Guide to text types

Adapted from Crown Copyright 2013
A Guide to Text Types:
Narrative, Non-fiction and poetry
Overview of structure, language features and key knowledge

Text Types
Information on a range of text types for literacy is contained here. The text types are broken into three genres:
Narrative, Non- fiction and poetry. Each of these genres has then been sub-divided into specific text types such
as adventure, explanation or a specific form of poetry, e.g. haiku.
1. Narrative 2. Non-fiction 3. Poetry
Adventure
Mystery
Science Fiction
Fantasy
Historical fiction
Contemporary fiction
Dilemma Stories
Dialogue, Play scripts, film narratives
Myths
Legends
Fairy tales
Fables
Traditional tales guidance
Discussion texts
Explanatory texts
Instructional texts
Persuasion texts
Non-chronological reports
Recounts
Free verse
Visual poems
Structured poems

Narrative
Narrative is central to children’s learning. They use it as a tool to help them organise their ideas and to explore new ideas and experiences. Composing
stories, whether told or written, involves a set of skills and authorial knowledge but is also an essential means for children to express themselves creatively
and imaginatively.
The range of narrative that children will experience and create is very wide. Many powerful narratives are told using only images. ICT texts tell stories using
interactive combinations of words, images and sounds. Narrative poems such as ballads tell stories and often include most of the generic features of
narrative. Narrative texts can be fiction or non-fiction. A single text can include a range of text types, such as when a story is told with the addition of diary
entries, letters or email texts.
Purpose:
The essential purpose of narrative is to tell a story, but the detailed purpose may vary according to genre. For example, the purpose of a myth is often to
explain a natural phenomenon and a legend is often intended to pass on cultural traditions or beliefs.
Generic structure Language features Knowledge for the writer
The most common structure is:
an opening that establishes setting and introduces
characters;
a complication and resulting events;
a resolution/ending.
Effective writers are not constrained by predictable
narrative structure. Authors and storytellers often modify
or adapt a generic structure, e.g. changing chronology by
not telling the events in order (time shifts, flashbacks,
backtracking). Children can add these less predictable
narrative structures to their own writing repertoires.
Language features vary in different narrative
genres.
Common features:
presented in spoken or written form;
may be augmented/supplemented/partly
presented using images (such as illustrations)
or interactive/multimedia elements (such as
hypertext/ images/ video/ audio);
told/written in first or third person (I, we, she,
it, they);
told/written in past tense (sometimes in
present tense);
chronological (plot or content have a
chronology of events that happened in a
particular order);
main participants are characters with
recognisable qualities, often stereotypical and
contrasting (hero/villain);
typical characters, settings and events are
used in each genre;
connectives are widely used to move the
narrative along and to affect the
reader/listener:
to signal time (later that day, once);
to move the setting (meanwhile back at
the cave, on the other side of the forest);
to surprise or create suspense (suddenly,
without warning).
Decide on your intended style and
impact.
Plan before writing/telling to organise
chronology and ensure main events
lead towards the ending.
Visualise the setting and main
characters to help you describe a few
key details.
Rehearse sentences while writing to
assess their effectiveness and the way
they work together.
Find some different ways of telling
what characters think and feel, e.g.
describe what they did or said.
Use some strategies to connect with
the reader/listener e.g. use repetition of
the same phrase or the same language
pattern; ask them a question or refer to
the reader as ’you’. What on earth was
happening? Who do you think it was?
Show how the main character has
changed or moved on in some way at
the end.
Read or listen to the whole text as if
you are the reader/listener or try it out
on someone else: check that it makes
sense and change anything that could
work better.

Specific features and structures of some narrative types
Children write many different types of narrative through Key Stages 1 and 2. Although most types share a common purpose (to tell
a story in some way) there is specific knowledge children need in order to write particular narrative text types. While there is often a
lot of overlap (for example, between myths and legends) it is helpful to group types of narrative to support planning for range and
progression. Each unit of work in the Primary Framework (Fiction, Narrative, plays and scripts) provides suggestions for teaching
the writing of specific forms or features of narrative. For example: genre (traditional tales), structure (short stories with flashbacks
and extended narrative), content (stories which raise issues and dilemmas), settings (stories with familiar settings, historical
settings, imaginary worlds) and style (older literature, significant authors).

Narrative - Adventure
Purpose:
To entertain.
Typically a recount or retelling of a series of exciting
events leading to a high impact resolution. The most
common structure is a chronological narrative. Building
excitement as the hero faces and overcomes adversity is
an important element, so more complex structures such
as flashbacks are less common. Archetypical characters
are the norm and much of the building tension comes
from the reader predicting who or what represents the
threat (the villain) and what is likely to go wrong for the
hero.
Longer narratives build tension in waves, with one
problem after another accelerating the adventure in
several sections or chapters, with the high point of
tension near the end.
The story can take place in any setting where there is the
potential for adventure through a danger or threat.
ICT ‘adventure’ texts often employ different structures,
allowing the user to select different routes through the
order of events, sometimes with different resolutions that
depend on the choices made by the reader.
An effective blend of action, dialogue and
description develops archetypical characters who
the reader will care about, at the same time as
moving the plot along at an exciting pace.
Description adds to the sense of adventure by
heightening the reader’s awareness, e.g. a sense of
potential danger (The cliffs were high and jagged ...)
or dropping clues to encourage involvement through
prediction (The captain welcomed them aboard but
his eyes were narrow and cruel-looking ...)
Dialogue is an element of characterisation but is
used more to advance the action than to explore a
character’s feelings or motivation. “What was that
noise? Did you hear it too?”
Language usually has a cinematic quality, with
powerful, evocative vocabulary and strong, varied
verbs for action scenes. (He leaped from his horse,
charged into the banquet hall and hurtled himself
onto the table where the prince was devouring a
chicken.)
Create characters your readers will have
a strong opinion about. Make the reader
like your hero so they want him/her to
succeed.
Create a villain that is a good match for
the hero, someone the reader definitely
doesn’t want to win in the end. Don’t
forget that villains we dislike most often
work in subtle ways. They do sneaky,
mean things that they might just get away
with.
Keep the plot moving but vary the pace:
use fast-moving action to create
excitement at a high point;
slow things down a little with
description or dialogue when you
want to build tension and create
suspense.
Can you surprise the reader at the end?
Perhaps someone who seemed
insignificant saves the day and turns out
to be a real hero, or perhaps a character
that appeared good and helpful turns out
to be two-faced.

Narrative - Mystery
Purpose:
To intrigue and entertain.
Structure is often chronological, even in a longer narrative, but
complex structural techniques are sometimes used for effect.
Different structures can be used for layering of information or drip-
feeding facts to build up a full picture for the reader, e.g. using
flashbacks to fill in information needed that wasn’t provided earlier
in the story or organising sections so they tell the story both before
and after a key event. Knowing what is going to happen and then
reading about it happening can add to the suspense.
Settings are often places the main character is unfamiliar with.
Different cultures often share views about the kinds of settings that
seem mysterious (deep, dark forests, old, uninhabited places,
lonely rural landscapes). Other settings can be very familiar places
(school, home, the local town) but with an added ingredient that
triggers the mystery (a stranger arrives in town, a parcel arrives,
people begin acting strangely, something unusual happens).
The narrator uses questions to exaggerate the
mystery, e.g. Who could it be? Why had the
car suddenly stopped?
Language is used to intensify the mystery,
particularly adjectives and adverbials. Some
typical vocabulary is associated with this
narrative type (puzzling, strange, peculiar,
baffling, weird, odd, secretive, unexplained,
bewildering).
Use of pronouns to create mystery by avoiding
naming or defining characters, especially when
they first appear in the story. (First line: He
climbed in through the window on the stroke of
midnight. The wind howled and there was no
moon.)
Use of the pronoun ‘it’ to suggest a non-human
or mysterious character. (And that’s when I saw
it, creeping carefully along behind the hedge. It
wasn’t much taller than me.)
Use questions to highlight key
moments as the mystery deepens (A
sudden noise! What could be
making that low mumbling sound?).
Decide what the mystery is before
you begin writing and introduce it
fairly soon so the reader wants to
find out the solution.
Keep readers interested by hinting
and suggesting but don’t give too
much away too soon. Drop clues
and puzzles for the reader to pick up
and think about along the way.
Make adventurous word choices to
make your reader really think about
what you’re describing.
Don’t just say someone is
‘mysterious’, make them seem
mysterious by describing them, their
actions or what they say.
Don’t describe everything in detail.
What is left out can often be scarier
than what is described.

Narrative – Science Fiction
Purpose:
To entertain and, sometimes, to speculate about the future.
Can use any of the varied structures typical of narrative. The
setting is often a time in the future so may use structures that
play with the time sequence, such as flashbacks and time
travel.
Science Fiction typically includes detail about the way that
people might live in the future, predicting in a creative and
imaginative way how technology might advance.
The plot usually includes adventure so
action is fast-moving.
Where futuristic characters are created,
dialogue may use unusual forms and
vocabulary, or even alternative languages.
Description is important to convey
imagined settings, technology, processes
and characters.
Even if the story is set in the future, you still
need to create a setting, characters and plot
that readers can believe possible.
Make sure you have main characters the
reader will care about (e.g. a likeable hero)
even if the characters are non-human.
Use description carefully when you want
your reader to imagine something they have
never seen.

Narrative - Fantasy
Purpose:
To entertain and to fuel the imagination.
May simply be a basic chronological narrative set in a fantasy world
but some fantasy narratives extend the ‘fantastic’ element to the
structure as well. For example, the story may play with the concept
of time so that characters find themselves moving through time in a
different way.
Some fantasy structures focus on character development or
description of setting at the expense of plot so that the actual order
of events becomes less important or even impossible to follow.
Description is very important
because fantasy uses settings
(and often characters) that must
be imagined by the reader.
Imagery plays an important role in
helping to describe places and
things the reader has never seen.
Choose adjectives carefully to describe the places
and things in the story.
Use similes to help the reader imagine what you are
describing more clearly. (The glass castle was as
big as a football field and as tall as a skyscraper. It’s
clear walls sparkled like blocks of ice in the sun.)
Don’t make everything so fantastic that it is
unbelievable.
Make what happens as interesting and detailed as
the setting where it happens. Don’t get so involved
in creating amazing places and characters that you
forget to tell a good story about what happens to
them.

Narrative – Historical fiction
Purpose:
To entertain and, sometimes, to inform.
The narrative is about something that has
already happened in the past so a series of
events is usually the underlying structure.
The writer can adapt the structure to achieve a
specific effect. For example, the story can begin
with a main character looking back and reflecting
on the past (I was just a lad then. Let me tell you
what happened …).
Sometimes, a historical narrative begins with the
final event and then goes on to explain what led
up to that by moving back in time to tell the
whole story.
Historical fiction requires a historical setting but
can also be an adventure or a mystery.
It can also give a fictionalised account of real
events or additional, fictional detail to things that
really happened.
Historical settings need detail to make
them authentic and to give important
‘mapping’ clues to the reader. When was
this happening? Whereabouts is this story
taking place?
Appropriate archaic language is used,
including old-fashioned words that have
fallen out of usage, e.g. Let me carry thy
basket, old dame.
It can also include models of sentence
grammar no longer commonly or
informally used, e.g. That which you seek,
you shall find in the forest.
Include accurate historical detail to create the setting (The
winter of 1509 was bitterly cold and many poor country folk
were starving) or let the reader work it out (The young
prince had just been crowned King Henry VIII when a
country boy called Tom arrived in London).
Use the right kind of old-fashioned language when
characters speak to one another.
Description is important for the setting and characters but
you can add historical detail in different ways to give
variety:
Description: The little girl was wearing a long cloak and
woollen hood.
Action: He threw his sword to the floor and rushed down
the stone spiral staircase.
Dialogue: Wait, I’ll get a candle to light our way.

Narrative – Contemporary fiction
Purpose:
To entertain and, sometimes, to create empathy with familiar characters.
Contemporary settings are often familiar ones.
This type of narrative includes school stories,
things that happen in the home or in local
settings that children either know themselves or
recognise. Stories therefore often reflect
children’s own experiences, are often personal
and structured as a recount.
Dialogue plays an important part in the
characterisation.
Characters tend to use language
familiar to children.
Contemporary language features
include the informal dialogue children
use themselves, as well as familiar
phrases from adults at home and school
(Don’t let me tell you again!)
Hero and villain characters are more difficult to create
because the characters look like ordinary people, not
superheroes or monsters. You can still create strong
characters because they aren’t always what they seem on
the outside – a nervous little boy might turn out to be a brave
hero and a smiling old lady might not really be a kind
character.
You don’t need to write everything that is said to tell the story.
Make sure you only use dialogue because it helps to create a
character, provides information for the reader or moves the
action along.

Narrative – Stories which raise dilemmas
Purpose:
To entertain and to explore issues or dilemmas.
The strength of the story often depends on a character facing
a difficult (or seemingly impossible) dilemma, with a limited
choice of actions. A strong, simple story structure usually
leads the character to the dilemma quite quickly and then
makes the reader wait to find out how it is dealt with.
The narrative makes the waiting interesting by adding to the
suspense, for example by increasing the complexity or gravity
of the dilemma or by threatening the right/chosen course of
action. (The main character has decided to apologise just in
time and is on the way to do so but has an accident and is
taken to hospital - soon it will be too late.)
Most forms of narrative can include stories which raise
dilemmas.
Characterisation is fundamental. The main
characters are often well-established from the
beginning with additional detail such as
background, history or interests included. The
reader understands why a character feels the
way they do.
Key characters also develop and change over
time, usually as a result of the events that take
place in the story and particularly as a result of
the dilemma they face and their resulting actions.
Description, action and dialogue are all important
for developing and deepening character and
showing both why and how someone has
changed.
Make sure the dilemma or issue to be
faced is a really tricky one to deal with.
If there is no easy or obvious answer, it
will be even more interesting to read
what your main character decides to
do.
If characters change during the story,
decide how to show this.
Do they behave differently? Do they
speak differently?

Narrative – Traditional tales
Traditional or ‘folk’ tales include myths, legends, fables and fairy tales. Often originating in the oral tradition, examples exist in most cultures, providing a rich,
culturally diverse resource for children’s reading and writing. Many of these stories served an original purpose of passing on traditional knowledge or sharing
cultural beliefs.
They tend to have themes that deal with life’s important issues and their narrative structures are often based on a quest, a journey or a series of trials and
forfeits.
Characters usually represent the archetypical opposites of good and evil, hero and villain, strong and weak or wise and foolish.
The style of traditional stories usually retains links with their origins in oral storytelling: rich, evocative vocabulary, repetition and patterned language, and
strong use of imagery. When written in a traditional style, they also use some archaic language forms and vocabulary. Many regional stories include
localised vocabulary and dialect forms.
Different types of traditional tales tend to have some narrative features (purpose, characters, language, style, structure) of their own.

Narrative-Myths
Purpose:
To provide a fictional explanation for natural phenomena. Many cultures use myths to explain the world and its mysteries by handing them down from one
generation to the next. Myths can also pass on cultural, religious or spiritual beliefs and traditions.
The plot is often based on a long and dangerous
journey, a quest or a series of trials for the hero.
The plot usually includes incredible or miraculous
events, where characters behave in superhuman
ways using unusual powers or with the help of
superhuman beings.
Myths are often much longer texts than other
traditional stories (apart from some legends)
especially in their original form. They provide a
very useful contrast with shorter forms of
traditional narrative such as fables.
Rich vocabulary evoking the power and
splendour of the characters and settings:
Hercules hurled the glittering spear with
all the strength of a mighty army.
Use of imagery to help the reader
imagine. Simile is used widely to help
convey grand settings and describe awe-
inspiring characters: Thor’s hammer was
as heavy as a mountain.
Vivid description of characters and
settings. Fast-moving narration of action
to keep the drama moving along. Myths
tend to make less use of dialogue and
repetition than some other types of
traditional story.
Myths often provide good examples of the
use of symbols: Theseus unwinds a
thread behind him in the Minotaur’s den –
a thread could be seen as a symbol of his
link between the real world of humans
and the supernatural world of the gods.
Make the characters larger than life by giving
them supernatural powers or strong
characteristics like courage and wisdom.
Create a negative character who is the
opposite of your hero: good and evil, brave
and cowardly, strong and weak.
Consider including a character who is a
‘trickster’ to add to the fun or to create twists in
the plot.
Choose a setting that gives a dramatic
backdrop for the action: (a huge, dense forest,
a mountain shrouded in icy fog or a wide, sun-
baked desert).
Weave description, dialogue and action
together but don’t slow down the story with too
much detail about who said what.

Narrative-Legends
Purpose:
To provide information about the way particular people lived, and what they believed. Legends also help us to reflect on our own lives because they often
deal with issues that are cross-cultural and relevant today.
Structure is usually chronological, with one episode told
after another, for example as the phases of a journey or the
stages of an ongoing battle. Some legends tell the whole life
story of their hero as a series of linked episodes; each one
may be a story in its own right
Common structures include:
chronological episodes;
journey stories;
sequential stories;
life stories and community histories.
Language features are very similar to those of
myths:
rich, evocative vocabulary;
memorable language use;
use of rhythm and repetition techniques;
formulaic openings and endings;
imagery: simile, metaphor and symbolism.
Legends written in a traditional style often use
more literary language than fairy tales or fables.
Modern versions such as twenty-first century
retellings or new legends may use more
contemporary, informal language.
Work out how the story will tell of a
struggle, e.g. between good and evil,
friend and foe, wise and foolish.
When you’ve decided on your main
character, decide on the structure you
will use and what will be included in
each episode/each stage of the journey
or quest.
Consider adding ingredients of magic or
the supernatural to make your legend
different from other kinds of stories.
Use symbols your reader will recognise
to help them get involved in the story,
e.g. red for anger/danger, darkness for
danger/evil, a light or flame for goodness
and hope.

Narrative-Fairy Tales
Purpose:
Fairy tales were originally intended for adults and children. They were passed down orally to amuse and to convey cultural information that influences
behaviour, such as where it is safe to travel and where it is dangerous to go. Fairy tales are found in most cultures and many derive from the oldest stories
ever told. Some modern fairy tales could be included in the more recently categorised genre of ‘fantasy’.
Setting is nearly always vague. (Once upon a time ...
A long, long time ago ...)
Structure is most typically a recount in chronological
order, where events retell what happened to a main
character that came into contact with the ‘fairy
world’.
Often the hero or heroine is searching for something
(a home, love, acceptance, wealth, wisdom) and in
many tales dreams are fulfilled with a little help from
magic. ‘Fairy tale endings’ (where everything turns
out for the best) are common but many fairy tales
are darker and have a sad ending.
Formulaic sentences are used: Once upon a time ...
There was once a ... Long ago in the ... And it came to
pass ...
Language often reflects the settings, in the past, using
archaic or regional vocabulary and grammar: Say these
words thrice! I shall return and take thy gold. He knew
not where he was.
Characters may be fairy folk or even
talking animals but make sure they are
still interesting, believable characters your
reader will care about, e.g. a good-
hearted hero, a scheming villain, a wise
helper.
Decide how the world of people and the
world of fairy land will come into contact
and how this will cause a problem.
Use numbers and patterns that usually
appear in fairy tales: Numbers 3 and 7.
Use phrases that have a strong rhyme or
rhythm or another kind of pattern: a magic
sentence is repeated several times during
the story, the hero must say a secret
rhyme to escape, a line is used at the
beginning of each section or chapter. (On
and on walked the little old man.)
Use different styles of language for the
human beings and the characters from
the fairy world when they speak, to make
a strong contrast between them:
“Eeeek! Who are you, you wrinkly old
thing?” asked Tom.
“Beware, child and address me with
respect. I am not of your world,” came the
goblin’s whispered reply.

Narrative-Fables
Purpose:
A fable sets out to teach the reader or listener a lesson they should learn about life. The narrative drives towards the closing moral statement, the fable’s
theme: the early bird gets the worm, where there’s a will there’s a way, work hard and always plan ahead for lean times, charity is a virtue. The clear
presence of a moral distinguishes fables from other folk tales.
There is a shared understanding
between storyteller and audience
that the events told did not actually
happen so fables do not need to
convince and their structure is
usually simple. They are often very
short with few characters –
sometimes only two.
Structure is typically the simplest
kind of narrative with a beginning,
a complication and a resolution.
Two characters (often animals)
meet, an event occurs and they go
on their way with one of them
having learned an important lesson
about life.
The short and simple structure of the narrative
leaves little room for additional details of
description or character development.
Dialogue is used to advance the plot or to state
the moral, rather than to engage a reader with the
characters and their qualities.
Characterisation is limited but specific: A lazy
duck was making its way to the river ... A crafty
raven was sitting on a branch ...
There is limited use of description because
settings are less important than the events that
take place.
Action and dialogue are used to move the story on
because the all-important moral is most clearly
evident in what the main characters do and say.
Connectives are an important language feature to
show cause and effect and to give coherence to a
short narrative.
They are portrayed as simple stereotypes rather than
multidimensional heroes or villains.
If your main characters are animals, make them behave like
human stereotypes: a brave little ant, a wise old turtle, a cunning
fox, a lazy donkey.
Use the main characters to give your fable a title: The Ant and the
Elephant.
State the moral of your fable clearly at the end: a wise person
always plans ahead.
Establish the setting in the first line and introduce the two main
characters as soon as you can.
Give clues to your reader about what might happen: a greedy but
impatient fox was watching the chickens from behind a tree.
Don’t add too much detail of description and only use dialogue
that helps to tell what happened.
Use connectives when characters talk to one another, to explain
or show cause and effect: “If you will give me your hand, I will
help you over the river”, said the wolf. “I can’t possibly eat you
because I’m a vegetarian,” lied the bear.
Use connectives to show your reader quickly and easily when
things happened and how time passed: (One morning... as he
was... first he saw... then he saw... When winter came... And then
the grasshopper understood...)
Questions are often the way one character introduces themselves
to another in a fable: Why do you howl so loudly? What are you
writing so busily in your book, little bird?

Narrative – Dialogue, play scripts, and film narrative
Purpose:
Although these forms of storytelling differ from narrative in that they are not necessarily ‘narrated’, they usually share the same purposes: to tell a story and
to have a deliberate effect on the viewer/listener/reader. They include scripts for film/digital viewing or audio (e.g. digital audio recording or radio plays) and
stories told using images and speech bubbles (such as comic strips) sometimes supplemented with an additional narrative element.
Generic structure Knowledge for the writer
Structural conventions for scripting vary, particularly in their layout on
the page or screen but they usually include:
name of character and the words they speak:
MRS GRAY
Hello dear. How are you?
organisational information (Scene 2 The kitchen DAY);
stage directions (ENTER Sita, dancing).
Comic strip and some digital animations usually include speech
bubbles within the images; interactive texts may include combinations
of on-screen speech bubbles and audio dialogue, e.g. accessed by
rollover or mouse click.
Knowledge of standard narrative for writer PLUS:
Use only direct speech.
Playscripts: apply the presentational conventions of a script consistently
throughout.
Comic strip with speech bubbles, animations, multimedia and other dialogue:
keep the text fairly short and only include dialogue that moves the story on or
gives important information; make the images and words work well together so
they each add something special to the story.

Non-fiction
Non-fiction texts are wide ranging and occur in many forms in everyday life. The following tables and supporting guidance select the most common forms of
non-fiction. Many non-fiction texts in real life blur the boundaries between text types and their features. The most common language features are listed for
each text type but variants of all text types occur, especially when they are used in combination. The features listed are often but not always present.
Non-fiction – Discussion texts
Discussion texts are not limited to controversial issues but polarised views are generally used to teach this text type as this makes it easier to teach children
how to present different viewpoints and provide evidence for them. Discussions contrast with persuasion texts which generally only develop one viewpoint
and may present a biased view, often the writer’s own.
Like all text types, discussion texts vary widely and elements of discussion writing are often found within other text types.
Purpose:
To present a reasoned and balanced overview of an issue or controversial topic. Usually aims to provide two or more different views on an issue, each with
elaborations, evidence and/ or examples.
The most common structure includes:
a statement of the issues involved and a
preview of the main arguments;
arguments for, with supporting
evidence/examples;
arguments against or alternative views,
with supporting evidence/examples.
Another common structure presents the
arguments ‘for’ and ‘against’ alternatively.
Discussion texts usually end with a summary
and a statement of recommendation or
conclusion. The summary may develop one
particular viewpoint using reasoned
judgements based on the evidence provided.
Written in simple present tense.
Generalises the participants and things it refers
to using uncountable noun phrases (some
people, most dogs), nouns that categorise
(vehicles, pollution) and abstract nouns
(power).
Uses connectives (for example, therefore,
however).
Generic statements are often followed by
specific examples (Most vegetarians disagree.
Dave Smith, a vegetarian for 20 years, finds
that ...)
Sometimes combined with diagrams,
illustrations, moving images and sound to
provide additional information or give evidence.
Questions often make good titles. (Should everyone
travel less to conserve global energy?)
Use the introduction to show why you are debating the
issue. (There is always a lot of disagreement about x
and people’s views vary a lot.)
Make sure you show both/all sides of the argument
fairly.
Support each viewpoint you present with reasons and
evidence.
If you opt to support one particular view in the
conclusion, give reasons for your decision.
Don’t forget that discussion texts can be combined with
other text types depending on your audience and
purpose.

Non-fiction – Explanatory texts
Explanatory texts generally go beyond simple ‘description’ in that they include information about causes, motives or reasons. Explanations and reports are
sometimes confused when children are asked to ‘explain’ and they actually provide a report, e.g. what they did (or what happened) but not how and why.
Although some children’s dictionaries do include an encyclopaedia-like explanation, others are inaccurately categorised as explanation texts when they
simply define a word’s meaning.
Like all text types, explanatory texts vary widely and are often found combined with other text types.
Purpose:
To explain how or why, e.g. to explain the processes involved in natural/social phenomena or to explain why something is the way it is.
A general statement to introduce the topic being
explained. (In the winter some animals hibernate.)
The steps or phases in a process are explained logically,
in order. (When the nights get longer ... because the
temperature begins to drop ... so the hedgehog looks for
a safe place to hide.)
(Hedgehogs wake up again in the
spring.)
Use of temporal connectives, e.g.
first, then, after that, finally.
Use of causal connectives, e.g. so,
because of this.
Choose a title that shows what you are explaining,
perhaps using why or how. (How do hedgehogs survive
the winter? Why does it get dark at night?)
Decide whether you need to include images or other
features to help your reader, e.g. diagrams, photographs,
a flow chart, a text box, captions, a list or a glossary.
Use the first paragraph to introduce what you will be
explaining.
Plan the steps in your explanation and check that you
have included any necessary information about how and
why things happen as they do.
Add a few interesting details.
Interest the reader by talking directly to them (You’ll be
surprised to know that ... Have you ever thought about the
way that ...?) or by relating the subject to their own
experience at the end (So next time you see a pile of
dead leaves in the autumn ...).
Re-read your explanation as if you know nothing at all
about the subject. Check that there are no gaps in the
information.
Remember that you can adapt explanatory texts or
combine them with other text types to make them work
effectively for your audience and purpose.

Non-fiction – Instructional/procedural texts
Like all text types, variants of instructions occur and they can be combined with other text types. They may be visual only (e.g. a series of diagrams with an
image for each step in the process) or a combination of words and images. Instructions and procedural texts are found in all areas of the curriculum and
include rules for games, recipes, instructions for making something and directions.
Purpose:
To ensure something is done effectively and/or correctly with a successful outcome for the participant(s).
Begin by defining the goal or desired
outcome. (How to make a board
game.)
List any material or equipment needed,
in order.
Provide simple, clear instructions. If a
process is to be undertaken, keep to
the order in which the steps need to be
followed to achieve the stated goal.
Diagrams or illustrations are often
integral and may even take the place
of some text. (Diagram B shows you
how to connect the wires.)
Use of imperative verbs (commands), e.g. Cut the
card ... Paint your design ...
Instructions may include negative commands. (Do
not use any glue at this stage.)
Additional advice (It’s a good idea to leave it
overnight if you have time. If the mixture
separates ...) or suggested alternatives (If you
would like to make a bigger decoration, you could
either double the dimensions of the base or just
draw bigger flowers.).
Use the title to show what the instructions are about. (How to
look after goldfish.)
Work out exactly what sequence is needed to achieve the
planned goal.
Decide on the important points you need to include at each
stage.
Decide how formal or informal the text will be. (Cook for 20
minutes/Pop your cheesecake in the oven for 20 minutes.
Present the text clearly. Think about using bullet points,
numbers or letters to help your reader keep track as they
work their way through each step.
Keep sentences as short and simple as possible.
Avoid unnecessary adjectives and adverbs or technical
words, especially if your readers are young.
Appeal directly to the reader’s interest and enthusiasm. (You
will really enjoy this game. Why not try out this delicious
recipe on your friends? Only one more thing left to do now.)
Include a final evaluative statement to wrap up the process.
(Now go and enjoy playing your new game. Your beautiful
summer salad is now ready to eat.)
Re-read your instructions as if you know nothing about the
procedure involved. Make sure you haven’t missed out any
important stages or details and check that the language is as
simple and clear as possible.
Use procedural texts within other text types when you need a
set of rules, guidelines or instructions to make something
really clear for the reader.

Non-fiction – Persuasion texts
Persuasive texts can be written, oral or written to be spoken, e.g. a script for a television advert or presentation. The persuasive intention may be covert and
not necessarily recognised by the reader or listener. Texts vary considerably according to context and audience so that persuasion is not always a distinct
text-type that stands alone. Elements of persuasive writing are found in many different texts including moving image texts and digital multimedia texts. Some
examples may include evidence of bias and opinion being subtly presented as facts.
Purpose:
To argue a case from a particular point of view and to encourage the reader/listener towards the same way of seeing things.
An opening statement
(thesis) that sums up the
viewpoint being
presented. (Greentrees
Hotel is the best in the
world. School uniform is
a good idea.)
Strategically organised
information presents and
then elaborates on the
desired viewpoint. (Vote
for me because I am
very experienced. I have
been a school councillor
three times and I have
...)
A closing statement
repeats and reinforces
the original thesis. (All
the evidence shows that
... It’s quite clear that ...
Having seen all that we
offer you, there can be
no doubt that we are the
best.)
Often refers to generic rather than specific
participants (Vegetables are good for you.
They ...).
Uses logical rather than temporal
connectives (This proves that ... So it’s clear
... Therefore ...).
Tends to move from general to specific
when key points are being presented. (The
hotel is comfortable. The beds are soft, the
chairs are specially made to support your
back and all rooms have thick carpet.)
Use of rhetorical questions. (Do you want to
get left behind in the race to be
fashionable? Want to be the most relaxed
person in town? So what do you have to do
to?)
Text is often combined with other media to
emotively enhance an aspect of the
argument, e.g. a photo of a secluded beach,
the sound of birds in a forest glade or a
picture of a cute puppy.
Decide on the viewpoint you want to present and carefully select the information
that supports it.
Organise the main points to be made in the best order and decide which
persuasive information you will add to support each.
Plan some elaboration/explanation, evidence and example(s) for each key point
but avoid ending up with text that sounds like a list.
Think about counter arguments your reader might come up with and include
evidence to make them seem incorrect or irrelevant.
Try to appear reasonable and use facts rather than emotive comments.
Choose strong, positive words and phrases and avoid sounding negative. Use
short sentences for emphasis.
Use techniques to get the reader on your side:
• address them directly (This is just what you’ve been waiting for.)
• adopt a friendly and informal tone;=
• use memorable or alliterative slogans (Happy Holidays at Hazel
House)
• use simple psychology to appeal to the reader’s judgement.
(Everyone knows that ... Nine out of ten people agree that ...
Choosing this will make you happy and contented. You’d be foolish
not to sign up.)
Re-read the text as if you have no opinion and decide if you would be persuaded.
Remember that you can use persuasive writing within other text types.

Non-fiction – Non-chronological reports
Non-chronological reports describe things the way they are, so they usually present information in an objective way. Sometimes, the selection of information
by the writer can result in a biased report. As with all text types, variants occur and non-chronological reports can be combined with other text types. A text
that is essentially a non-chronological report written in the present tense may include other text types such as other types of report, e.g. when a specific
example is provided to add detail to a statement. (Sharks are often seen around the coasts of Britain but they rarely attack people. In 2006, a man was
surfing in Cornwall when he was badly bitten but it was the only incident recorded there for twenty years.)
Purpose:
To provide detailed information about the way things are or were.
To help readers/listeners understand what is being described by organising or categorising information.
In the absence of a temporal (chronological)
structure where events happen in a
particular order, non-chronological reports
usually have a logical structure. They tend
to group information, often moving from
general to more specific detail and
examples or elaborations. A common
structure includes:
an opening statement, often a general
classification (Sparrows are birds);
sometimes followed by a more detailed
or technical classification (Their Latin
name is...);
a description of whatever is the subject
of the report organised in some way to
help the reader make sense of the
information. For example:
its qualities (Like most birds,
sparrows have feathers.);
its parts and their functions (The
beak is small and strong so that it
can ...);
its habits/behaviour/ uses
(Sparrows nest in ...).
Often written in the third person and present
tense. (They like to build their nests ... It is a
cold and dangerous place to live.)
Sometimes written in the past tense, as in a
historical report. (Children as young as seven
worked in factories. They were poorly fed and
clothed and they did dangerous work.)
The passive voice is frequently used to avoid
personalisation, to avoid naming the agent of a
verb, to add variety to sentences or to maintain
an appropriate level of formality for the context
and purpose of writing. (Sparrows are found in
... Sharks are hunted ... Gold is highly valued
...)
Tends to focus on generic subjects (Dogs)
rather than specific subjects (My dog Ben).
Description is usually an important feature,
including the language of comparison and
contrast. (Polar bears are the biggest carnivores
of all. They hibernate, just like other bears. A
polar bear’s nose is as black as a piece of coal.)
Description is generally used for precision rather
than to create an emotional response so
imagery is not heavily used.
Plan how you will organise the information you want to
include, e.g. use paragraph headings, a spidergram or a
grid.
Gather information from a wide range of sources and
collect it under the headings you’ve planned.
Consider using a question in the title to interest your reader
(Vitamins – why are they so important?).
Try to find a new way to approach the subject and compose
an opening that will attract the reader or capture their
interest. Use the opening to make very clear what you are
writing about.
Include tables, diagrams or images (e.g. imported
photographs or drawings) that add or summarise
information.
Find ways of making links with your reader. You could ask
a direct question (Have you ever heard of a hammerhead
shark?) or add a personal touch to the text (So next time
you choose a pet, think about getting a dog).
Re-read the report as if you know nothing about its subject.
Check that information is logically organised and clear.
Use other text-types within your report if they will make it
more effective for your purpose and audience.

Non-fiction - Recounts
Recounts are sometimes referred to as ‘accounts’. They are the most common text type we encounter as readers and listeners, not least because they are
the basic form of many storytelling texts. Stories and anecdotes can have a range of purposes, frequently depending on the genre being used, and they
often set out to achieve a deliberate effect on the reader/listener. In non-fiction texts they are used to provide an account of events. Recounts can be
combined with other text types, for example, newspaper reports of an event often consist of a recount that includes elements of explanation.
Purpose:
The primary purpose of recounts is to retell events. Their most common intentions are to inform and/or entertain.
Structure often includes:
orientation such as scene-setting or establishing
context (It was the school holidays. I went to the
park ...);
an account of the events that took place, often in
chronological order (The first person to arrive
was ...);
some additional detail about each event (He was
surprised to see me.);
reorientation, e.g. a closing statement that may
include elaboration. (I hope I can go to the park
again next week. It was fun.)
Structure sometimes reorganises the chronology of
events using techniques such as flashbacks, moving
the focus backwards and forwards in time, but these
strategies are more often used in fiction recounts.
Usually written in the past tense. Some
forms may use present tense, e.g.
informal anecdotal storytelling (Just
imagine – I’m in the park and I suddenly
see a giant bat flying towards me!).
Events being recounted have a
chronological order so temporal
connectives are common (then, next,
first, afterwards, just before that, at last,
meanwhile).
The subject of a recount tends to focus
on individual or group participants (third
person: they all shouted, she crept out, it
looked like an animal of some kind).
Personal recounts are common (first
person: I was on my way to school ... We
got on the bus).
Plan how you will organise the way you retell the
events. You could use a timeline to help you plan.
Details are important to create a recount rather than a
simple list of events in order. Try using When? Where?
Who? What? Why? questions to help you plan what to
include.
Decide how you will finish the recount. You’ll need a
definite ending, perhaps a summary or a comment on
what happened (I think our school trip to the Science
Museum was the best we have ever had).
Read the text through as if you don’t know anything
about what it is being recounted. Is it clear what
happened and when?
Is the style right for the genre you are using?
(Technical/formal language to recount a science
experiment, powerful verbs and vivid description to
recount an adventure, informal, personal language to
tell your friends about something funny that happened
to you.)

Poetry
Poetry is a very wide-ranging type of text and has many purposes and forms. Often written or spoken for an intended reader, it may also be composed for a
personal outcome because the concise and powerful nature of poetry conveys emotion particularly well. Like oral storytelling, poetry has strong social and
historical links with cultures and communities.
The fact that poetry often plays with words makes it an attractive text type for children and one that they experiment with in their early language experiences.
Features of other text types are frequently used as the basis for a poem, e.g. lists, dialogue, questions and answers. As children become familiar with a
wider range of poetic forms and language techniques they can make increasingly effective use of wordplay to explore and develop ideas through poetry.
Purpose:
Poems can have many different purposes, e.g. to amuse, to entertain, to reflect, to convey information, to tell a story, to share knowledge or to pass on
cultural heritage. Some forms of poetry are associated with certain purposes, e.g. prayers to thank, celebrate, praise; advertising jingles to persuade;
limericks to amuse.
Although a poem may share the same purpose as the text type it is related to (e.g. to recount) the context for writing does not always mean that a poem is
the most appropriate choice of text type.
Generic structures General language features Knowledge for the writer
Poems are often grouped for learning and teaching by
theme, structure, form or language features.
Themes: Poetry selections or anthologies often group
poems by their content or subject matter and include
different examples of structures.
Structure: Poetry has an extremely wide range of
structural variety, from poems that follow a rigid textual
structure to those that have only a visual or graphic basis.
The most common structures include patterns of rhyme
(e.g. ABABCC) or metre (di-dum di-dum di-dum).
Structures based on syllable counts (such as haiku and
some versions of cinquains) are also common. Other
structures rely on repetition of grammatical patterns
rather than rhythm. For example, some list poems,
dialogue poems and question and answer poems follow a
specific structure even though they don’t include rhyme
or follow a pattern of line length.
Poems use the same language features as other text types
but each feature is often used more intensively to achieve a
concentrated effect, e.g. of mood, humour, musicality:
frequent alliteration, use of imagery or repetitive rhythm.
Rhyme is used almost exclusively by poetic texts.
The language features used depend on context, purpose
and audience and also on the intended style of a poem.
Different poetic forms tend to use different language
features. The most common are rhyme, metre and imagery.
Rhyme: many traditional forms use particular rhyme
patterns which are usually described using an alphabetic
system. AABBA is the usual rhyme pattern of a limerick.
Other common patterns in children’s poetry are AABB and
ABABCC for each verse. The usual order of clauses or
words is sometimes deliberately rearranged to create a
rhyme at the end of a line. For example, Did he smile his
work to see? Did he who made the lamb make thee?
(William Blake ‘The Tyger’.) Playing with rhyme and
creating nonsense poems is an important element in
exploring and manipulating language. Children also need to
learn how to avoid the danger of ‘forced rhyme’ where they
use a word simply because it rhymes, not because it is what
Depending on the kind of poetry
being written:
observe carefully and include
detail, drawing on all your
senses;
when writing from memory or
imagination, create a detailed
picture in your mind before
you begin writing;
be creative about the way
you use words – use
powerful or unusual
vocabulary, or even create
new words and phrases;
when using few words, make
every word count;
play with the sounds or
meanings of words to add an
extra layer of enjoyment for
your audience, e.g. use
alliteration or assonance, a
pun or double meaning;
use imagery to help your
reader/listener visualise what

they want to say.
Metre: rhythm, stress patterns (e.g. dum-de, dum-de or de-
dum, de-dum) syllable patterns (e.g. 5, 7, 5 syllables in the
three lines of a haiku).
Imagery: e.g. simile, metaphor, personification. The
effective use of imagery is often a key ingredient in
powerful, memorable poetry. Children usually begin using
imagery by comparing one thing with another and by saying
what something was like.
Rich vocabulary: powerful nouns, verbs, adjectives,
invented words and unusual word combinations.
Sound effects: alliteration, assonance (repetition of the
same vowel phoneme in the middle of a word, especially
where rhyme is absent: cool/food) onomatopoeia (where the
sound of a word suggests its meaning: hiss, splutter).
When a poem does not use rhyme at all, it is often the
distinct combination of metre, imagery and vocabulary that
distinguishes it from prose.
The language effects found in poems can be different
across time and cultures because poems reflect the way
that language is used by people.
you are describing but don’t
weigh the poem down with
too many adjectives or
similes;
use the poem’s shape or
pattern to emphasise
meaning, e.g. make an
important line stand out by
leaving space around it;
read the text aloud as you
draft, to check how it sounds
when read aloud or
performed;
improve it by checking that
every word does an
important job, changing the
vocabulary to use more
surprising or powerful words;
use images that help your
reader easily imagine what
you are writing about – think
of comparisons they will
recognise from their own
lives;
try to think of new, different
ways to describe what things
are like and avoid using too
many predictable similes (her
hair was as white as snow).

Poetry – Free verse
Structures:
Free verse is not restricted by conventions of form or pattern and does not have to rhyme or maintain a consistent structure (such as line-length) throughout.
Free verse is so-called because
it does not have to follow
particular forms but some
examples can be grouped as
follows:
Poetry often makes use of language forms associated with informal and
spoken language, relying more on the patterns and vocabulary of speech
than on poetic conventions of rhyme and metre.
monologue Written in the first person, a single voice. Often a recount or an explanation
of a personal viewpoint. May address the reader directly, for example by
asking questions or using language as if the reader is taking part in a
conversation with the writer. (Is it hard to believe? Guess what happened
next! ) There are many examples in the poetry of Michael Rosen.
conversation poems As above, but two or more voices present. Can be a dialogue taking place
or a series of questions and answers, as in the traditional poem, Who killed
Cock Robin?
Make the most of the wide choices that
free verse gives you and try out different
ways of using words, lines or verses
instead of sticking to predictable patterns.
Maintain a strong style that helps to hold
your poem together in the absence of a
particular structure, e.g. using informal
spoken language as if you are talking to
the reader.
Use layout to control the way the poem is
read, for example by creating space
around important lines or phrases.
If you’re using the style of spoken
language, make sure the lines don’t get
too long.
Think about the types of sentences you
use and decide if you need questions as
well as statements.
Don’t forget that poetry allows you to use
words in many ways, not just in
sentences.
Use questions directed to your reader to
draw them in, e.g. Do you know what I
mean?
Make punctuation work for you and guide
your reader in the way you want the poem
to sound, if read aloud.
All the examples above can also be structured poems, for example using rhyme or line patterns.

Example Free verse poems
monologue list poem
Peas Please
Last night we had peas for tea
And I told my dad I don’t like peas
But he put them on my plate
And I told him again that I don’t like peas
So he said I had to eat them
And I told him AGAIN that I don’t like peas
But he said there was ice-cream for later
(After the peas)
So I ate the peas
Every single one
And d’you know what?
I like peas!
A Day on the Farm
A tiny lamb just born, still wobbly.
Mother pig, bold and fierce with me but soft and gentle with her piglets.
The farmer’s old hat. He said could it tell stories.
A deep, green pond like a dark emerald,
older than the farmer, older than the farmhouse, older than the fields.
A red combine harvester, waiting, waiting, waiting in the barn
for the moment
when the corn is ready
These are my memory pictures.

Poetry – Visual poems
Structures:
Visual poems are based (often exclusively) on visual appearance and/or sound. The words are presented to create a particular shape, to create an image or
to convey a visual message. Letter shapes may be exaggerated in the design. Meaning may be literal or rely on metaphor.
calligrams and
shape poems
A calligram can be a poem, a phrase or even a single word. Calligrams
use the shape of the letters, words or whole poem to show the subject of
the calligram in a visual way.
Examples
A one-word calligram could use a wobbly font or handwriting style for the
word TERRIFIED. A shape poem about eating fruit to stay healthy could
be presented to look like the shape of an apple on the page or screen by
adapting line length.
concrete poetry The simplest concrete poems are shape poems but others blur the
boundaries between poetry and art. They can include sounds and images
and can also be 3-D. New technologies have brought about innovative
forms that include multilayered texts with hyperlinks to ‘poems within
poems’, visual stories, audio files and images that form part of the poem
itself.
Think about words in different ways. Listen to the way
they sound and look carefully at their letters and shapes
on the page or screen.
Find out more about word meanings by using a
thesaurus to get ideas.
Stick to simple shapes that you can recreate by typing or
writing.
Get more ideas by exploring font options and text
effects. The way they make words look will help you plan
visual poems.
Remember that some visual poems only work by looking
at them, not by reading them aloud. Others only make
sense when you read them and hear the sound of the
words.

Example Visual poems
calligram P
YR
AMIDS
are wonders
that show what
numbers and people
can do if they get together.
concrete poem
EXAMPLE 1
In art and design, children in Year 2 have been investigating different
kinds of art. They make a clay sculpture and carve carefully chosen
words into the surface to reflect their own feelings about a particular
topic or issue, creating a 3-D poem that relies on the words and the
sculpture working together. For example, they create a sculpture of a
hand with two or three words in the palm to convey their own feelings.
EXAMPLE 2
Children use a graphics program to create an illustration. They add a
hyperlink to a sound file that plays when the cursor rolls over a hotspot
or when the link is clicked. For example, working in pairs, children draw
two characters and add two sound files, one for each ‘voice’ in a
dialogue poem they have written. The poem is only complete when the
reader can not only HEAR the dialogue but also SEE who the two
speakers are.

Poetry – Structured poems
Structures:
Structured poems follow a consistent framework based on features such as line length, syllable count, rhyme pattern, rhythm, metre or a combination of
these.
A poem’s structure (particularly rhythm and rhyme) generally influences the way it sounds when read aloud and helps to make it memorable. Poems with a
clear, simple structure are often used as models or writing frames for children’s own writing.
The structure of a poem sometimes helps to organise the content. For example, a longer narrative poem (such as a ballad) may be organised
chronologically into verses or parts. An important line may be repeated as a chorus or refrain.
The range of poetry structures presented as ICT texts is even wider and includes multimodal and/or interactive poems that contain hypertext, live links,
moving images and sounds.
Generic structure Language features Knowledge for the
writer
There are many forms
of structured poetry.
Some are culturally
specific.
Some of the most
common forms are:
cinquain A generic name for a five-line poem. One of the most commonly used forms follows a syllable pattern
for each line: 2, 4, 6, 8, 2. There are many different types of cinquains providing a wide range of
opportunities for children to experiment with rhyme or syllabification. For example, reverse cinquains
where the line pattern works backward, quintiles where cinquains are grouped in multiples to create a
longer poem and English quintains that have a rhyme pattern (ABABB) but no specific line length.
quatrain Quatrain is a generic term for a four-line stanza or poem of any kind.
couplets Two successive lines, usually part of a poem longer than two lines and typically at the end of a verse
or stanza. Couplets have two lines, each with the same metre and often share the same rhyme
(rhyming couplets).
rap Rap is an example that straddles the boundaries between poetry, talk and song. It is one of the
central elements of hip hop culture and uses strong musical rhythm and repeated rhyme patterns.
The content is often focused on social commentary.
Double-check that any
deliberate patterns of
rhyme or rhythm work all
the way through.
Remove clichés and
change any rhymes that
sound forced.
Avoid choosing words just
because they fit the
pattern or rhyme – only
use words that really work.
Re-read aloud as you
write, to check how the
structure sounds,
especially to hear rhyme
and metre.
When you have few words
to use (e.g. haiku,
couplets) make sure that
every word works hard for

limerick A traditional five-line rhyming form, usually with humorous subject matter. Popularised in the
nineteenth century by Edward Lear’s Book of Nonsense. The rhyme pattern is usually AABBA. The
first line of a limerick is typically: There once was a xx from xxx,
kennings Derived from Old English and Norse poetry, kennings use compound nouns to refer to a person or
thing without using the actual name. Anglo-Saxons often used kennings to name their swords. A
kenning is a type of list poem. Although kennings follow a list structure, they could be described as
free verse in other respects because they rarely rhyme.
Haiku, tanka and renga all derive from Japanese poetry forms and are all based on syllabic line
patterns. In their original form they were based on Japanese sound units which do not translate
exactly to ‘syllables’ in English. There are no hard and fast rules for the structure of these forms
written in English but the following conventions are widely applied:
haiku Three lines: syllable pattern 5, 7, 5. A personal but universal comment on nature and/or humankind’s
place in the world. The poet aims to capture a single moment or thought and also aims to leave half
the work for the reader to do.
tanka Five lines: syllable pattern 5, 7, 5, 7, 7. Typically a haiku with two additional lines. The first three lines
may describe a state or situation and the last two provide more detail, or the poet’s comment.
renga Haiku-like verses linked together can be described as renga and are often written by more than one
poet. Each is linked by two additional lines, each of seven syllables. The line/syllable pattern is:
5, 7, 5
7, 7
5, 7, 5
7, 7
and so on.
ballads Ballads are narrative poems, usually of some length. Rhyme and musical rhythm patterns make them
memorable for oral retelling. They often recount heroic deeds or legends. Ballads typically include a
chorus between each verse or a refrain that repeats key lines.
question and answer
poems
question and answer poems may not rhyme or maintain the same metre but they are often tightly
structured as a series of questions, each followed by an answer.
meaning and effect.
Don’t let the poem’s
structure take over and
make all the choices for
you – you are the writer so
you decide what works
and what doesn’t.

Example Structured poems
rhyming couplet question and answer poem haiku
I wonder why the sky is dark at night...
Perhaps the moon and stars put out the light.
PUPPY IN THE HOUSE
Who broke the window?
It wasn’t me. Wag, wag!
Who chewed the rug?
It wasn’t me. Lick, lick!
Who made a puddle?
It wasn’t me. Woof, woof!
Who’s the best puppy in the world?
That would be ME (Wag, lick,woof!)
Light shines through a glass
But not through me, and that’s why
I HAVE A SHADOW!

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