# Ten flexible Year 6 teacher starts · Days 21–30

Choose one useful start/route after [small setup](MATERIALS.md). Each clock suggests 25 minutes, not a finish/speed test; split, repeat or stop. Every ordinary start offers a short actual frame choice/making/edit before formal vocabulary or notes. A single meaningful component can develop over later sittings. No earlier product, four-panel strip, all options, public audience, device/camera or recording required. Distinguish actual learner decisions/marks, adult production/tool use, saved work, unmade plan, source encounter, intended meaning and actual reader response. [Short invitations](LEARNER-CARDS.md).

## Day 21 · Make one intriguing frame

**Job:** choose a playful purpose and produce one meaningful first frame. **Ready:** familiar page/tool or willing adult scribe; an own fictional object/shape, not a personal photo. **Say:** “What shall the picture show? What will it leave out?”

- **0–3:** Offer a tiny mystery, picture joke, invented clue, art for oneself or an own interest. Choose an intended reader if useful, including self/imagined reader. Confirm drawing/director/description route and stop choice; a frame need not be rectangular.
- **3–8:** Make or direct one actual image component before labels. The learner chooses an edge/crop that hides part of their imagined scene, or chooses an open complete view instead. A rough shape with a chosen meaning is useful. An adult may make every mark, retaining learner decisions and adult action. With no marks, describe a plan honestly.
- **8–12:** Name frame/off-screen plainly using that available work. Ask “What can this frame tell us? What is still outside?” Separate shown fact, possible reading and the learner's purpose. A hidden part is not known merely because the adult knows the plan.
- **12–20:** Try one different crop/scale/detail or add an own clue; compare with the first available version. Keep the choice if it serves the learner's purpose, including deliberate ambiguity. A useful mystery need not become easier. Save the actual versions only if useful; no neatness/word quota.
- **20–25:** Choose keep/change/stop and one useful next idea. Record a meaningful actual choice/reason/help, not a fictional reader effect. Next: encounter a supplied original strip and choose whether to borrow its framing idea.

## Day 22 · Meet The Folded Fan

**Job:** explore a real saved source and apply/reject an idea in an own frame. **Ready:** original source-folded-fan aid/exact description and SOURCE-WORK card. **Say:** “What does this frame let you know?”

- **0–3:** State creator/date/type and maker's documented purpose briefly. This is an original computer-created still strip, not a human artist account or filmed folding. Learner may choose an own appropriate source instead.
- **3–8:** Encounter A/B/C in their actual order through chosen access, then make/select/direct one actual own image change inspired by or rejecting the source. Do this before a formal source note. An adult description supplies exact image facts, not the learner's interpretation. A visual/tactile/director route retains access attribution.
- **8–12:** Invite one actual response: a possible object/abstract reading, what B reveals, or how C changes the imagined fan. Distinguish the source's documented intent from the learner's actual response. No required “fan” answer, emotional reading or achieved audience effect.
- **12–20:** Try a purposeful own variation—show more setting, leave context out, invent a different shape or reverse the intended change. Credit the supplied work if its idea/image is used. A copied source can be practice; invite one own decision rather than label it automatically original.
- **20–25:** Keep/change/reject/stop. Note only an actual source encounter/response and own decision available. This single teaching context does not establish varied E01 contexts or E02. Next: see how a close versus wider view changes available information.

## Day 23 · Close or wide for my reader?

**Job:** manipulate a frame to show less/more information for an own purpose. **Ready:** own fictional scene or framing-window aid; no camera needed. **Say:** “How much should the reader see?”

- **0–3:** Choose a purposeful question: hide an object's identity, reveal its setting, foreground a detail or make an abstract image. Keep audience/purpose as intention, not presumed success.
- **3–8:** Produce/direct one actual close crop and a wider alternative, or one selected version when two are not useful. Draw frame edges, cover/reveal a described area with locally suitable broad paper, or select/reposition content in an approved offline editor. No physical camera movement or exact scale target. With no realised image, state the plan.
- **8–12:** Compare available information, not “close is better.” Use the same represented object/scene if the comparison needs it; an intentional changed object is a different design decision. Ask what specific clue is shown/left out.
- **12–20:** Revise one meaningful part for the intended reader/self: crop position, object size, border, negative space or a short word/no word. Check that words and available image agree with the intention, including purposeful contradiction in fiction. Name actual software/tool manipulation only when performed by the learner.
- **20–25:** Prefer a version with an available reason, or retain uncertainty. No reader needed to have a useful design preference. Next: order the actual frames to reveal or withhold information.

## Day 24 · Put the clue where I want it

**Job:** construct a purposeful order, not solve a fixed sequence. **Ready:** available own frames or two described original scene ideas; no complete earlier product required. **Say:** “Which part would you show first?”

- **0–3:** Choose reveal, gradual disappearance, looping question, side-by-side contrast or a different own structure. One still frame can remain the final artwork; more is optional.
- **3–8:** Actually arrange/direct existing images or make one first component in a chosen order. An adult may lay out/mark the learner's selection; name help. With no images, describe an unmade order. Do not reorder the fresh C strip/bank as practice.
- **8–12:** Explain how the chosen order affects available information: what a reader is invited to know now versus later. It need not represent chronological time. A backwards crop can intentionally narrow context; no unique correct A/B/C order.
- **12–20:** Try one alternative order or an inserted/omitted frame when useful. Retain both actual versions or an exact comparison description. Decide whether to use words, arrows, spacing or no extra cue. Make a purposeful preference rather than require a formal claims audit.
- **20–25:** Keep/revise/stop with one available reason. Intended suspense/surprise is not observed reader suspense. Prepare held C privately; ordinary examples never supply its exact new frames/answers.

## Day 25 · Fresh C: my reading or edit

**Job:** first own response to the new Lost Dot strip, then optional more. **Ready:** only [new C brief](STUDENT-CHECKS.md#fresh-c--the-lost-dot)/fresh-c aid; key/recipe/worked examples held back. **Say:** “What would you like a reader to notice?”

- **0–3:** Give exact new A/B/C facts/order in the chosen mode, plus truthful creator/type/purpose. This is drawn fiction, not a trip/photo or supplied reader response. Note previous access if any; a practiced response is not a new first response.
- **3–12:** Invite one own reading/edit/reason or an own/rejected source. Do not prompt a preferred flag/picture reading or order. Capture the first meaningful component/help before examples or another task. A scribe/exact description can support reasoning without independent reading/tool-use claims.
- **12–20:** After first capture, invite one actual revised component, further explanation or a later sitting. A final still strip can itself be made work; an unmade film remains unmade. Key examples are later teaching, not backfilled first evidence. No completed three/four frames/all choices gate.
- **20–25:** Unfinished = **not yet observed**; offer another short sitting; **no completion-speed score**. Use the descriptive key against available decisions/making/source reasoning only. Actual audience effect remains open. No whole-code verdict.

## Day 26 · Choose my purpose and reader

**Job:** link own representation choices with a purpose/intended audience. **Ready:** any wanted available idea or start fresh; choose-a-reveal aid optional. **Say:** “Who is it for? What do you want to show?”

- **0–3:** Offer a private art strip, invented puzzle, picture joke, imagined story reader or an own useful/fun purpose. A real audience is optional. Choose self/imagined reader explicitly where useful; do not infer a real audience from a printed field.
- **3–8:** Make/direct/select one actual image/word decision for that purpose before writing a plan. Change a clue's size, border, placement or amount of context. If nothing is made, retain a purpose/explanation plan. Begin fresh if earlier work is missing.
- **8–12:** Ask what a reader has to see to follow the chosen meaning, and what can remain ambiguous. A purpose is the maker's intention, not an achieved effect. Do not demand one emotion or cultural symbol meaning.
- **12–20:** Produce a useful next component: a frame, title, opening detail or intentional empty space, with an available reason. Credit a borrowed supplied idea and distinguish original additions. Select a practical next process—draft, redraw, arrange, edit—rather than a full formal production log.
- **20–25:** Prefer/keep/change/stop. Record one actual purpose-linked decision/help; broader audience outcome waits for a real response. Next: produce the final chosen medium, even if small/private/unfinished.

## Day 27 · Make the strip as the work

**Job:** realise meaningful media components and name the actual process. **Ready:** familiar drawing/arranging tools or approved offline editor if useful; optional blank make-my-strip aid. **Say:** “Which part shall we make now?”

- **0–3:** Choose whether the still strip is the final media work or a storyboard for another possible medium. In this project a made picture strip is enough; no filmed product required. Choose a comfortable tool/director route and the next useful component.
- **3–8:** Actually draw/arrange/edit or direct one realised image/text component. The learner can make one broad mark, select a crop or ask the adult to realise a specific choice. Adult tool operation remains adult operation; a wholly adult preset example is not learner production.
- **8–12:** Name the process used—drawing original images, cropping, placing, ordering, editing text—through the available work. Ask what changed from the plan. Avoid inferring camera/software skill from a paper image or adult action.
- **12–20:** Continue only a useful production part. Check image identity/word/position choices against the learner's declared meaning, or intentionally change the meaning. An incomplete strip can remain actual unfinished work. Blank spare panels are options, not four-panel requirements. Keep credits and no-identifying-data practice simple.
- **20–25:** Select keep/change/stop and a useful edit for later. Record actual maker/decision/tool/help at the demonstrated scope. Next: compare image/word options without promising a reader effect.

## Day 28 · Edit image and words together

**Job:** make a purposeful revision and compare meaning choices. **Ready:** any available original frame or new own picture; words-and-image aid optional. **Say:** “What changes if we add, remove or change this?”

- **0–3:** Choose one useful revision question about crop, order, object scale, title, word placement or no words. The work need not be a complete strip. Preserve a first version or exact description if comparison helps.
- **3–8:** Actually revise/direct one image/text element before analysis. A learner can remove a supplied word, choose an own word or leave the picture wordless. Use familiar tools; no required sentence/voice/typing/colour target. With no realised edit, label the proposal.
- **8–12:** Compare what the available first/revised versions allow a reader to know or infer. Text can give context, withhold a name, create fiction's deliberate contradiction or clutter a wanted shape. Do not assume added words improve every artwork.
- **12–20:** Try one alternative or refine the chosen change. Ask for an own reason grounded in shown/hidden information, purpose or the intended reader. Actual willing reader feedback can inform it only if available; imagined feedback does not become data. Prefer or reject the edit.
- **20–25:** Keep a useful actual revision/explanation or honest open question. No full rubric/claims worksheet for every session. Next: choose whether and how to present responsibly.

## Day 29 · Share privately, or keep it mine

**Job:** choose presentation/credit and use genuine response only if wanted/available. **Ready:** actual available work or a fresh component; maker-source-reader aid optional. **Say:** “Keep it private, or show a willing reader?”

- **0–3:** Confirm learner's choice of private keeping, one-person informal sharing, described source response or later plan. Public display/filming/speaking is never necessary. Agree an intended reader who actually consents if sharing is chosen.
- **3–8:** Make/direct one final actual image/title/credit change before discussion, or choose a ready made component. Present that component only if wanted and permitted. A privately saved work is actual work; saving alone is not actual presentation.
- **8–12:** Briefly name original/supplied sources, actual maker/tool help and intended purpose. Show only original fictional art/no identifying data. Actual reader access may use an exact description; name its mode. Responsible practice is an actual action/decision, not merely a checked box.
- **12–20:** If a real willing reader is present, ask “What do you notice?” Retain their actual response, including a different reading or uncertainty. The learner decides whether to revise, keep or stop. Without a reader, reflect on intended meaning/private preference with actual presentation/response open. Do not fabricate a positive audience verdict.
- **20–25:** Keep one actual choice, source/credit decision, presentation or missing response at its scope. No compulsory portfolio/photo/feedback note. Prepare fresh D privately; ordinary work does not rehearse its complete seeds or solutions.

## Day 30 · Fresh D: an own clue

**Job:** first own component/reason from new seeds or outside-bank art, then optional more. **Ready:** only [new D brief](STUDENT-CHECKS.md#fresh-d--a-clue-i-choose)/fresh-d aid, key/recipe withheld. **Say:** “What could your picture leave out or reveal?”

- **0–3:** Describe exact separate A/B/C seed facts; no story order/action, achieved meaning or reader response is supplied. Confirm own/reject/outside-bank choice and usual access. No prior child work is assumed.
- **3–12:** Invite one meaningful own image/selection/change/purpose/reason. Capture first component and help before examples or a further prompt. A selected seed, own invented image or unmade plan can be meaningful; judge the reasoning/making actually available. No all-seed/four-frame/unique phrase gate.
- **12–20:** After capture, invite one realised edit/next component, an explanation or a later short sitting. The key's multiple examples are later teaching only. A small made strip is actual media; paper description alone does not establish independent digital production or actual presentation.
- **20–25:** Unfinished = **not yet observed**; offer another short sitting; **no completion-speed score**. Preserve first/later records and actual maker/access attribution. Choose a useful next move, not a whole-code/year/classroom-benefit award.