The Ozymandias/London comparison paragraph was finished, with a context sentence added and three unnamed sentence faults fixed unprompted, and a first unaided structural point on London was made in the exit ticket. Starter: 4 items, no notes, 3 exact. The London line had wander and street correct but 'tho'' for thro'. 'Marks of weakness, marks of woe' was exact and 'different' was correct. Context request, with no shape hint: 'i don't know'. It was narrowed to content only (what Shelley thought of kings), and she answered 'Shelley dislikes kings like Ozymanidas'. She then inserted 'Shelley makes the king look ridiculous because he dislikes kings like Ozymandias.' after the quotation analysis. In the same re-paste she fixed the comma splice, the 'Which shows' fragment and 'showed' tense without being told. Structure on London: the count question first drew an off-task answer ('they describe blood running down palace walls…'). Re-narrowed, she answered 'two' and 'Street and Thames'. On the open form, after a nature/man-made contrast was given: 'Blake has used the word chartered to show that even the river is being controlled', developed to 'so the reader would think that london could not escape'. Exit ticket, book closed, unaided: 'Blake keeps repeating every so the reader will think that everything and everyone is being controlled.' Two-line close written: 'I continued my paragraph about the authors, and next is group.' About 11 items set, 11 attempted, 0 blank, 1 initial 'I don't know'. All of session 39's unfinished work closed.
PARENT DECISION 25 Sep — two standing rules for every Lit block from now on: (1) one new Power and Conflict poem opened each week alongside comparison work, opening and consolidating in parallel, never in series; (2) a paragraph gets at most two drafts in a session — after draft 2 the remaining faults go on the topic's loose end and the session moves on. NEXT BLOCK opens a third poem (My Last Duchess or Exposure), taught from the CGP guide: read twice, one-sentence summary, one quotation on its own line, first-draft paragraph, exit ticket. Do NOT redraft the Ozymandias/London comparison. Starter, no notes: spell thro', 'marks of weakness, marks of woe', what charter'd describes twice. London's context (Blake, 1790s, church and crown) as a five-minute teach inside the block, not a session of its own. Structural open question on London's final stanza deferred to a starter. Macbeth, ACC, AIC still blocked until copies arrive.
| Topic | Name | Change | Evidence recorded |
|---|---|---|---|
| P1.02 | Gap → Developing | Exit ticket passed unaided with book closed. 'Blake keeps repeating every so the reader will think that everything and everyone is being controlled' is a structural effect named at Level 3 (explained, method identified). The charter'd street/Thames point was reached with support and developed ('could not escape'). This follows two earlier supported Level 3 instances. Starter line: 'tho'' for thro'. | |
| K4.2 | Developing → Developing | Starter: 'marks of weakness, marks of woe' exact; 'wander' now correct in the London line. Comparison paragraph completed with one angle per poet and an effect for each. | |
| K6.1 | Gap → Gap | Starter: 'different' correct cold; 'street' correct inside the line; 'Ozymandias' correct in the paragraph but 'Ozymanidas' in a quick one-line answer. Context: no shape hint; 'i don't know' first; after narrowing to content only, she placed a because-sentence on the writer's method herself. | |
| K1 | Developing → Developing | Paragraph finished. On one re-paste she fixed 3 of 3 unnamed faults (comma splice, 'Which shows' fragment, 'showed' tense) while adding context. Level 3-4 content, supported; no unaided fresh paragraph yet. | |
| K3.2 | Developing → Developing | Narrowed count question: charter'd x2, street/Thames, correct after one off-task answer. Open form with a contrast cue: specific ('even the river is being controlled'). Exit ticket on 'every', book closed, open form: specific effect unaided, 1st unaided instance. | |
| K5 | Developing → Developing | Writer as subject held in every written sentence ('Blake has used', 'Blake keeps repeating', 'Shelley makes'); one slip in a chat answer: 'In the poem London, they describe…'. |