a range of places in meanings drawing on evidence from language identified with some explanation through general overview e.g. ‘The
the excerpt across the excerpt e.g. We feel tense as e.g. ‘She uses some adverbs to build up chapter increases in tension as it goes on,
soon as the chapter starts because it’s so tension, such as ‘frantically’, which shows before leaving us with a cliff-hanger’
Comments generally supported by quiet which makes us think ‘it’s too quiet.’ us how Torak is panicking.
relevant textual reference or quotation, Viewpoint in text clearly identified with
even when points made are not always Comments make inferences and Comments show some awareness of the some, often limited, explanation
accurate deductions based on textual evidence effect of writer’s language choices e.g.
This adverb makes us really feel as tense General awareness of effect on reader
as Torak with some, often limited, explanation

Level 6 Across the whole excerpt: Across the whole excerpt: Across the whole excerpt: Across the whole excerpt:
Relevant points clearly identified including Comments securely based in textual Some detailed explanation, with Evidence for identifying main purpose
summary and synthesis of information evidence and identify different layers of appropriate terminology, of how language precisely located at word/sentence level or
from different places in the excerpt. meaning with some attempt at detailed is used e.g. ‘Adverbs such as ‘frantically’ traced through excerpt e.g. identifies that
exploration of them e.g. Because there add to the tension as they help us the the chapter starts with a degree of
Response incorporates apt textual are no birds, it is silent, but it also seems intensity of the action, and the character’s menace, moving through the idea of the
reference and quotation to support main like something could have frightened them mind.’ bear ‘closing in’ and commenting on
ideas off. purpose of the cliff-hanger
Some drawing together of comments on
Comments consider the wider implications how the writer’s language choices Viewpoints clearly identified and
or significance of information, events or contribute to the overall effect on the explanation of it developed through close
ideas e.g. The writer often uses birds as a reader e.g. comments on how the adverbs reference to the text
way of giving the reader clues. intensify, with examples.
The effect on the reader is clearly
identified, with some explicit explanation
as to how that effect has been created

Level 7 Across the whole excerpt: Across the whole excerpt: Across the whole excerpt: Across the whole excerpt:
Summarises and synthesises relevant Comments securely based in textual Detailed exploration, with appropriate Apt and judicious use of evidence for
points from across the excerpt, using evidence and interpret different layers of terminology, of how language is used e.g. identifying main purpose precisely located
evidence judiciously, often following a key meaning through detailed exploration e.g. comments in detail on how a range of at word/sentence level or traced through
reference with several linked examples refers to clues in the chapter that could be language features contribute to tension, excerpt e.g. supports overview of tension
interpreted to predict the cliff-hanger including more complex sentence level with integrated quotation from across the
Response incorporates apt and succinct tension chapter
reference, integrating support throughout Comments show appreciation of the wider
explanation implications or significance of information, Synthesises and summarises comments Subtleties of viewpoint explored through
events or ideas e.g. comments on the way on how the writer’s language choices developed explanation with close
the event is only one part of the growing contribute to the overall effect on the reference to the text
tension as Renn and Torak close in on the reader e.g. has a sense of overview about
bear. the most significant factors and how pace A range of effects on the reader is
is increased explored, with explicit explanation as to
how that effect has been created

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