This paper draws on research in using reader-response theory as a way of thinking about teaching grammar and poetry in the English classroom. Framing my discussion around world-based models of reader-response such as Transactional Theory (Rosenblatt 1938; 1978) and Text World Theory (Werth 1999; Gavins 2007), I argue that this approach is useful in that it foregrounds the creative nature of reading whilst providing a systematic way of analysing language. I analyse data from a series of Key Stage 3 poetry lessons, showing how world-based approaches provide a 'concept-driven pedagogical tool' for the teaching of grammar, giving KS3 students the opportunity to build and develop on KS2 grammatical knowledge. I also show how this approach helped to produce authentic responses to literature and generated meta-reflective discussions on the reading process. I argue that this approach offers an intuitive, accessible and contextualised method to for exploring how language and grammar work. 1 Texts as worlds The human mind has a remarkable capacity and ability to imagine fictional people, events and worlds that are different from our own. This ability is often at its most striking when we encounter literary texts: through language, we can be transported to and immersed within alternative worlds, often so realistic that we feel we are actually a part of them (Gerrig 1993). In a 1992 chapter called Secondary Worlds, Michael Benton begins with a quotation from J.R.R Tolkien, who describes a writer as a 'successful sub-creator' of a secondary world, which a reader's mind has the capacity to enter: Children are capable, of course, of literary belief, when the story-maker's art is good enough to produce it […] the story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken: the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside. (Tolkien 1964: 36).