Crafting the Conclusion

Overview

This is lesson 10 of 30 in Exploring Speculative Perspectives. Students examine how a significant event changes a speculative-fiction character, then plan and draft a conclusion that shows this transformation through actions, thoughts, dialogue and setting.

Learning intentions

Students will:

• explain how an event changes a character’s perspective, values or behaviour
• select relevant evidence from the developing narrative
• craft a satisfying conclusion that resolves the event and shows character transformation
• use precise language, paragraphing and cohesive links to connect the ending to earlier events
• provide constructive feedback on a peer’s conclusion

Success criteria

• I can explain what has changed in my character and why.
• I can show the change through specific actions, thoughts, dialogue or description.
• I can write a conclusion that resolves the main event without introducing an unrelated problem.
• I can revise my writing using feedback about character development and clarity.

Curriculum links

• Creating imaginative texts that use ideas, events, characterisation and literary devices to engage readers.
• Analysing how authors represent characters, perspectives, experiences and change.
• Planning, drafting, editing and refining texts for purpose, audience and coherence.
• Participating in discussions by listening, building on ideas and justifying responses with evidence.

Lesson structure (70 minutes)

1. 0–8 minutes – Reconnect with the narrative

Welcome students and display the lesson focus using the opening question and learning intention. Ask: “After a major event, what makes a character’s change believable?” Students think silently, then share one idea with a partner. Invite two or three responses, such as changed decisions, new relationships, altered beliefs or different behaviour.

2. 8–18 minutes – Model character transformation

Use the character-change model to present a short speculative scenario: a young person discovers that their community’s ‘safe’ technology has been controlling people’s choices. Model a before–event–after sequence. Think aloud while turning the abstract idea “the character becomes brave” into evidence: “At first, Mira hides the device; at the end, she switches it off publicly, even though she is afraid.”

Briefly distinguish telling from showing. Explain that a strong conclusion does not need to explain every future event; it should show what the character now understands and what this means for their next choice.

3. 18–28 minutes – Plan the ending

Distribute the character transformation and conclusion planner. Students complete four prompts about their own narrative: What did the character believe before the event? What did the event reveal or challenge? What choice will show the character’s change? What image, line of dialogue or setting detail could end the story?

Confer with students individually. Encourage them to keep the conclusion connected to the central speculative idea and to avoid adding a new major conflict in the final paragraph.

4. 28–40 minutes – Study conclusion techniques

Return to the conclusion technique examples. Read two short model endings aloud: one that merely reports the outcome and one that implies transformation through action and imagery. Students identify which ending is more effective and explain why.

On the board, build a shared checklist: resolve the key event; show a changed character; echo an earlier detail or idea; use precise language; leave the reader with a significant final thought or image.

5. 40–57 minutes – Draft the conclusion

Students independently draft a conclusion of approximately 150–250 words using their planners. They should include the immediate aftermath of the event, a decision or response that demonstrates change, and a final sentence that suits the mood of their narrative.

Play the quiet-writing timer from the drafting instructions and time prompts. Circulate and ask focused questions: “What does the character do differently now?” and “Which detail proves that the event mattered?”

6. 57–66 minutes – Peer response and revision

Pair students, creating five pairs. Students read their conclusions aloud and use the peer-response section of the character transformation and conclusion planner to give one specific strength and one useful suggestion. Feedback must refer to character change, resolution or the final image.

Students spend the remaining time revising one paragraph, sentence or word choice. Students who prefer not to read aloud may exchange written work and discuss feedback quietly with the teacher.

7. 66–70 minutes – Exit reflection

Open the plenary prompt and ask students to complete orally or in writing: “My character has changed from ___ to ___ because ___. The clearest evidence is ___.” Collect the worksheet or photograph the completed planning and drafting sections for formative assessment.

Resources

• the conclusion-writing slide deck
• the character transformation and conclusion planner
• Students’ developing speculative narratives or previous drafts
• Exercise books or digital writing tools
• Pens, highlighters and a visible timer
• Board or display for the shared conclusion checklist

Assessment

• Listen to planning discussions and check whether students can explain a believable before–event–after transformation.
• Review drafted conclusions for resolution, character development, evidence of change, cohesion and appropriate language choices.
• Use peer feedback and the exit reflection to identify students needing further support with inference, structure or editing in the next lesson.

Differentiation

• Provide a small planning conference, a before–event–after diagram on the board and sentence starters such as “Before the event…”, “When ___ happened…”, and “Now, instead of ___, the character…”.
• For EAL learners, clarify terms such as aftermath, transformation, resolve and imply using examples from the model; allow oral rehearsal before drafting.
• Support students with literacy needs by permitting speech-to-text, a shorter conclusion target or drafting in three clearly labelled sections.
• Extend confident writers by asking them to create an ending that echoes an earlier symbol or image and leaves a deliberate ambiguity while still resolving the central event.