Paper one

Zubair, if you need to jot any of this down on a revision card so you can take it to school with you,
especially the vocabulary.

Timings and AOS Be very strict with timings write it on your paper correctly and give yourself time
to read over quickly

10 minutes for reading and planning (explode quotes ,link key words to points, Technique EOT)

Q1: 3 minutes (write in full sentences, if you quote something put in quotation marks)

Q2: 12 minutes. 2 pargarphs.

A02 -Explain, comment on and analyse how writers use language to achieve effects and influence
readers, using relevant subject terminology to support their views.
Higher - Shows perceptive and detailed understanding of language: • Analyses the effects of the
writer’s choices of language • Selects a range of judicious textual detail • Makes sophisticated and
accurate use of subject terminology. (same for Q3 except it’s structure)

This writing structure has forgotten to comment on the effect of the technique. Don’t forget this!
Simile alludes to, highlights, exaggerates, emphasises ect.

Also don’t do this is shown in the quotation. Try to embed your quote or use a different word not
shown. Illustrated. Demonstrated. Suggested. Highlighted. Hinted to. Alludes to. Reflects. Indicates.
Q3- 12 minutes 2/3 paragraphs

Consider the start, middle and the end of the text, and any changes throughout the text e.g. tone,
atmosphere or focus. Sentence structures. Paragraph structures. Repetition.

Analysis first then why it’s interesting. Keep using the words this interests readers because.. it
builds a sense of fear, a sense of apprehension…. A sense of excitement as they are unaware..

AO2 Explain, comment on and analyse how writers use structure to achieve effects and influence
readers, using relevant subject terminology to support their views.
Q4- 23 minutes.

Make sure to address all parts of the statement and focus on this while evaluating how readers
would feel. Small introduction. You need a technique, Effect Of Technique and focus on reader as
well as linking back to statement constantly.

AO3. Evaluate texts critically and support this with appropriate textual references. Shows perceptive
and detailed evaluation: • Develops a convincing and critical response to the focus of the statement
• Shows perceptive understanding of writer’s methods • Selects a range of judicious textual detail •
Evaluates critically and in detail the effect(s) on the reader

Q5)
DESCRIPTION
45 minutes. Leave one hour for question 1-4 and the last 45 minutes for Q5.
This is critical. If you are still writing Q4 move on!!

Jot down techniques, Mark Scheme and high level words when you get onto Q5

Don’t start sentences with ‘the’ and read back in the last 5 minutes for SPAG.

Plan for 10 minutes

You can zoom in to particular things eg one dandelion focus on that for a few sentences/paragraph.

If you do a story, do the same thing as a description in the first paragraph by setting the scene,
talking about the sky and weather ect but in the second paragraph, introduce a character, describe
them and then follow them. In a story you can use first person ‘I’ and in a description stick to 3 rd
person.

Mark Scheme: Memorise this

Tone/atmosphere/tense- make sure its consistent

Sentences: Interesting openers RANGE. Short e.g. .Hush. Silence. Long/complex. Compound.

Paragraphing- One sentence paragraph for effect. You can use this to shift the description.

Suddenly, A cacophony of growls and rumbles burst out of the ash sky; menacing gusts of wind
wreaked havoc on the frail landscape.

High level vocab

SPAG

Language Techniques: Simile, List of 3, metaphor, personification, alliteration, Hyperbole,

juxtaposition ,oxymoron, pathetic fallacy, zoom in, cyclical structure, sibilance ,imagery, adjectives
onomatopoeia

Punctuation : - - Two dashes for extra info one dash for extra info ( ) : ; , , Two commas for extra
info ! You can use these more then once it should be easy to spot if you have done enough

5 senses
Pink: Riose, blush, coral

Red: crimson, rose, fiery, wine, cherry ,scarlet ,rose

Purple: violet, lilac, lavender, mauve

Yellow: butter, lemon, golden, caramel, straw

Green: cucumber, pea, emerald, olive, emerald, lime, sage

Black: charcoal, ebony, inky, obsidian, midnight

White: snow, pearl, doughy, chalky, silvery, pallid, milky, frosted

Orange: carrot, tangerine, salmon

Blue: azure, turquoise, sapphire, teal,

Vocab:

Saturnian-peaceful, prosperous

Sardonic-mocking , sneering

Nefarious- evil, nefarious villain, nefarious plot

Sanguine-cheerful ,optimistic and helpful

https://thearcheracademy.org.uk/wp-content/uploads/2017/09/top-level-English-vocabulary.pdf

Here is some more Vocab.

MORNING

The day dawned crisp and clear.

The sun poured through my window. Another day had dawned, bringing with it new hopes and
aspirations.

The light of dawn seeped into my room. I rubbed my bleary eyes and walked to the window.
There was a pearly glow in the sky.

The first rays of sunlight lit up my room. The dawn chorus of melodic birdsong drifted in.

The rising sun cast a rosy hue across the morning sky. Golden fingers of sunlight lit up the scene.

The just-risen sun shone softly on the city streets, bringing with it a flurry of early-morning
activity.

DAY

Dappled sun shone through the trees, creating mysterious shadows.

The blue sky was dotted with fluffy white clouds that drifted lazily in the gentle breeze.

The blazing midday sun shone relentlessly on the hikers.

The roads shimmered in the heat of the midday sun. The sunlit skyscrapers pierced the hot, blue
sky.

The afternoon sun bathed the buildings in its warm light.

Tiny specks of dust seemed to dance in the shaft of afternoon sunlight that slanted through the
window.

EVENING AND NIGHT

The evening sun cast long shadows on the ground. The slanting rays of the setting sun gave a
warm orange tinge to the sky.

The sky was ablaze with the fire of the setting sun.

The night sky was aglow with bright city lights.

The pale crescent moon shone like a silvery claw in the night sky.

We looked up at the blanket of stars that stretched to infinity.

The occasional barking of faraway dogs broke the silence of the night .

STAY AWAY FROM ‘THE’. If you need to use it try to flip the sentence instead.

Example of list of 3 . Running, falling, screaming. He ran, darting through the streets, never to be
seen again.

Sample Answers

Q3 exemplar:

Level 4

From the very first sentence, the writer carefully builds up the references to the ‘stranger child’ that
run throughout the text. By introducing this unexplained element straight away, it immediately
establishes the mysterious atmosphere of the extract. When we learn at the same time that this is
the ‘first day at the house’, the combination of these structural features is a narrative convention for
creating a sense of the unfamiliar within the supernatural genre. When at the end it is suddenly
revealed that she has ‘gone’, it completes a circular structure that deepens..
Level 4

Makes sophisticated and accurate use of subject terminology The beginning presents Zoe’s state of
mind: at one with the mountain and its purity, serenity and stillness, and the tone is reflective and
unhurried. This is reinforced when a short dialogue introduces Jake and they both enjoy ‘the
tranquillity, the silence, the undisturbed snow’. At this point, they naively feel a bond with the
mountain, which appears harmless. However, the tone and mood soon change as they start to ski.
Jake ‘hits’ the west side and Zoe is ‘carving matching parallel tracks’ on the east so that we are taken
fast-paced through the story and down the mountain. The narrative then stops abruptly as the skiers
stop, concerned about a rumbling noise and ‘what looked like grey smoke unfurling’. They, and we,
soon realise ‘it was an avalanche’, and at this point, although Zoe remains static, Jake is frantic and
the text rapidly builds momentum until it reaches a climax. In the final line, when Zoe blacks out, we
are reminded of the silence at the beginning but now the mountain has betrayed them and it is the
silence of disaster.

Level 4 The Hartops’ van is a main focus of the text – in Perceptive, the beginning when the old and
shoddy exterior is detailed described, and towards the end when Alice ‘could analysis see the red
tail-light of the van again’ and is reunited with her parents. The text begins with the 7-8 marks
exterior of the van, old and ‘re-painted green’, travelling through the ‘treeless stretch of country’ in
the wind and rain. This wide and open scene is then contrasted with the claustrophobic, squashedup
interior of the front of the van, where Alice and her mother, despite their thinness, are ‘pressed tight
together’ whilst Hartop is ‘sprawled awkwardly on most of the seat. We then move forward, through
the rainy countryside as Hartop drives the old van to its destination in order to sell his produce. This
movement is stopped when the van stops and the subsequent dialogue results in Alice leaving the
van to look for whatever has fallen from the roof as the van is driven on. The family, once so pressed
together, are now separated. The reader stays with Alice, outside in the rain watching the tail-light
of the van disappear. The text develops with Alice later moving out of the darkness when she sees
the stationary red taillight and the ‘lights of the houses’. However, at the end of the text she is cast
back into isolation by the sharp words of her father and we leave her as she ‘walked away and
vanished, all without a word’.

Level 4

The beginning of the text focuses our attention on Eckels and his guide, Travis, in a prehistoric jungle
setting. The reader, together with the characters, has travelled back in time. Initially, the jungle
appears natural and undisturbed, but this all changes with the key word ‘Suddenly’, which almost
creates a moment frozen in time for the reader. It is followed by ‘Silence’ and then ‘A sound of
thunder’, but the reveal doesn’t happen until the next line, when we understand that the cause of
this deafening sound is the imposing Tyrannosaurus Rex, arriving to dominate the land. The rest of
the text is structured with description of the creature deliberately interspersed with dialogue
between the two men. This enables the reader to witness the direct link between the Monster as it
becomes increasingly ferocious and the gradual panic of Eckels, culminating in his realisation that he
is out of his depth.

Q4 Exemplar

At first he seems quite calm, merely resigned to the fact that shooting the Tyrannosaurus Rex is an
impossible task. When he says ‘It can't be killed’, he’s offering his ‘considered opinion’ having
‘weighed the evidence’, and a panicked man wouldn’t be capable of such rational thought. He feels
unprepared, and his rifle is compared to ‘a toy gun’ to suggest it’s a play thing you would use in a
make-believe game, rather than an effective weapon against a ‘Tyrant Lizard’ with ‘armoured flesh’. I
think Eckels gradually begins to panic when the Monster notices him, and we empathise with this
reaction because of the writer’s multi-sensory description, which graphically conveys how revolting
the Tyrannosaurus Rex is. We see its ‘skin is ‘crusted with slime’, implying the oozing pus has
congealed into dry scabs, and when it exhales, we smell that ‘the stink of raw flesh blew down the
wilderness’, suggesting it carries with it a stench of death and destruction. Eventually, Eckels
‘seemed to be numb’ and ‘gave a grunt of helplessness’, conveying that by now, he is paralysed with
fear, and the rational thought he displayed at the beginning has completely vanished.

Q2 Exemplar

The writer employs an extended metaphor of power and strength to describe the Tyrannosaurus
Rex. He says it ‘towered’ over the trees, the verb ‘towered’ suggesting that the huge creature is
imposing itself on its jungle surroundings from a great height, and intimidating everything beneath
it. It is personified as a ‘great evil god’, implying the Tyrannosaurus Rex is an all-powerful being
without mercy, and also a ‘terrible warrior’, an image that conveys the idea of an invincible fighting
machine destroying everything in its wake.

Q5 exemplar:

I am the ink . . . the ink which runs through pages and pictures. The ink that captures family highs
and lows. The ink that determines life or death. I am the powerful ink! I assist all that need me, even
when I am not wanted, but that’s usually teenagers sulking over homework! I guide people to
greatness and show people their thoughts; I am ink.

Many use me in my multiple roles, including Oslo, the man who you see in this picture; his soft eyes
and beaten skin tell a thousand stories just in one glance. In partnership with the photographer, they
came to me seeking help to tell his story . . . Those soft innocent eyes were my focus. How do I show
the kindness that lives behind them? Perfectly placing them between the eyebrows and wrinkles,
they lie, sunken and rested, for no more work is required from these retired souls. The face, I
noticed, doesn’t all fit. “Big Head” I thought, chuckling away as I proceeded. Carving my way through
the page, beginning with forehead and ending with the hair coated chin, I stop and wonder if this
man is happy? The innocent eyes suddenly change into fierce daggers, attacking the page. A
monster. . . I’ve created a monster! Galloping with all the power I stare towards that frowning brow;
one swift movement and it will be alright. I will not ruin this handsome face . . . Panic over! After
restoring the gentleness of his expression, I continue shading and giving depth to his complexity.
Each line tells another chapter of the story, and each wrinkle tells another to the sequel. Finally, I
reach his beard; the long grass swaying in the field, covering the cave which holds twenty-four
swords poised ready for any food which dares to enter. Stroke by stroke, flick by flick, I complete the
masterpiece which is Oslo. In just a few moments from now, he will be holding his warm photo, as if
a freshly baked cake recovered from the oven.

However, I am running out. The need for me is no longer as strong it has been for all these years.
Thanks to phones and computers, having physical photos or writing is no longer a necessity, but now
a cluttered mess taking up too much room. I am now stuck inside a pen and soon I will run out, and
be tossed in the bin, taken away and forgotten about forever.