Assessment in a Knowledge Curriculum

I have written and spoken at length about simplification. In short, I have come to believe that a knowledge curriculum simplifies everything we do as teachers. Rather than considering engagement, entertainment, or pupil interest, a knowledge curriculum relentlessly and ruthlessly prioritises kids learning stuff in the most effective way: that is, reading it, writing about it, and being quizzed on it.

In my past life, here are some ways I assessed pupil learning:

  • Painstakingly marked their books with lengthy written targets for improvement that pupils responded to
  • As above, but for essays and assessments
  • Used spurious National Curriculum levels to denote the level the child appeared to be writing at
  • Developed an assessment ladder based on vague descriptors provided by GCSE exam boards to denote how far a child was from the GCSE expectations
  • Had pupils complete multiple choice exams which, having sweated over making, I would then have to mark
  • Had pupils swap books with one another to write insightful comments such as: ‘good work. Next time, write more’
  • Asked pupils to tell their partner what they know about a topic
  • Asked pupils to write a mind-map of what they know about a topic
  • Asked pupils to make a presentation of what they know about a topic

Not only are the above techniques unnecessarily complicated, they almost never gave me any useful information about what my kids could do.

At Michaela, we ask the kids questions constantly. Every lesson begins with two to five practice drills. In English, this would consist of two or more of the following:

  • A spelling test
  • A vocabulary test
  • A grammar drill
  • A gap-fill on a poem the pupils are memorizing
  • Knowledge questions on a previous unit
  • Knowledge questions on the current unit

We then read some material, and ask the pupils questions to ensure they have understood. The pupils then answer some questions about the material. We then go over the questions as a whole class, and pupils edit their responses using the whole-class feedback. For a lengthier piece of writing, I would use a half-page of feedback as outlined in my post ‘Giving Feedback the Michaela Way.’

For our bi-annual exams, pupils write an essay or, in subjects like Science or Maths, complete an exam paper that tests their ability to apply their knowledge. They also complete two to five ‘knowledge exams,’ which are simply open answer questions about everything they have learned that year. (Example questions from English could be: ‘What is a simile? When did Queen Elizabeth die? When was Macbeth first performed and where?’) We don’t painstakingly mark every paper – instead we sort them swiftly into three piles: A, B and C. A quick glance can tell us how a pupil has done – lots of gaps is a C, a sample glance at a number of correct answers and all questions attempted with a well-worked extension an A; everything in the middle a B.

The reason we can assess so simply is that in a knowledge curriculum there is a correct answer. There are, though we love to deny it, right and wrong things to say about literature. At Michaela, we are explicit about this. When I asked for pupil inferences about Curley’s wife in Of Mice and Men in my previous school, I remember asking them what the colour red could symbolise. Their answer, ‘jam,’ was simply wrong. What we do at Michaela is to codify the knowledge we want the pupils to learn, teach that knowledge, and then relentlessly test that knowledge.


A Michaela Feedback Lesson

At Michaela, we have two exam sessions each year: in February and the end of June. Nonetheless, when completing a unit we do sometimes give pupils an assessment to see what they can do. Recently, our year 8s finished learning about Romantic Poetry. To really stretch them, we decided to give them a poem they had not seen before, and ask them to write on it. The responses were phenomenal, and you can read some below. But today, I want to focus on how we give feedback following such an assessment, using a specific example.

I visited Joe Kirby’s year 8 lesson, just at the moment he was testing them on the words they had misspelled. He tested them on the spellings (in the same way as I have written about previously here) and then went on to look at what else the pupils needed to do to improve their essays.

He began by looking at grammar, a key aspect of our English curriculum at Michaela. At Michaela, we focus on memory and automaticity, and we know pupils need to overlearn each aspect of writing in order to improve. If a couple of pupils are misusing the apostrophe, we know all pupils will benefit from overlearning this key ingredient of accuracy. Joe has written three sentences on the board which come from different pupils’ essays, and he asks them to write them correctly in the back of their books. He then goes over this as a whole class, leading pupils to articulate why each apostrophe is needed:



Following the focus on spelling and grammar, Joe goes into what not to do, using examples again lifted from the pupils’ essays, and helps them to see how to improve these by explaining from the front of the class:

Here are some more examples of ‘vague’ sentences, with Joe explaining what pupils need to do better:

He then goes on to explain what precision means, and gives concrete examples of how to be precise:



Joe then leads pupils through some of the most impressive insights from their essays. This was my favourite bit of the lesson, and something I tried with my own year 8 classes the following day. When reading their books, you put a tick in the margin of a sentence you found especially impressive, and note their name and a trigger word on your feedback sheet. You can then say, ‘Elena, can you read your sentence on alliteration?’ It is lovely to celebrate the impressive responses of pupils, while also helping others see what they ought to be writing about:

Following this, pupils read one of their classmate’s essays, again focusing on what precisely made it so effective:

Hosna example parag

After this, pupils re-wrote a paragraph in their books.

The above approach is simple, and requires no marking. The teacher reads the essays, noting down examples of great work and ‘non-examples’, or examples of what not to do. The teacher then structures the feedback in a clear way, for us beginning with accuracy, moving on to ‘non-examples,’ and finishing with exemplars.

Here are some further examples of the pupils’ writing. Remember, this was analysis of John Keats’ ‘This Living Hand,’ a poem they had never encountered before. Some sophisticated insights they have written include:

‘Keats keeps the poem following free verse and no rhyme scheme to perhaps inform readers that the possibilities and powers of the ambiguities, hidden meanings and unknown capabilities are not so easily understood and that the power is so strong that it breaks all form of rhythm and pattern.’

‘This poem could be about the relationship between the poet and poem and the emotion it gives the reader. Keats could be saying that poetry is capable of inflicting an outburst of emotion, which is recollected in “tranquillity.”’

‘At the beginning of the poem, “now warm and capable” is used combining life and death imagery to describe the transience of life in the present.’

‘The poet does not refer to an actual living hand in his poem, instead it is used to symbolise the poem itself, personifying it. He does this to illustrate that life may be transient however this poem shall be transcendent, otherwise “haunt” our “days” and “chill” our “dreaming nights.”’

Keisi parag


Maryam parag

Term 1 at Michaela: what have I learned?


For the first two weeks at least, the feedback in my (very frequent) observations was ‘you are going much too slowly. You need to speed up!’ Having worked for over five years in other schools, I’d become adept in the ‘explain it slowly three times and check everyone understands before doing anything,’ and at Michaela that is completely unnecessary – with the expectation for 100% sitting up straight and looking at the teacher, they get it first time, every time.

I was also spending far too much time eliciting information the pupils didn’t know – at Michaela, instead we tell them and then check they have learned it. So, if there is a word they haven’t learned I used to say ‘who knows what this word means?’ And if someone got close, try to elicit them to the right answer. Now, I say ‘woe means “intense sadness.” Annotate it on your booklet.’ And then, at the end of the lesson, I ask the class: ‘what does “woe” mean?’, along with the other new words we have encountered.

I’ve written at length about how we give feedback to help pupils improve their writing, but for me this was a totally new way of approaching looking at kids’ work. I’ve learned lots about the best way to explain how to improve, and when it is important to show exemplars to clarify trickier concepts.

I’ve worked on my ‘warm-strict’ balance. In a school with such strict discipline, it is especially important to explain why you are issuing a demerit or a detention – because you love them, because you want them to learn and succeed, and that issuing such a sanction doesn’t diminish your love for them as a human. I can’t emphasise enough how important it is at Michaela to show your love.

I’ve never taught from the front so much in my life, so I’ve had to improve my explanations. Luckily, I work with wonderful colleagues, and our weekly huddle where we annotate the lessons for the week has really helped me become clear on exactly what I will be explicitly teaching the pupils and how. This has been especially important for me with grammar, as I’ve never taught a single grammar lesson in my life. I am eternally indebted to Katie Ashford for spending countless hours going through the resources with me, and in particular for her eternal patience in always quickly answering my occasional panicked text message, which invariably reads: ‘is this an adverb or a preposition?’


Previously, I’ve been a bit of a praise junkie. I like to be told I’m great. There is no room for ego at Michaela – I’m bringing my A-game to every single day, and still have a such a long way to go to match up to the brilliant people I am surrounded by. It can be hard to see daily the distance between where you are and where you need to be, but being hung up on yourself just makes it harder. I’ve also had moments of panic, where I’ve thought: ‘I need to progress up the career ladder! Why did I quit an Assistant Head position? I need to have an impressive title and feel important NOW!’

Luckily, I’m able to find peace in the realisation that it isn’t about me – it’s about the school. The point isn’t me being brilliant and important, the point is all of us working together in the best way to serve our children. The ego gets in the way – kill it dead.


I’ve written before about the intensity of the Michaela school day: no doubt, working at Michaela is hard! The difference is purpose: I’m not doing last-minute marking or planning, I’m not having stressful altercations with recalcitrant children or chasing up a thousand missed detentions: I’m preparing our year 9 units and improving our year 7 and 8 ones.

Reading my year 8s essays on Macbeth, who I’d only taught for a month at that point, was an emotional experience. Every single one contained more genuine engagement, impressive analysis, and originality of thought than any other essay on Macbeth I had ever read – including my previous year 13 class. I can’t take a single shred of credit for that, having only just arrived, but again it affirms my purpose: the sky is the limit for what these children can do, and it makes me want to do everything I can to see what is truly possible.


Giving feedback the ‘Michaela’ way

I’ve written before about marking, but just to summarise: it has always been something I’ve loved doing. There was something in that Boxer-like satisfaction of ploughing through an unending pile of books, leaving lovingly crafted comments in an array of coloured pens and stickers that just looked like it would work so well. How could pupils fail to make progress when I’d spent so many hours on them?

So something I was nervous about when starting at Michaela was their approach to marking; that is, don’t do it. I’d read Joe Kirby’s blog and spoken to him at length, but remained steadfastly concerned that marking worked – if you ensured pupils

acted on feedback. I then moved to the idea that marking worked, but at what cost – a teacher with six or ten classes cannot be expected to give the detailed feedback the lightly-timetabled members of SLT seem to manage on a weekly basis.

In my second week at Michaela, we had a department meeting where Joe brought up the excellent question: it’s great for workload that we don’t mark, but how do we make sure we’re giving feedback to make pupils’ writing better?

One of the main reasons I think I find marking helpful is because it holds me accountable – I am actually reading if I am putting a pen to paper to say something about it. (I annotate the books I read in the same way – it helps me to remain focused.) But while this is an essential strategy when it is 7am on a Saturday, pre-intervention, and you want to clear the last 20 books to enjoy a semblance of a weekend when you return home that afternoon, or 9pm on a Wednesday when you just want to sleep, actually, I had underestimated my ability to focus.

To begin with at Michaela, I couldn’t get out of the habit of marking. I would spend two hours with about 60 books, circling and underlining when I couldn’t resist; writing limitless notes to share with the class, photocopying paragraphs to get pupils to annotate their peers’ examples. Joe’s comments on this kind of feedback were: ‘would you want all teachers to be photocopying twice or three times a week? Is it worth the time getting the pupils to annotate a piece of paper they are then just throwing away? What else could you be doing with that time?’ Moreover, I was reminded of why marking is not always the best method – if I’d put the merest hint of a mark on a child’s book, their hands shot in the air: ‘why is this circled?’ ‘I can’t read your writing on this spelling correction.’ ‘Why is there a question mark here?’ Marking breeds over-reliance on the teacher.

Now, I’m getting into the swing of the Michaela way. I read my pupils’ books once or twice a week. I teach four classes, each with between 28 and 32 pupils, so it is about 120 books in all. I read 60 books in 30 minutes. As I read, I make notes: spellings lots are getting wrong, things they’re all doing well at, and the main issues they need to improve. I note down anyone whose paragraph is amazing to reward with merits or show the class; I note down anyone whose work is messy to give a demerit to. It looks something like this:


In the following lesson, I teach the spellings from the front, and then test pupils. They will write their corrections out in green pen, interleaving the ones they got wrong, or the ‘toughest three’ if they managed, on this occasion, to score 100%. I’ll test them again the following day. I’ll share the positive things I found and celebrate the star paragraphs, and then explain carefully, perhaps modelling on the board (as Katie Ashford has described brilliantly here or occasionally putting a great paragraph from the class under the visualiser, how they can all improve their own paragraphs. And then they improve them, in green pen. It looks like this:




The second powerful tool is in-class feedback. With an excellent behaviour system, silent writing for 25 minutes means I can see every child’s paragraph twice while circulating, giving them suggestions and tweaks while they write. On my colleague Lucy Newman’s suggestion, I’ve also started using my visualiser more. This way, we can take a pupil’s book, display it to the class, and show pupils how to edit their mistakes in that very lesson, just by giving oral feedback on the common errors they are making, or the aspects they really need to focus on improving. 

The thing is, what makes the difference in their writing is the quality of the feedback and how timely it is. They don’t need feedback on a paragraph they wrote two weeks ago. At Michaela, they can improve the paragraph they wrote yesterday, while it is fresh in their minds. I miss marking, I do. But I’m realising I did it for me, not for the pupils.

What makes great teaching?

Before the summer, I asked on Twitter for advice on making a department handbook. The overwhelming response? Don’t. No-one will read it, it’s oppressive and not useful, it’s a bureaucratic tick-box exercise.

Much as I sympathised with such views, having new teachers join the department, and tending to spend much of my time (literally) running around the corridors of the school, I felt these teachers needed something to refer to when I (or a seasoned teacher) could not be found.

Brimming with hubris, I decided to open the handbook with “Teaching and Learning”, and proceeded to randomly write down ideas I had for what I think makes great teaching. It’s by no means an exhaustive, or even logical, list, but I’d be interested in the thoughts of others. I have pasted below exactly from the handbook, word for word.


  • Like your students and tell them
  • Value what they say in class – ensure everyone is listening and taking note when anyone is speaking
  • Call home positively for as many students as you can. Do this early on and save yourself many negative calls later
  • Be there for your students emotionally, but remember you’re their teacher – refer on any pastoral issues promptly
  • Ask students to reflect on their learning and be honest with you about what they need more of. Be responsive to their needs


  • Believe in the unlimited potential of all your students to succeed. Share this belief with them
  • Challenge your students to do better, even when they have “achieved” their “target” grade
  • Remind students who aren’t there that they aren’t there yet – further effort will not be in vain


  • Set clear goals for each lesson, each week, each term and unit of work. Share these goals with students


  • Ensure written feedback is timely
  • Allow students time to ask you questions about your feedback
  • Give students time to respond and correct errors


  • Challenge student answers – get them to develop their ideas further
  • Never accept “I don’t know” – always ask another student to help out so they can repeat the answer
  • At the same time, ensure all your students know “I don’t know” is fine to admit, as long as they show themselves ready to learn after saying this
  • Bounce questions to other students to answer
  • Practice hands down questioning regularly so all students are listening and ready
  • Aim to speak to each student at least once in each class


  • Independent practice using key skills should be built into every lesson
  • Students should be supported by teachers during independent practice (e.g. circulating and making verbal corrections/suggestions for improvement as students write)
  • Bear in mind you might need to explicitly teach skills you take for granted – e.g. taking notes, the right place for a comma, what a verb is

Behaviour management

  • Expect 100% compliance with 100% of your instructions 100% of the time
  • Phrase instructions positively
  •  Talk about choices
  • Never allow students to “earn off” a sanction
  • Have a no excuses culture – one high standard for all
  • Have high expectations of behaviour – silence means silence; group discussion of the task means no off-task chat
  • Have clear and unchanging policies for all misdemeanours, no matter how minor, that you apply equally to all students (remember that it is not the severity of the sanction that is important but the certainty of the sanction)
  • Give specific praise – verbally and written
  • Narrate positive behaviour you wish to see in all your students
  • Avoid singling out students for chastising publicly, at least the first time you note off-task behaviour

Share and celebrate success

  • In class, verbally and frequently
  • Copy great work and share with the class
  •  Ensure students buy into learning as a desirable success to aim for
  •  Share success stories (students who have made incredible progress through hard work)


  • Have deep knowledge of the material you are teaching which goes beyond what students “need to know”
  • Use material throughout the curriculum to challenge students and empower them to find their place in any walk of life they choose


  • Engage students in debate/discussion – allow them to reason through answers and ideas themselves. Challenge them to uphold their thinking. Ensure it is ok to change your mind with new evidence
  • Encourage structured and purposeful student talk


  • Know where your students are, using recent data, marking and assessment for learning in lessons
  • Plan the next step your students need
  • Teach to the top, support at the bottom
  • Tell your Teaching Assistant (if you have one) what they can do to most help your students


  • Be aware of your strengths and areas for development as a teacher
  • Share good practice (e.g. during department meetings)
  •  Go and see teachers who do something you’d like to do
  •  Raise development needs with your line manager so the department CPD can be appropriate


  • Mark student books regularly (at least every 2 weeks)
  • Level or grade student work once a half term. Remember that levels/grades are not as important as developmental feedback, but these levels/grades will help you to complete Assessment Point 1, 2 and 3
  •  After assessments, spend time exploring what students need to do next time to improve


  • Set students homework which builds on their learning in class
  • Homework should be reasonable
  • Be aware that computer access is an issue for some students
  • Be aware that some students will thrive on “homework extensions”
  • Build in spelling and grammar to your homework routine
  • Set homework on the same day/s every week
  • Ensure students write homework in their planners 

Communication with parents

  •  This can form the key to excellent student progress
  • Try to ensure your first contact with parents is positive
  •  Don’t be afraid to call a meeting with a parent; ask your line manager to attend as well if there are pressing issues you need to discuss in person prior to parents’ evening