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With all my resources I try to find a balance between clarity and creativity, aiming to stretch and challenge as well as train. Most of all, I want to 'knock on the doors of the mind', introducing students to a wider range of texts, ideas, activities and experiences. Although English is my speciality, I've also got a keen interest in Biology and Geography, which occasionally manifests in resources. Let me know if there is a text not catered for anywhere and I'll see what I can do.

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With all my resources I try to find a balance between clarity and creativity, aiming to stretch and challenge as well as train. Most of all, I want to 'knock on the doors of the mind', introducing students to a wider range of texts, ideas, activities and experiences. Although English is my speciality, I've also got a keen interest in Biology and Geography, which occasionally manifests in resources. Let me know if there is a text not catered for anywhere and I'll see what I can do.
Ice-breakers: Lucky dip activities to get classes working together and getting to know each other.

Ice-breakers: Lucky dip activities to get classes working together and getting to know each other.

These 7 ice-breakers are fun, easy to administer and also help you get to know the class and them to get to know each other. You need a soft ball, a timer and maybe some music. The PP has icons hyperlinked to the activity explanation. 4 of the tasks need no resources. The ‘bingo’ sheet, 'tell us’cards and the ideas for ‘get in line’ are all provided for printing before the lesson. Suitable for tutor or subject lessons.
edna hobbs
KS3 & KS4 - The Essential Writing Bundle:

KS3 & KS4 - The Essential Writing Bundle:

£10 saving! 12 Premium resources to cover creative, descriptive writing for Ks3 & 4. This bundle would normally cost £ 28, but as a bundle you get a whole host of essential writing resources for just £18! 1/3 off. The bundle covers all aspects of writing, from spelling to proofreading, from vocabulary to imagery, punctuation and opening lines. There's plenty to extend and challenge the more able and also to help and support less able students. SPaG and Creativity are covered in starters, plenaries and a variety of lesson styles.
edna hobbs
SPaG- Bumper pack of Homophones: example notes & self-mark tasks with answers & tests - 3 sets

SPaG- Bumper pack of Homophones: example notes & self-mark tasks with answers & tests - 3 sets

There are three sets of homophones here. In each case students first get the handout and learn the homophones as homework. Later they do the relevant exercise and use the answers to mark their own or a partner's work, which can be done as a starter. The exercise tests their knowledge of the homophones, but could also be set as another day's homework - useful if you're under pressure to set homework at a busy time and need something worth doing yet easy to mark [just check peer marking if required]. In addition, because students learn best by re-visiting work, there is also a test for each of the sets of homophones, also with answers. This work is best done drip-fed over a term or two. Use the miscellaneous homophone handout as an extension exercise when needed: students can make up their own 'test' sentences using them as a guide, to test one another.
edna hobbs
A Level unseen poetry : revision support booklet & list of questions- AQA Love through the Ages

A Level unseen poetry : revision support booklet & list of questions- AQA Love through the Ages

This booklet will save you and your students hours of trawling the Internet. My thanks to Caro Evans, my colleague and friend who asked me to compile this list and selected the poems- we decided that the most logical way to prepare for the unseen element of the exam was to look at other poems by the studied poets, to give students an idea of the context of the time and an ability to write about form and structure. Rather than re-inventing the wheel, I've searched for information online and given you the links - so this works best as an e-book, where links can be easily copied and pasted. So this is something you can use for your own preparation and planning of unseen poetry - along with the sheet of possible comparison questions- or can mail to your students so that they can do their own exploring. There's such a lot of treasure here to discover - Enjoy!
edna hobbs
SPaG 'The Boy who swam with Piranhas'  Chap 1-4 vocab.

SPaG 'The Boy who swam with Piranhas' Chap 1-4 vocab.

This fun, illustrated novel by David Almond is ideal for KS2 & weaker KS3 readers, especially those who don't like reading much. This first task is a word recognition exercise that helps improve spelling by getting students to notice words within words. This also makes a good homework task. To facilitate peer or self-assessment, the answers on p2 can be projected. You can extend the task by setting a spelling test on the words. The PP takes the challenge further: students are shown how to memorise the spelling of words and then asked to find 3-5 of their own errors to learn to spell correctly using the technique. Tip: let them use colours to show the words within words.
edna hobbs
Unseen poetry comparison: the full works- AQA Love through the Ages

Unseen poetry comparison: the full works- AQA Love through the Ages

Here's everything you need for teaching the Unseen Poetry Unit for AQA's 'Love through the Ages' - a sound strategy, poems compared using the strategy, a trial exam paper and a revision support booklet that puts you in touch with the best free support on the Internet for poems from every era covered by the anthology.
edna hobbs
'Love through the Ages':  Cavalier vrs Metaphysical poets; 'The Scrutiny' by Richard Lovelace

'Love through the Ages': Cavalier vrs Metaphysical poets; 'The Scrutiny' by Richard Lovelace

Using AQA's 'Love through the Ages' poetry anthology, these resources aim to distinguish as far as one can, between Metaphysical poetry and Cavalier poetry, but also to show how blurred the line between them sometimes is: this is the focus of the first Power Point . The quiz quotes lines of poetry and asks students to decide whether the extract represents Cavalier or Metaphysical poetry to enable them to discuss how to recognise each school. Focus turns to 'The Scrutiny' in the work sheet and then there's a revision sheet that focuses on the AOs to ensure that they are met.
edna hobbs
10 Unseen Poetry starters

10 Unseen Poetry starters

Whether revising unseen poetry or honing reading skills, focusing on a few lines of poetry as a starter enables students to practise picking out key words and commenting on them, as well as noting structural and literary devices. You could also use these as prompts for descriptive writing with a brigh KS3 group, or the new creative writing A-Level.
edna hobbs
Kite Runner quote revision

Kite Runner quote revision

Used as a quick verbal starter or a more detailed group discussion and write-up, these quotes further invite students to consider all the potential discussion questions they may be useful for.
edna hobbs
Last lesson Ideas: Creative Revision

Last lesson Ideas: Creative Revision

This resource contains a series of ideas for last lessons, whether the end of a topic or term. These can be used to revise previous units of work. Has a slant towards English and could be used with writing, reading and speaking and listening assessment foci.
edna hobbs
AQA Love tt Ages: Unseen poetry- a strategic approach. Uses specimen paper as a guide.

AQA Love tt Ages: Unseen poetry- a strategic approach. Uses specimen paper as a guide.

• You will need the specimen paper for Unseen Poetry – p10 & 11, AQA/AQA-77121-SQP.PDF- for each student. • The Power Point will give students a strategy to follow for this paper – annotating the specimen paper, then writing the key ‘steps’ of the strategy is a good way of ensuring students engage with the strategy, but a handout has been made for revision. Some suggested questions can be used by you as a guide for setting essays or given to students for their own revision.
edna hobbs
241 Really sick of revision- flipped homework & lessons for almost any subject.

241 Really sick of revision- flipped homework & lessons for almost any subject.

241- Keep this resource in store for those times when you’re overloaded and need to let the students do a bit of the work. Begin with homework – 1 or 2 depending on amount and complexity - that don’t require marking. The first task will be the ‘flipped learning’ or revision content you want students to research, the second checks they’ve done it. Although these are designed for revision, set in advance of a new topic and you’ve got students engaged already. These tasks lend themselves to any topic or content subject and all you have to do by way of preparation is apply the tasks to the specifics of your subject and provide some guidance as to where students can find information, whether that’s in the text book, online or reference books. Slide one has 6 images – choose any icon to click on in a way that engages the class [throw a di, ask a question, choose a quiet student to make the choice]. A hyperlink will take you straight to the relevant slide, where the tasks will come up in steps on your click [adapt the wording of these to suit your specifics if you wish]. Once homework is set, ‘end show’ to get back to slide 1 and store for the next session. Each task is explained in your ‘recipe for success’ word document and alternatives or ways to differentiate suggested. The central idea is to get students helping each other while you facilitate only when required.
edna hobbs
Comparing unseen poems: 'Futility' by Wilfred Owen & 'Suicide in the Trenches'  by Siegfried Sassoon

Comparing unseen poems: 'Futility' by Wilfred Owen & 'Suicide in the Trenches' by Siegfried Sassoon

The questions on the worksheet are valid prompts for any comparison of poems, but are particularly for the new EDUQAS style of Section C unseen poetry comparison. The first worksheet contains the poems and the questions, which are based of the specimen papers provided by the exam board. This makes an easy to set homework of cover lesson. The second worksheet has key points as possible answers. So the task can be self or peer assessed easily. For other exam boards or general poetry preparation, the 'answers' could be the springboard for an essay comparing the two poems, to help less able students cluster their response.
edna hobbs
'Tulip Touch' - step-by-step after reading essay preparation using the 'jigsaw method'

'Tulip Touch' - step-by-step after reading essay preparation using the 'jigsaw method'

The advantage of this ‘jigsaw’ way of preparing students to write an essay answer is that they will write much more, it will be well thought through and weaker students will benefit from working collaboratively, while more able students will spark each other. It can work with any text with a bit of tweaking and the resource can be adapted to suit your class. This work will cover several lessons, with the lesson PP giving clear instructions. The written guide gives the teacher the steps to follow as well as sharing friendly advice born of experience. The 'Methods' sheet lists the methods if required and the checklist helps students make sure their essays meet the criteria for top marks. A 'Targets'PP facilitates your marking and feedback to students. A print version of the targets enables you to give a set to each student if you don't think writing out their own target warrants the time.
edna hobbs
'The Ruined Maid' & 'At an Inn', by Thomas Hardy: A-Level poetry: Flipped Learning, Jigsaw- Groups

'The Ruined Maid' & 'At an Inn', by Thomas Hardy: A-Level poetry: Flipped Learning, Jigsaw- Groups

This cluster of resources is rooted in two approaches to teaching: A] Flipped Learning – the students first go and find out about their topic. Your task is to bring all the threads together for them in a plenary lesson AND B] ‘Jigsaw’ – where students find out a piece of the whole then share information to get the complete picture. Allow several lessons and a homework session for this task as it involves research and feedback. The PP presents a useful way of introducing the poems, still keeping to the independent approach and providing a lead in to the tasks. On the Word docs are AO cards with links to guide students' search for information. To finish off, give students an idea of your exam board’s requirements for the poetry question, give them a mark scheme and ask them to write a model answer to a typical question using all the information they’ve gathered in their own research and from their classmates. Print out the planning sheet [assessment] on A3 so that students can plan to cover all the AOs in a trial question for each poem.
edna hobbs
SPaG 'The Boy who Swam with Piranhas' chapter10 - feelings

SPaG 'The Boy who Swam with Piranhas' chapter10 - feelings

The focus of this exercise is the contrast in feeling between Ernie and Stan. Some of the words appear in the chapter, some are inferred. This task could be done as a plenary after reading the chapter or as a simple homework. Page 2 gives the answers and sets an extra challenge as extension work. This novel by David Almond is published by Walker Books and is suitable for KS2 & KS3 reluctant readers. The starter, which could be be done as a way of introducing the homework or as a starter when the homework/ plenary is being marked. Suitable for using individual white-boards as well as for exercise books.
edna hobbs
'Revolver' by Marcus Sedgwick -

'Revolver' by Marcus Sedgwick -

This novel is great, particularly for boys who hate reading as it is short and gripping, but also for teachers and readers because of its clever construction and beautiful descriptions. These resources were made for a weak, boy-heavy, non-reading class, but with a view to stretching them. From pre-reading to chapter 6, tasks are designed to be 'light touch' so that students can get back to reading before impetus is lost.
edna hobbs
Ks3 Creative writing: Description - Monsters, close focus.

Ks3 Creative writing: Description - Monsters, close focus.

Use Halloween as an excuse to focus on close-up description to cut out the waffle, create atmosphere and promote concise writing. This resource offers a lesson on how to make monsters seem scary using extracts from 19th century novels, on PP with the text extracts available as a handout. The cre-ATE PP hyperlinks you via pictures to vocabulary that can help get the description started - great for letting students refer to when they're stuck. The 'you try' worksheet suggests a step-by-step structure illustrated with quotes from 'Game of Thrones' that can be used as a model.
edna hobbs
Love through the ages : Unseen poetry 2 - 'Meeting at Night' by Robert Browning; AQA

Love through the ages : Unseen poetry 2 - 'Meeting at Night' by Robert Browning; AQA

This is a poem where structure undergirds the meaning of the poem more obviously than often, so it is a useful 'unseen' to explore. As well as the lesson on PP and the fill in worksheet, there is a detailed note on Metre, using examples from the poem. Avoid with a weak class, but worth doing with a mid- to able class, provided the focus is on how the rhyme and rhythm support/ enhance meaning. The teacher's notes has two links, one to a reading of the poem and another to a youtube clip that could be used as a 'flipped learning' style preparatory homework task [under 20mins]: particularly useful with weaker students - an easy differentiation.
edna hobbs
'Revolver'  by Marcus Sedgwick: after reading Chapter 1.

'Revolver' by Marcus Sedgwick: after reading Chapter 1.

The PP contains the lesson, which focuses reading: by practising finding apt quotes; inferring and deducing; and writing about reading by analysing key words. Slide one presents a starter question which partners can discuss briefly. This gives students a POINT. Subsequent questioning leads them to EVIDENCE and EXPLORE/ANALYSE and there are slides with possible answers to allow for self- or peer assessment. The lesson ends with a SPaG plenary on the use of quotation marks. There is also a differentiated handout, one page giving a condensed lesson for weak or visually impaired students - could work with TA outside the classroom [give the TA a slide handout for reference]- and another for slow workers who need to be given a copy of the quote rather than write it out.
edna hobbs
creative writing 5; crafting paragraphs

creative writing 5; crafting paragraphs

Here the focus is on crafting paragraphs for effect, as part of improving the quality of creative writing at both KS3- particularly in preparation for the new spec. English exam - and KS4, enabling students ‘to demonstrate their narrative and descriptive skills in response to a written prompt, scenario or visual image’... For more able students the lesson ends with a challenge to change the mood between the opening paragraphs and the one students go on to write.
edna hobbs
'Revolver' by Marcus Sedgwick: opening lesson, pre-reading

'Revolver' by Marcus Sedgwick: opening lesson, pre-reading

This short novel is riveting, so ideal for a boy-heavy class or those not too keep on reading. The lesson begins with a true or false starter dressed up as 'Would I Lie to You': depending on the group you could invite students to come up with their own facts, perhaps researched for homework and present them with more spin, or divide the group into two opposing teams. These facts are chosen for their general relevance to the story. The next phase is looking at the opening of the novel to notice how succinctly so much is said - a good exercise in inference. The PP takes students through the thinking process and the handout sheet enables them to annotate the text without re-writing the sentences. The lesson ends with a writing exercise in which they try to emulate Sedgwick's concentrated writing in 75 words. These extracts could also be used to supplement a unit on 'survival', or a focus on reading: 'how does the writer use language to...'
edna hobbs
Descriptive writing: Colours; sustaining imagery, creating mood

Descriptive writing: Colours; sustaining imagery, creating mood

Help more able students develop their powers of description with this exercise; although it uses colour to create mood and atmosphere, the technique can be transferred to sustaining metaphors or similes, skills top marks are made of. The PP begins with a hyperlink[click on 'colours'] to a song, Donovan’s ‘Colours’ [you may want to move to slide 2 on the musical interlude, as by then the link between colours and mood has been made] and takes students through the steps of choosing a colour while also making useful notes on the technique by looking at quotes and extracts. In the end, their task is to describe something, weaving colour imagery and mood words through the description. This could be set as a homework – or a next lesson. Linking this task to the opening lines descriptive writing task as a follow up lesson works well.
edna hobbs