Techniques and their effects

Technique Effect

Distinctly describes the subject/ style to the

Use of Adjective and Adverb
reader
Adds a rhythmic effect, makes it memorable
Alliteration
for reader, grabs reader’s attention

Contrast/ Juxtaposition To signify difference; give a new perspective

Description Strikingly paints a vivid image of the subject

Dialogue (between two or more people) Makes text dynamic, lively

Direct Address (you) Makes text engaging

Specific Time Give real time experience

Gives the reader a feel of progression of time, a

Mentioning time throughout the text
ticking clock scenario
Makes reader familiar with character and their
Direct speech (just a quotation)
attributes
Series of actions Makes text adventurous, sets the pace

Emotive Language Arises emotions in the reader

Makes them familiar with past and hence more

Flashback
connected to the text/ character

Gives a front row seat to reader; allows the

reader to follow along; makes the reader feel
First person
like as if they are the one doing everything;
makes text immersive
Lets the reader experience one’s thoughts,
Third Person
feeling emotions from a wider perspective

Makes text friendly; engaging; builds a

Colloquial/ Informal Language
relation amidst the reader and writer
Shows respect to reader; makes topic sound
Formal Language
serious

Exaggerating to give reader a new perspective,

Hyperbole
to stress at the subject; makes text dramatic

Techniques and their effects 1

 Technique Effect

Connectives Adds coherence(smooth progression) to text

Makes content stand out; makes reading

Bullet Points
important things convenient for reader

Repetition To emphasize; ensure they are memorable

Rule of three To emphasize; ensure they are memorable

To make the subject synonymous to another

subject; shows deeper meaning of the content;
Use of Connotations of one word
helps set an environment; helps understand
something better

Simile/ Analogy Gives new perspective; spices up scenarios

Gives more literal significance, a deeper

Metaphor
understanding, new perspective
Makes the text more lively, vivid; sympathize
Personification
with inanimate beings

Gives user a vibrant idea of what sound is

Onomatopoeia
heard

Engages reader emotionally, makes them

Anecdote
attached to text, shares a sense of empathy
Throws reader into a state of deep thinking;
Rhetorical Question
triggers an analysis from the reader
Superlative Spotlights hierarchy of something

Parenthetical Jokes, Irony, Jokey asides, Puns Makes text engaging, builds relation with reader

Brackets, Dashes, Semi-colons: Add additional

information Colons: Introduce a list, connect
Punctuation two sentences with similar ideas Hyphens:
Create combined words, which generally
appeal more to user
Backs writer’s argument, presents an exact,
Statistics
accurate picture
Pathetic Fallacy → Referring to natural world to Reflects the character’s inner notion; shows
correlate character’s thoughts feelings to a deeper extent

Euphemism → An alternative word used to Ensures text remains optimistic and isn’t
reduce any potential negativity steered towards negativity

Techniques and their effects 2

 Technique Effect

Foreshadowing Gets readers excited

Twists Keeps readers on the edges of their seats

Red Herring → Diverts attention from a

significant subject to something less important, Keeps readers enthralled in suspense about
to mislead, riddle, provide a false clue to the what happens next
reader
Dramatic Irony → When author gives a clue to Keeps readers interested in wanting to know
readers but not the protagonist of story how the protagonist figures stuff out
Allegory → to explain a difficult scenario in an Helps reader understand critical topics; hunt for
easy manner by aid of simple things the esoteric meaning

Puts reader in a state of analysis, where they

Allusion → An indirect reference to something try and find what the author is trying to refer to;
find the enigmatic meaning
Epiphany → a moment of sudden realization by Diverts story instantly, and puts reader in an
character awe
Paradox → An apparent contradiction, which
Grabs reader’s attention, keeps them interested
has secrets behind it

Explains something more vividly, in a comical

Oxymoron
way

Techniques and their effects 3

 1

English Language B

SECTION A

Parts of speech

1. Alliteration
The repetition of an initial consonant sound.
Example: Sally sells seashells.

2. Allusion
The act of alluding is to make indirect reference. It is a literary device, a figure of speech that
quickly stimulates different ideas and associations using only a couple of words.
Example: David was being such a scrooge!. (Scrooge" is the allusion, and it refers to Charles
Dicken's novel, A Christmas Carol. Scrooge was very greedy and unkind, which David was being
compared to.)

3. Anaphora
The repetition of the same word or phrase at the beginning of successive clauses or verses.
(Contrast with epiphora and epistrophe.)
Example: I came, I saw, I conquered – Julius Caesar

4. Antaclasis
It is a rhetorical device in which a word is repeated and whose meaning changes in the second
instance. Antanaclasis is a common type of pun.
Example:
Your argument is sound, nothing but sound. – Benjamin Franklin.
The word sound in the first instance means solid or reasonable. The second instance of sound
means empty.

5. Anticlimax
Refers to a figure of speech in which statements gradually descend in order of importance.
Example:
She is a great writer, a mother and a good humorist.

Mostakim Ul Haq
 2

6. Antiphrasis
A figure of speech in which a word or phrase is used to mean the opposite of its normal meaning
to create ironic humorous effect. From the Greek : anti "opposite" and phrasis, "diction".
Example:
Many are called, but few are chosen.

8. Apostrophe
Breaking off discourse to address some absent person or thing, some abstract quality, an
inanimate object, or a nonexistent character.
Example:
"O, pardon me, thou bleeding piece of earth,
That I am meek and gentle with these butchers!
Thou art the ruins of the noblest man
That ever lived in the tide of times."
Shakespeare, Julius Caesar, Act 3, Scene 1

9. Assonance
Identity or similarity in sound between internal vowels in neighboring words.
Example:
"The crumbling thunder of seas"– Robert Louis Stevenson

10. Cataphora
Refers to a figure of speech where an earlier expression refers to or describes a forward
expression. Cataphora is the opposite of anaphora, a reference forward as opposed to backward
in the discourse.
Example:
After he had received his orders, the soldier left the barracks. (he is also a cataphoric reference
to the soldier which is mentioned later in the discourse.

11. Chiasmus
A verbal pattern in which the second half of an expression is balanced against the first but with
the parts reversed.
Example:
He knowingly led and we followed blindly

12. Climax
Refers to a figure of speech in which words, phrases, or clauses are arranged in order of
increasing importance.
Example:
"There are three things that will endure: faith, hope, and love. But the greatest of these is love."
1 Corinthians 13:13

13. Dysphemism
Refers to the use of a harsh, more offensive word instead of one considered less harsh.
Dysphemism is often contrasted with euphemism. Dysphemisms are generally used to shock or
offend.
Example:
Snail mail for postal mail.

Mostakim Ul Haq
 3

14. Ellipsis
Refers to the omission of a word or words. It refers to constructions in which words are left out of
a sentence but the sentence can still be understood.
Example:

15. Euphemism
The substitution of an inoffensive term for one considered offensively explicit.
Example:
Going to the other side for death
Passed away for die

16. Hyperbole
An extravagant statement; the use of exaggerated terms for the purpose of emphasis or
heightened effect.
Example:
The bag weighed a ton.

17. Irony
The use of words to convey the opposite of their literal meaning. A statement or situation where
the meaning is contradicted by the appearance or presentation of the idea.
Example:
His argument was as clear as mud.

18. Litotes
A figure of speech consisting of an understatement in which an affirmative is expressed by
negating its opposite.
Example:

19. Merism
It is a figure of speech by which something is referred to by a conventional phrase that
enumerates several of its constituents or traits.
Example:
Flesh and bone. (Referring to the body).

20. Metaphor
An implied comparison between two unlike things that actually have something important in
common.
Example:
All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances;
(William Shakespeare, As You Like It, 2/7)

Mostakim Ul Haq
 4

21. Metaplesis
It is a figure of speech in which reference is made to something by means of another thing that is
remotely related to it, either through a causal relationship, or through another figure of speech.
A lead foot is driving behind me. (This refers to someone who drives fast. This metalepsis is
achieved only through a cause and effect relationship. Lead is heavy and a heavy foot would
press the accelerator, and this would cause the car to speed.)

22. Metonymy
A figure of speech in which one word or phrase is substituted for another with which it's closely
associated; also, the rhetorical strategy of describing something indirectly by referring to things
around it.
Example:
Crown. (For the power of a king.)
The White House. (Referring to the American administration.)

23. Onomatopoeia
The use of words that imitate the sounds associated with the objects or actions they refer to.
Example:
clap
murmur

24. Oxymoron
A figure of speech in which incongruous or contradictory terms appear side by side.
Example:
Dark light
Living dead

25. Paradox
A statement that appears to contradict itself.
Example:
Drowning in the fountain of eternal life
Deep down, you're really shallow.

26. Personification
A figure of speech in which an inanimate object or abstraction is endowed with human qualities
or abilities.
Example:
"Ah, William, we're weary of weather,"
said the sunflowers, shining with dew.
"Our traveling habits have tired us.
Can you give us a room with a view?"
They arranged themselves at the window
and counted the steps of the sun,
and they both took root in the carpet
where the topaz tortoises run.
William Blake
(1757-1827)

Mostakim Ul Haq
 5

27. Pun
A play on words, sometimes on different senses of the same word and sometimes on the similar
sense or sound of different words.
Example:
"Atheism is a non-prophet institution." (The word "prophet" is put in place of its homophone
"profit", altering the common phrase "non-profit institution")

28. Simile
A stated comparison (usually formed with "like" or "as") between two fundamentally dissimilar
things that have certain qualities in common.
Example:
He fights like a lion.

29. Synecdoche
A figure of speech in which a part is used to represent the whole (for example, ABCs for
alphabet) or the whole for a part ("England won the World Cup in 1966″).
Example:
A hundred head of cattle (using the part head to refer to the whole animal)

30. Tautology
A statement that says the same thing twice in different ways, or a statement that is
unconditionally true by the way it is phrased.
Example:
Forward planning
It's a free gift.

31. Understatement
A figure of speech in which a writer or speaker deliberately makes a situation seem less
important or serious than it is.
Example:
"The grave's a fine and private place,
But none, I think, do there embrace."

Mostakim Ul Haq
 6

32. Diction
Diction refers to an author's choice of words. When describing the events of her story, an author
never has just one word at her disposal.
Rather, she must choose from many words that have similar denotative meanings (the definition
you'd find in a dictionary), but different connotative meanings (the associations, positive or
negative with a given word).
The decisions she makes with those words are what we call her diction.
For example, imagine that a child in a story comes home from school and tells his parents about
his day.
Here are four separate ways he could describe his behavior at recess. Notice how selecting one
italicized word over another, shifting the diction, totally changes the meaning of the sentence:
'Tommy made fun of me, so I nicked his eye with a stick.'
'Tommy made fun of me, so I poked his eye with a stick.'
'Tommy made fun of me, so I stabbed his eye with a stick.'
'Tommy made fun of me, so I gouged his eye with a stick.'
The words nicked, poked, stabbed and gouged all have similar denotative meanings, but notice
how an author's choosing one or the other would drastically affect how we understand how well
Tommy fared

33. Foreshadowing
In order to create suspense for her readers, an author often wishes to hint where the story is
going. At the same time, she doesn't wish to give away the ending.
When an author hints at the ending of or at an upcoming event in her story without fully divulging
it, she is using what's called foreshadowing.
At the end of Ernest Hemingway's famous novel A Farewell to Arms, a key character dies while
it's raining.
To hint at that death, Hemingway earlier in the book includes a scene where the character admits
that she is afraid of the rain because sometimes she sees herself dead in it.
While this is just an irrational vision, it also gives the reader an ominous detail and hints at an
event that might be to come.

Mostakim Ul Haq
 1

English Language B

SECTION A

Comparing texts (15 marks)

The Comparison question is one of the easiest-to-obtain-marks question in the whole question
paper, that is, if you know how to answer it properly.

The trick is to:

 Write about 5-6 language and content points from the analysis
question of TEXT 1.
 Write a few more points extracted beyond the extraction zones (if
there were any) of the analysis question.
 Write about 5-6 language and content points from the analysis
question of TEXT 2.
 Write a few more points extracted beyond the extraction zones (if
there were any) of the analysis question.
 Write the differences between the two texts.
 Write the similarities between the two texts.

Mostakim Ul Haq
 2

Here is an example of what the examiners expect you to write. It’s the
mark scheme of the Comparison Question of the May 2019 paper.

Mostakim Ul Haq
 3

Points of comparison you may look for:

Whether the texts are,

 Fiction / Non fiction

 Article/Story/Leaflet/Radio broadcast/Letter etc
 Subject of the text (both are about
friendship/accident etc)
 1st person/ 2nd person/ 3rd person
 Optimistic (+) / Pessimistic (-) / Neutral (=)
 Narrative/ Descriptive/ Informative/ Argumentative
 Point of view --- Toddler/ Teenager/ Adult/ Old
 Point of view --- Male/ Female/ LGBTQ
 Time when the texts were written (1820 and 2020)
 Written by --- Experienced/Inexperienced writer
 Use of patronizing tone/ No use of patronizing tone.

ETC ETC ETC ( depending on the texts )

Mostakim Ul Haq
Describing the tone of language

When reading articles for analysis, students are expected to identify the tone of each piece of writing.
In many instances the tone of the writing may change within the text of the article. Below is a
collection of words which may be used to describe tone. Consider how you would justify using any of
these words to denote tone in your analysis.
intellectual self-righteous sentimental
controlled indignant nostalgic
measured dogmatic regretful
neutral aggressive solemn
detached antagonistic sober
cautious disrespectful wistful
guarded officious conservative
indifferent arrogant serious

Often editorials will make an effort to retain a calm, logical and measured tone. They like to sound
intelligent, knowledgeable and reasonable. Editorials mostly retain the same tone throughout, but some
editors can falter into a more personal and emotional tone on occasion, and students need to be able to
pick up on subtle changes if they happen in the piece of writing.
bitter hopeful amused
cynical cheerful humorous
satirical optimistic jocular
sarcastic confident witty
ironical intimate entertaining
embittered enthusiastic frivolous

Letters to the editor have widely disparate tones. They are written by members of the public and are
published as part of an open, public debate on an issue. Letters to the editor frequently change in tone
throughout each letter, and are often intensely personal. Letters to the editor may contain wild, biting
attempts at making the audience feel angry, sad, amused or shocked. Tone helps create these moods.
anxious appreciative thoughtful
resentful admiring pensive
disappointed ardent ponderous
despondent fervent servile
disconsolate passionate obsequious
pessimistic energetic pleading
appalled dramatic insistent
Opinion pieces or feature articles are pieces written by professional journalists who usually have a
regular column in the paper. They often have their photograph included in the piece. Some
journalists (such as The Herald-Sun’s Andrew Bolt) are newspaper ‘celebrities’ in their own right, and
are known for having particular political views. Such writing is often lengthy and includes a
combination of research and opinion. These pieces may also vary widely in tone and this may change
throughout the article too. Such writing is often written in first person using anecdotes to provide
readers with a ‘personal’ angle, yet they also attempt to seem reasonable and popular with the public in
order to encourage regular readership of their column. To an extent, they are out to entertain their
audience also.
earnest critical chauvinistic
sensitive forceful bombastic
Sincere urgent sensational
tolerant didactic respectful
moderate superior modest

The words listed are by no means exhaustive. Discuss other possible words to describe tone. Be as
precise as possible, and be sensible. Don’t just say a tone is ‘persuasive’ because this means nothing.
Consider how it is being persuasive.
Words and phrases to describe language

Most students unfortunately manage to find examples of relevant language to analyse,

but they don’t know what to say about it. Frequently they will write ‘this is
persuasive’, ‘this is emotive’ or ‘this is biased’. This says nothing to the reader. How
are these examples persuasive, emotional or biased? Some of the following words
and phrases may assist students in formulating more precise analysis of language.

inflated condemnatory impartial

politicises assertive slanted
propagandist cynical extravagant
evocative sophisticated simplistic
superficial ill-informed antagonistic
coherent distorted low-key
stereotyped penetrative euphemistic
rational ironic ambiguous
equivocation pervasive accentuated
intensifies down plays undercuts
blatant sustained tangible evidence
humorous insinuates glowing prominence
implies uses hyperbole negative connotations
sensationalises uses shock tactics disparaging language
exaggerates uses selective evidence appeals to tradition
rationalises exposes a diverse range emotional atmosphere
unfolds common sense appeal long running dispute
ruminates widespread concern ameliorates
discredits utilises generates
inspires evokes interlaces
compels titillates elicits
juxtaposes conjures reiterates
imbues generalises emphasises

Language analysis assessment depends greatly on the quality of precision and

discussion of the language analysed, but also on the level of intellectual sophistication
of a student’s vocabulary. Learn to use as many diverse, interesting and complex
words confidently as it will ultimately enhance your grades in the final exam.
Commenting on reader impact in language analysis tasks

Besides explaining why the writer has chosen a specific persuasive device, part of
defining how it works includes considering how the reader is meant to react to it.
Does it provoke shock, anger or sadness? Does it make the reader laugh, wince or
groan? Are we being rallied into action or expected to act in any particular way?
When a writer is being persuasive, you must ask the question: How is the reader
meant to feel about this?

Consider using some of the following phrases to assist:

It reads rather like…

The power in this text stems from…
For the reader, the text produces…
The general pattern of language provokes…
A mood of… prevails in this article.
A reader’s response might well be to…
Visual interest in this text is created by…
The influence of this text lies in…
The dominant trend in these texts is…
The writer has tailored the text in order to…
The text embodies the aspirations of…
This article generates feelings of…
The perceptions of the reader are sharpened by…
This text increases the momentum of the debate over…
This text intensifies the discussion by…
This accentuates the controversy by…
Incites/invites readers to…
Seeks to divide readers’ opinions…
Arouses deep concern in…
Leaves the reader with a sense of…
Presents the reader with an ultimatum…
Affirms in the reader’s mind…
Encourages the public to…
Manipulates the reader by…
Diverts responsibility away from…
Exacerbates the controversy by…
Oversimplifies the issue by…
Provokes sympathy by…
Challenges readers…
Invites support by…
Interpreting purpose and intention

A major aspect of language analysis moves beyond merely ‘treasure hunting’ for
persuasive devices. Each example should be explained and discussed in an intelligent
way. Below are a series of sentence starters and phrases which may assist students in
developing more sustained analysis of elements found in the articles analysed.
The first series of ‘starters’ asks the analyser to consider what the article’s
writer believes is most important. This should flow directly after the student has
identified the main contention of the article. Some of the phrases below improve
upon the standard boring phrase of ; ‘the main contention of this article is…’. Try
varying that with one of the suggestions listed.

The text gives prominence to…

The text attempts to mobilise support by…
This language is designed to provoke…
The clearest illustration of the writer’s purpose…
The writer has concentrated her effort on…
The article pinpoints…
The text provides a map…
The writer probes…
The writer’s purpose emerges…
The text constructs an image of…
The writer tends…
Media attention is clearly focused on…
The argument advanced in the text is designed to…
The writer intends to fuel the debate on…
The position the reader is asked to share is…
The article attempts to enlist the support of…
This text provides a view that contradicts…
The writer opts for…
The writer stresses…
The appealing imagery of the text is aimed at…
The writer questions…
This text clearly reveals the writer’s stance on…
Other analytical aspects of the article to consider may be:

Use of evocative and/or emotional imagery

Sustained attack
Use of cold, hard, statistics
Barrage of facts and statistics
Sinister connotations of…
Emphatic and/or convincing argument…
Derogatory labels
Powerfully emotional plea…
Belligerent opening paragraph
Clever and/or imaginative use of metaphor
Poetic turn of phrase
Clear and logically framed argument…
Unusual angle or perspective
Advocates the view that…
Refutes the notion that…
Rebuts allegations that…
Poses the idea that…
Provides an appraisal of…
Presents a critique of…
Champions the issue of…
Endorses the position of…
Raises questions about…
Establishes the view that…
Makes a vociferous protest…
Demonstrates the significance of…
Highlights aspects…
Shows partiality towards…
Dogmatically declares…
Expresses unease…
Focuses on…
Quashes speculation that…
Casts doubts on…
Retorts…
Is sympathetic towards…
Disputes the validity of…
Dismisses as irrelevant and untrue…
Ideologically nonsense…
Vigorously condemns…
Is diametrically opposed to…
Linking phrases to use in language analysis

When analysing more than one article, the pieces need to be linked in some way. The
aim is to make your writing flow like one, cohesive piece. Linking phrases also help
add depth by making comparative suggestions pointing out similarities and
differences between articles.

Think about using any of the following:

At the other extreme…

Is best illustrated by…
Similarly…
Less obviously…
It is therefore clear…
Meanwhile…
Admittedly…
Overall…
Although…
Alternatively…
Hence…
As well as…
A common aspect of…
In addition…
Consequently…
As a result…
… is a common element…
Synonymously…
Nevertheless…
In contrast…
However…
Also…
Thus…
SECTION-B

How do we write the introduction?

Now, the body paragraphs!

Engagement . Point Evidence Explaination. Engagement

Key Requirements:

- Section A requires students to understand and interpret two unseen

texts to show understanding of how writers use language and to
compare the two texts.
a. develop skills of how to analyse how writers use linguistic and
structural devices to achieve their effects
b. explore links and connections between writers’ ideas and
perspectives
c. This will assess students’ understanding of a response to the
stimulus material.
- Section B requires students to use both reading and writing abilities to
produce a piece of directed writing based on the texts they've read.
a. It assesses the students' abilities to write according to
guidelines in response to stimulus material.
b. The responses will be assessed for relevant information,
appropriateness of style and approach and quality and
accuracy of expression
- Section C allows students to develop their own writing either creatively
imaginatively or to produce a coherent argument
a. develop transactional and imaginative writing skills for a
variety purposes and audiences and to engage the reader and
use spelling, punctuation and grammar accurately

Examples of Texts:

Fiction, for instance, short stories and extracts from novels biography,
autobiography and speeches, newspapers and magazine articles, travel writing,
diaries, letters, web pages

To Note:

Both the texts will always be linked by theme.

Section A – Reading Section. (AO1, AO2, AO3)
Tips from the Chief Examiner:

1. read the questions carefully

2. use highlighters or underlining to help focus on correct information
3. encourage the use of own words as far as possible when required.
However,
4. This is important in the language questions and responding to Section B,
but on questions 3 and 6 (10 marks), you need to be able to interpret
the quotations you might use

Questions 1,2,4, and 5 (1 to 2 marks each)

These questions do not require candidates to use their own words. They are
simple retrieval questions. And candidates who try to use their own words will
either waste time on these very short questions or will find themselves not
quite finding the right points that they should have made

Questions 3 and 6 (10 marks)

AO2 asks candidates to explain how the writers' use of language creates
effects. Vague comments which do not focus on how language works are not
successful ways of responding. Similarly, feature spotting does not
demonstrate an understanding of language.

Feature spotting is where a candidate says the writer has used similes, the
writer has used metaphors without A) giving examples and B) explaining the
impact.

What you SHOULD be doing: Consider how the writer does these things (uses
language devices to achieving a specific purpose) and not what the writer
simply says or uses.

Give a more detailed response, exploring how the writer uses linguistic and
structural devices to achieve effects. Understand how writers create texts for
audience and purpose.

Phrases to introduce quotations:

1. The evidence that supports this is

2. This is evident when
3. This is apparent when
 4. This is illustrated by
5. This is demonstrated by

Phrases to introduce Explanation:

1. This suggests that

2. This infers that
3. This implies that
4. This insinuates that
5. This shows that

A good structure to follow: A candidate makes a point about a text. They

provide a quotation or evidence from the text to support that point and then
they explain how that quotation supports the point they've made

Questions 7 (Comparison Question – 15 marks)

What to NOT do:

1. It is not acceptable that they write about text one and write about text
two and assume there is a comparison.

What you SHOULD do:

1. There must be some comparative vocabulary, for example, whereas, on

the other hand, however, or similarly.
2. Remember comparison doesn't have to be differences, it can be
similarities.
3. Make relevant and cogent connections and contrasts of the ways the
writers present their ideas and perspectives.
Section B – Writing Section (AO1, AO4, AO5)
Synopsis: Section B is designed to test the candidate's ability to use relevant
information from the unseen extracts that are used in response to section A
and to present it for a given audience and purpose.

Types of Directed Writing Questions: Candidates are asked to use a

recognised form of writing such as a speech or talk, a letter, a magazine article
or a website contribution.

Marking Criteria: Responses are assessed on the relevance of the information,

the sense of audience and purpose and the quality and accuracy of expression.

General Tip: A candidate should read a range of texts and practice presenting
the ideas in these texts for different audiences and purposes. They should
learn how to write texts for specified audiences and purposes, also learn the
conventions associated with different forms of writing as well as how to
address a range of audiences.

What you SHOULD do:

1. Think carefully how to address the audience (use of humour, relatable

scenarios, being respectful, formal/informal tone and showing mutual
ground if it’s a letter/conversation with a friend)

Tips on writing different forms of texts:

Letters:

Letters can be formal or informal, they could be a letter to a friend, they

could be letter to their principal of their educational establishment, there
could be a letter to an editor of a magazine or paper, they could be a letter to
a person in office.

1. Your address is not necessary neither is a little drawing of an envelope

with the correct address.
2. What examiners are looking for are your register, the salutation and
closing. Ex. Salutation and closing shouldn’t be ‘Dear John’ and ‘Yours
faithfully’ as the closing is only appropriate for a formal letter where you
do not know the person you’re writing to.
3. For an informal letter, it’s best to sign off with ‘best wishes’ or
something more personal and informal.
 4. For a formal letter, if it’s a ‘Dear sir’, it should be ‘Yours faithfully’ and if
it’s a ‘Dear Mr. Smith, it should be ‘Yours sincerely’.

Speech/Talk:

Speeches are more formal and talks are less formal.

1. Greets and closing should be appropriate but make sure you are not
flowery or effusive in your greetings. Ex. Greetings with ‘beloved
principal and honoured students’ are not effective but ‘Good afternoon
and greetings to my principal and teachers, and hello to my fellow
classmates’ is perfectly acceptable.
2. Speeches and talks can use rhetorical devices, they can address the
audience directly, they can use rhetorical questions inclusive pronouns
and so on and again the register should be maintained throughout.
3. It should not be ‘Good afternoon, I’m here to talk to you about __’ and
‘thank you for listening’ at the end where you sandwich a response that
reads more like an essay. Be more interactive and consider how you’d
speak to an audience.
4. Do not include bullet points in your speech.
5. Do not provide stage directions (e.g., in a speech, adding directions like
*whispers* *pause*

Articles/Reports

1. You can use headings and subheadings to signpost your article, i.e., help
your reader navigate through different sections of your text. This is
optional but appropriate.
2. Do not draw any images to substitute pictures in newspapers or
magazines.
3. Bullets points are also appropriate.
4. You could have interviews and eyewitness accounts.
5. You could include the use of research and made up statistics.

Journals/Diaries and Blogs

1. Write a considerable amount and do not imitate the disjointed form of a

diary (three sentence entries as a note form, etc.)
2. These can take various forms but should have personal experience and
comment.
3. They can have some informality and this register needs to be maintained
throughout.
Important things to note:
1. Section B encourages students to think about audience, purpose,
language, tone, format, using evidence from both texts and in particular
using their own words.
2. The bullet points are extremely important and should be addressed with
a balanced number of points for each.
3. Candidates should use their own words and not copy chunks or even
quote, even with quotation marks, from the original text in their
responses.
4. You can make up statistics and use of research but make sure they seem
credible enough. You will not be tested for the accuracy of your facts but
the information should be believable.
5. Register needs to be maintained throughout. An easy way to lose marks
is by only addressing your audience or maintaining your formal/informal
register in the beginning and the ending. You must maintain it
throughout your answer.
6. Be sure to identify and remember when to use an informal or formal
register.
7. When using synonyms, make sure you understand their connotation and
use it accordingly. Different words will carry varying degrees of formality
and some may be more or less appropriate for particular groups of
audience. (ex. Beautiful could be said to a friend as a compliment while
the word ‘elegant’ is more appropriately said in a manner of respect to
someone older).
8. Understand how Standard English is used in formal contexts. Standard
English is the equivalent of the smart clothes you wear for an interview
as opposed to the cool clothes you might wear for a party. In other
words, you know it's the difference between talking to your head
teacher and talking to your mates. So standard English is smart formal,
correct and controlled.
9. All bullet points must be addressed but you’re also rewarded for using
original and relevant points of your own wherever appropriate.
10.There should be a clear structure of introduction, main sections, and
conclusion. Use appropriate paragraphing for both Section B and Section
C.

Tips:
1. Use the texts provided by Edexcel in the past examinations to
understand how writers cater to different audiences with their forms
 and language. Note when a writer uses informal or formal register for a
specific purpose and how this has been achieved effectively.
2. Make sure you plan out your answer beforehand. Use lists, spider
diagrams (whatever is convenient for you) but make sure you do not
write draft responses in your planning. Spend 5 to maximum of 10
minutes. Plans should aid your memory and not detail out every
sentence you will be using in your answer.
3. Make sure your read the question carefully, recognise and underline the
keywords, and decide what the main points of the question really are.
Think about the audience and the appropriate register, the type of the
text and the correct format and what rhetorical devices you can include
for an effective response.
Section C – Writing Section (AO4, AO5)
There will be a choice of three titles. The essays may be narrative, descriptive,
personal arguments to more discursive. The three titles will cover, discursive
argumentative will be one. Narrative and personal is another and descriptive
and perhaps personal is the final one. There may be opportunity to respond
personally and imaginatively to the themes presented in the reading texts. But
it is not appropriate to copy for them or use the key ideas from them.

What you SHOULD NOT be doing:

1. Do not adapt the title to write what you want. You writing must be
relevant to the title and should consider all the aspects that the title is
looking for. Ex. The title ‘A strange day’ would begin and end with the
quality of strangeness, suppose waking up in the morning without the
sound of honking, the streets being unusually empty, you get to school
and the popular kid comes and talks to you. Do not forge ideas that are
irrelevant to your essay titles.
2. Do not take materials from Section B and avoid writing the plots of
movies or books you’ve read. You may take inspiration, but do not copy.
Create your own settings, characters, character personalities and events
that match what you’re asked to respond to.
3. Do not use words that you aren’t fully sure of. Using words in the wrong
context, however rich and eloquent they may sound, will cost you marks
in AO5 (that judges appropriate expression).
4. Do not write things that are offensive or provocative. Writing about
politics or religion is acceptable as long as you are not being prejudiced
and intolerant. If you’re a victim of a political scheme, present your side
of the story but do not go about raging war against a political figure for
no particular reason at all.
5. Do not go over the top with dialogues in your narrative essay. Keep this
to a minimum so that you’re not distracting readers from your main
idea.
6. Do not produce gory and graphic responses to your narrative writings.
Some examiners do not comment on this but others will.

What you should be doing:

1. Use varied vocabulary but do not be verbose. Use synonyms and

antonyms but only in cases where you fully understand the word you’re
using in context. Do not regurgitate everything from a thesaurus.
 2. Use idiomatic and expressive phrases but not cliches and never too
many that it seems memorised. Use it wherever and whenever it seems
natural to do so.
3. Use a range of adjectives and adverbs. Think of how imagery can
enhance your writing and meaning. Choose words and styles to suit
audience and purpose.
4. Use appropriate paragraphing with paragraph breaks. Use accurate
punctuation of sentences, full stops, capital letters, clear and accurate
spelling.

What Makes a Good Essay:

1. Plan an essay to understand where it’s going to land and how it will be
relevant to the title you’ve chosen.
2. Work out the ending before you’ve begun.
3. Two narrative endings to avoid: a. where it ends with ‘It was all a
dream” or ‘And then I woke up”. B) You die at the end (you cannot
narrate a story if you’re a dead person).
4. Focus on the task at hand. Do not deviate from your title. Keep your
story simple and address the title properly.
5. Your writing should be clear and not confusing.

Marking Criteria for Questions 9,10,11

• For argumentative essays, feel free to disagree or agree with the

statement given. You’re rewarded on the quality of your ideas and
expression, not your stance in an argument.
• For narrative essays, you’re rewarded for qualities such as a sense of
drama, vivid descriptions, excitement and suspense.
• For descriptive essays, you’re rewarded for your power to evoke. Ex.
‘Describe a place that has made an impression on you’ should evoke a
sense of place with, for instance, descriptions of natural scenes with
sensory language.

Final Tips to Create Effective Responses:

1. Attempt to base your writings on facts. Use events from reality that
you’re familiar with instead of imagining and writing about grand
episodes. Think about the refugee crisis in Afghanistan, the displacement
of the Rohingyas, the political effects of the Trump campaign on
minorities. Think about your own city, your own experiences or
something that you believe could easily happen to you. Do not imitate
 something that you have no clue of – write something you’re confident
in.
2. Don’t pose. You’re all young with strengths and weaknesses. You’re not
going to solve world problems, save the society from corrupt people
(these are not realistic). Think about simple events and do not
exaggerate.
3. Focus on the topic. Say, strange day – make a spider diagram: at least 4
out of the ordinary happening. Bring contrasts describing a normal day
in one paragraph. Why strange? Strang person: visualise a real person
and add a few oddities from other people.
4. Don’t overdo anything – either sentiment or drama. BE NATURAL!