Singapore International School, Hong Kong English Department S3 and S4
Writing Portfolio Name: Class:
Objectives
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o o enco!rage "o! to en#o" $riting more more o o ens!re "o! are are $riting in a $ide %ariet" of te&t te&t t"pes for di'erent di'erent a!diences and p!rposes
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o o ma(e "o! more more a$are of $riting as a process process
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o o enco!rage "o! to share share
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o o enco!rage "o! to plan, draft, draft, e%al!ate and redraft
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o o gi%e "o! o$nership o%er "o!r "o!r o$n $riting
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o o learn )etter time management o o de%elop the independent learning s(ills s(ills "o! need for I*DP and )e"ond
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Your Y our Portf Portfolio olio + - .ing *inder •
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Keep it in "o!r English classroom /or according to "o!r teacher0s instr!ction1 Keep all "o!r $riting, planning, notes and drafts and store in the ring )inder /incl!ding class assessments that "o! do1 -lso (eep stim!l!s for "o!r $riting 2 collect things that inspire "o! Keep "o!r $riting organised in date order or tas( order order Do not (eep other material in "o!r $riting portfolio s!ch as $or(sheets and hando!ts -ltho!gh "o! might $ant to create a section for models of te&t t"pes and stim!l!s te&ts his is "o!r $riting portfolio 2 don0t $ait to )e told to do some $riting .eg!larl" plan, ma(e notes and draft 2 the more more "o! $rite the more "o! $ill impro%e
- folder in 5oogle Dri%e •
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6o!r 6o!r teacher $ill create a class folder and a folder named 7Writing 7Writing Portfolios0 Inside the 7Writing Portfolio0 folder create a folder and name it $ith "o!r s!rname and 8rst name /or register name1 9n the sharing settings ma(e s!re the folder is shared $ith "o!r English teacher onl" If "o! $ish "o! can share indi%id!al doc!ments $ith classmates, )!t onl" tr!sted ones his is for feed)ac( f eed)ac( onl" onl"
3 - note)oo( Ha%e a special $riting note)oo( that "o! can carr" aro!nd $ith "o! so it is al$a"s read" to note do$n ideas $hen inspiration hits
Essential Questions
What does it mean:
Ho$ is $ritten:
Wh" $as it $ritten:
Process Writing
he res!lt of this process process $ill )e Publishing 3
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9ther terms "o! $ill hear )eing !sed:
Generating Ideas 2 Note ta(ing, mindmapping, )rainstorming, #otting do$n, 8nding inspiration, gathering, collecting, disc!ssing Structuring 2 planning, ordering, paragraphing, designing Drafting - $riting, composing Re-vieing 2 editing, redrafting, re%ising, re$or(ing !ocusing 2 editing, paring do$n, c!tting Evaluating 2 assesessing, self assessing, peer assessing, gi%ing feed)ac(
"e#t "$%es
-d%ertisement
?emoir
-nal"sis
?onolog!e
-ppeal
Ne$s report
*iograph"
No%el
*log
9pinion Col!mn
*roch!re;lea
Parod"
Cartoon
Pastiche
Critical essa"
Photographs
Description
Pla"
Diar"
Poem
Editorial
.adio )roadcast
Essa"
.ecipe
=ilm;ele%ision
.eport
5raphic no%el
Screenpla"
5!ide )oo(
Set of instr!ctions
Inter%ie$
Short Stor"
>etter /formal1
Song l"ric
>etter /Informal1
Speech
>isticles
e&t)oo( e&t)oo(
?aga@ine article
ra%el ra%el $riting
?anifesto
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Writing for Di'erent P!rposes
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o o o o
arg!e, pers!ade, ad%ise inform, e&plain, descri)e anal"se, re%ie$, comment imagine, e&plore, entertain
ARGUE, PERSUADE = point of view, expressing an opinion Argue •
Make several, separate, clear key points
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Examples/facts/opinions/= support New point=new paragraph=clear first sentence Rhetorical questions/alliteration/triples
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Use !e" to involve rea#er
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$umour/counter%ar&ument/repetition
Persuade Must convince your reader Several, separate, persuasive reasons Try shoc and/or hu!our •
Use !e"/"us"/"our" to involve rea#er
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R'etorical (uestions/alliteration/triples
"N#$RM, "NSTR%&T, '(P)A"N, *'S&R"+' = give details, instructions, elaborate upon or help clarify something
"nfor! Must clearly tell your reader so!ething •
A##ress t'e rea#er #irectly usin& you"
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)est or#er for your info* = P+A
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Para&rap's* +inks -et!een para&rap's*
"nstruct )anguage should e si!ple •
Sentences s'oul# -e s'ort, !it' no unnecessary steps inclu#e#
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.Must an# .Must not are often use#
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0r#er or c'ronolo&y is crucial
Explain •
Must clearly s'o! or #emonstrate
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Develop t'e #etail in your explanation
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Use examples to illustrate your points
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1areful step%-y step or#er
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Para&rap's must -e arran&e# sensi-ly
Descri-e Try to paint a picture with words •
Use five senses2 Si&'ts* Soun#s* Smells* 3ouc'* 3aste*
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4nvent similes an# metap'ors
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Use -est #escriptive voca-ulary
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Use a#5ectives an# a#ver-s
ANA)-S', R'."' = a considered response Analyse -ou should e thining0 1ow2 hy2 'ffect2 %sually in the present tense •
3'ir# person2 may-e first if personal opinion
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6oca-ulary t'at offers a 5u#&ement e7&72 .involvin&, .en&a&in&
Revie! Show strengths and weanesses of so!ething &ontains analysis/evidence/3udge!ent %sually in the third person 4not 5" thin 678 •
1onnectives 8 e7&7 as a result/'o!ever/ conse(uently/t'erefore/alt'ou&'
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Usually in t'e present tense
"MA9"N', '(P)$R', 'NT'RTA"N = fiction / original or creative writing
9ou may -e aske# to !rite a story2 in !'ic' case you !ill 'ave to invent 7 :irst of all, rea# t'e (uestion or instructions carefully to see !'at is re(uire#7 3'en construct a simple plan to ensure you stay on track7
hen writing a story, you !ight lie to follow this si:;stage structure0 •
)e&innin&2 catc' rea#ers attention
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4ntro#uce a pro-lem2 trou-le of some kin#
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Gat'er pace2 tension mounts/complications
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1risis2 peak of action an# tension
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A#5ustment2 cool it/'int at en#in&
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Resolution2 put t'in&s ri&'t*/final t!ist*
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Remem-er all of t'is !it' t'e mnemonic2 )4G 1AR
A fe! a##itional tips2 •
9ou may c'oose to !rite in t'e past tense7 1'eck t'at t'is stays consistent t'rou&'out #irst or third person2 4chec instructions8< &hec that this stays consistent throughout
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9ou mi&'t -e a-le to c'oose !'ere or !'en
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3ry to create tension/atmosp'ere
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6ary your sentences in strate&ic places or use a com-ination of #ifferent types of sentences !'ere appropriate an# for effect Use t'ou&'tful/interestin& voca-ulary
Evaluation 6o!r teacher $ill gi%e "o! chec(lists and other reso!rces to help $ith e%al!ation, that are speci8c to certain te&t t"pes Ho$e%er, remem)er that "o! can
&reate Your On !eedbac' Sheet 6o!0%e recei%ed some feed)ac( he )est scenario is that the feed)ac( is !sef!l, helpf!l, and practical It inspires "o! to get to $or( right a$a" he s(" opens, the hallel!#ah chor!s pla"s and "o! (no$ e&actl" ho$ to mo%e for$ard
This does not always happen<
In fact it rarel" happens =or man" $riters, the reaction $hen the" get feed)ac( is What do I do with this? What do I do now?
Avoid this y creating your own feedac sheet<
Don0t hand "o!r $riting to a friend $ith a Tell me what you think! 5i%e "o!r a!dience direction 5i%e "o!r reader conte&t 5i%e "o!r reader a speci8c #o) as the" read "o!r $riting Not onl" is this going to ma(e it easier on "o!r respondent /most times if a respondent fails to gi%e feed)ac( or gi%es !seless feed)ac( it0s )eca!se the" ha%e no idea $here to start1, it0s going to gi%e "o! a clear pict!re of $hat0s $or(ing, $hat0s not and $here "o! need to p!t "o!r foc!s d!ring re$rites he =eed)ac( form is di%ided into t$o parts
P-. 9NE + -ns$er this B!estion: Where are "o! $ith this draft Is this a frst drat? Have you been working on it or a week or a month? Are you happy with what you’ve written? Are you rustrated? What do you want to aomplish with this piee o writing? et your reader know e"atly where you are with the drat# Eg: his is m" second draft of he Waiting .oom I0%e )een $or(ing on it for three $ee(s I reall" lo%e m" )eginning )!t str!ggle a lot $ith the end I $ant this stor" to reall" hit the readers I $ant them to )e da@ed $hen the" 8nish it 5i%e the reader a #o) Instead o asking $What do you think?% give a speif &ob to your respondent# 'ive them ()* thing to aomplish as they read your writing# Ask them + $Do "o! thin( the ending is satisf"ing, $h" or $h" not% Ask them + $Is the main character is lo%ea)le or hard to connect to Ask them + $Did "o! get the plot t$ist ,ome up with ()* thing you want your respondent to answer#
P-. W9 In Part t$o "o!0re going to a%oid as(ing for li(es and disli(es hese are opinions and the"0re s!)#ecti%e !st )ecome someone li(es "o!r $or( doesn0t mean it can0t )e impro%ed and #!st )ecomes someone disli(es "o!r $or( doesn0t mean it has %al!e Instead as( "o!r respondent for Impressions and F!estions + Impressions are important )eca!se the" tell "o! $hat sta"s $ith the reader It co!ld )e a moment, an image, a character, a tone, a line of dialog!e What resonates -s( "o!r respondent for to 3 Impressions F!estions are important )eca!se the" gi%e "o! something to ans$er he" gi%e "o! a tas( to accomplish right a$a" hat means "o!0re not sitting staring at "o!r feed)ac( $ondering $here to start 6o! ha%e for$ard motion -s( "o!r respondent for 3 B!estions When "o! gi%e a draft to someone for feed)ac( incl!de "o!r %ersion of this =eed)ac( sheet *" doing so "o!0ll !p "o!r chances of getting that !sef!l, helpf!l and practical feed)ac( that $ill mo%e "o!r $or( for$ard
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!(Qs
Will )$ English teacher )ar' all )$ riting* No We $ill read "o!r $riting, disc!ss it $ith "o!, gi%e "o! some ad%ice on impro%ing Lnderstand that "o!r English teacher is not the onl" a!dience for "o!r $riting Sho$ it to others 2 parents, friends etc We are foc!sing on the process as m!ch as the end res!lt +o ill I be assessed* here $ill )e %ario!s assessment points thro!gho!t the "ear $hen "o! $ill )e reB!ired to s!)mit a piece of $riting for formal assessment his $ill )e at least once per term +o )uch riting should I do* 9ne 7read" for p!)lication0 piece e%er" t$o $ee(s *!t "o! can ne%er do too m!ch $riting 6o! $ill )e gi%en some time in class to do free $riting Who can give )e feedbac'* E%er"one Parents, friends, relati%es, online friends +o ill the$ give )e feedbac'* he" can #!st tal( to "o! a)o!t it, or $rite a paragraph at the end of "o!r $or( Please don0t let them correct mista(es for "o! here is a feed)ac( form a%aila)le that "o! can gi%e to "o!r readers to 8ll in +o ill I 'no ho to i)%rove a draft* he teacher $ill gi%e "o! the tools "o! need +o often ill the teacher chec' )$ %ortfolio* -t least once e%er" t$o $ee(s +o long should )$ riting be* -n" length 2 it depends on the te&t t"pe 6o!r teacher $ill gi%e "o! g!idance +o )an$ drafts should I rite* 6o! can plan, re%ie$, e%al!ate, redraft as man" times as "o! $ish No $riting is e%er 8nished )!t at some point "o! $ill need to ma(e "o!r $riting 7read" for p!)lication0 +o )an$ te#t t$%es should I tr$* -s man" as possi)le See the list in this )oo(let Will I get e#tra credit for )$ riting %ortfolio* 6o! sho!ld )e $riting p!rel" for "o!r o$n satisfaction and the #o" of getting feed)ac( from others Ho$e%er $e $ill also a$ard ho!se points
IG&SE English In the rest of this )oo(let "o! $ill 8nd information speci8c to reB!irements for the I5CSE co!rses 2 =irst >ang!age English and World >iterat!re *!t remem)er that "o!r $riting portfolio can contain all (inds of $riting, not limited to this list
"e#t t$%es for IG&SE World ,iterature • • •
Critical Essa" Empathic Passage )ased;Lnseen response
!irst ,anguage English • • • • • • • • • •
Narrati%e Descripti%e =ormal >etter Informal >etter ?aga@ine article Ne$s report Speech .eport Diar" Inter%ie$;Dialog!e
orld )iterature he Critical Essa" he 8nal essa" for the co!rse$or( portfolio needs to )e for S3 on M?aster Harold and the *o"sM or t$o short stories from MStories of 9!rsel%esM, and for S4 on M?aster Harold and the *o"sM and t$o poems from o!r poetr" antholog", )!t feel free to practice on other te&ts 6o!r teacher $ill help "o! de%ise an appropriate B!estion on character, theme, st"le or another aspect of the te&t 6o! $ill )e e&pected to: !se B!otations to )ac( !p "o!r arg!ments comment in detail on the a!thor0s !se of lang!age • •
here is no reB!irement to compare t$o te&ts
hat is a good critical essay2 =rom the CIE 4 World literat!re eacher 5!ide:
&haracteristics of successful critical essa$s •
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?aster" of detail demonstrated )" a $ide range of points and te&t!al references Points made clearl" and de%eloped into a coherent arg!ment S!stained critical anal"sis in $hich points are clearl" s!)stantiated )" means of $ell2selected and sometimes less o)%io!s, tho!gh pertinent, references *rief, apt B!otations integrated $ith precise critical comment on the $a"s in $hich lang!age, str!ct!re and form shape meanings and e'ects - critical %oca)!lar" !sed economicall" and e'ecti%el" - con%incing and informed personal response $hich engages $ith the tas( directl" and con8dentl"
&haracteristics of ea' critical essa$s • •
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- fe$ scattered, !nconnected points ime $asted on co!rtes" introd!ctions /eg 7In this essa", I am going to $riteO01 5eneralised points lac(ing de%elopment and clear foc!s, sometimes la)o!red Pre%alence of !ns!)stantiated assertions and tendenc" to narrate or s!mmarise rather than e&plore
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Critical %oca)!lar" not !sed, or imperfectl" !nderstood, or !sed $itho!t anal"sing e'ect .eliance on second2hand opinions /from teachers or st!d" g!ides1 and;or irrele%ant )ac(gro!nd material
-ccording to a Cam)ridge chief e&aminer:
&haracteristics of successful critical essa$s • • • •
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Wide range of rele%ant points and B!otations F!estions addressed directl" - con%incing and informed personal response *rief, pertinent B!otations and concise anal"tical comment smoothl" integrated E&ploration of $riter0s e'ects: lang!age, str!ct!re and form Critical %oca)!lar" !sed e'ecti%el"
&haracteristics of ea' critical essa$s • • • • • • • •
>ength" introd!ctions Lnnecessar" concl!sions F!estion ignored Semi2prepared;reg!rgitated essa"s 5eneral and;or repeated points Paraphrase and narrati%e rather than anal"sis >ac( of s!)stantiation /e%idence from the te&t1 >ists of de%ices $itho!t e&ploration and anal"sis
Planning and *rafting your 'ssay 6o! $ill plan and $rite the 8rst draft of "o!r essa" d!ring class time 6o!r teacher is not allo$ed to mar(, correct or edit draft assignment material, therefore "o!r teacher $ill onl" gi%e general g!idance d!ring the drafting phase
Planning • •
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>oo( at "o!r B!estion and identif" the (e" $ords .ead "o!r stories;poems again and )rainstorm some ideas that ans$er "o!r B!estion =ind some B!otes 2 single $ords and phrases that help to ill!strate these points Decide $hich stor";poem "o! $ill $rite a)o!t 8rst ?a(e a paragraph plan 6o!r essa" sho!ld )e str!ct!red )" ans$ering "o!r B!estion
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It is easiest and most e'ecti%e to $rite a)o!t one stor" and then the other as there is no reB!irement to compare the t$o
*rafting =oc!s on the e'ects of lang!age !sed Comment on str!ct!re and form Do not merel" list technical terms Don0t forget:
Introduction Name the stories "o! $ill )e e&ploring and the names of the $riters /f!ll name or s!rname1 5i%e a %er" )rief o%er%ie$ of the stories that is rele%ant to the B!estion Write a thesis statement that )rie<" ans$ers "o!r B!estion Keep it short •
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od$ Paragra%hs Do not !se too man" short paragraphs 2 organise "o!r essa" $ith apro& A2 )od" paragraphs Start each paragraph $ith a topic sentence /that clearl" indicates $hat the paragraph $ill )e a)o!t, and refers to "o!r B!estion1 NEQE. start a paragraph $ith a B!ote or a PEE Lse PEE se%eral times in each paragraph 6o! sho!ld B!ote as m!ch as possi)le and e&plore the lang!age of the stor" r" to B!ote one or t$o $ords NEQE. B!ote more than one sentence he ERP>-N-I9N part is important ?a(e s!re "o! are e&plaining H9W the $riter sho$s something, not $hat he sho$s Lse some literar" terms )!t don0t o%erdo it -l$a"s e&plain the e'ect of literar" de%ices Write in the present tense Qar" "o!r %oca)!lar" hin( of s"non"ms for the $ord 7sho$s0 for e&le /see )elo$1 Lse disco!rse mar(ers /see )elo$1 Write an eB!al amo!nt on each stor" •
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&onclusion hin( a)o!t the S9 WH- r!le Wh" did the $riters $rite these stories What meaning did "o! get from the stories What do these stories tell "o! a)o!t h!man )eings and the $orld What ha%e the stories ta!ght "o! a)o!t another c!lt!re or part of the $orld hin( a)o!t $hat made "o! choose these t$o stories and $hat ma(es them special • • • • •
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his is also good opport!nit" for comparison and personal response Ho$ do the t$o stories compare Which stor" do "o! 8nd more e'ecti%e Which is the most po$erf!l;realistic;mo%ing;descripti%e;s!rprising etc and $h"
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The #inal *raft 4Pulishing8 • • • • •
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+ $ords /incl!ding B!otations1 +pt imes Ne$ .oman +A spaced -t the top of the 8rst page $rite: "o!r name o "o!r class o the date o the title;the B!estion "o! are ans$ering o the title of the stories and names of the $riters /this can )e o incl!ded in the B!estion1 -t the end of the essa": $ord co!nt o
itles of te&ts sho!ld )e in MB!otation mar(sM or italics .efer to the a!thor )" their s!rname /=!gald, *rad)!r", >a 5!ma etc1
&ontents Introduction /one %aragra%h0
Re.uire)ents - t$%ical introd!ction sho!ld do the follo$ing: + -ddress the (e" $ords of the B!estion and gi%e a )rie o%er%ie$ of "o!r response Identif" the (e" aspects of character; theme;st"le that "o! $ill foc!s on in "o!r essa" 3 5enerate and arg!ment;thesis /don0t #!st descri)e1
E#a)%le1 Discuss the role and signi2cance of Yasuo in the Sound Of Waves ?ishima presents 6as!o as a $ea(, detesta)le and some$hat ridic!lo!s character -longside Chi"o(o, he is the antagonist in the no%el and ser%es as an o)stacle to Shin#i0s and Hats!e0s lo%e a'air His sel8sh and a)!si%e
)eha%io!r in the no%el contrasts sharpl" $ith Shin#i0s %irt!o!s )eha%io!r h!s he acts as a foil to Shin#i, his lac( $ea(ness and of %irt!e highlighting Shin#i0s %irt!e and strength =!rthermore, it co!ld )e asserted that 6as!o /$ho is strongl" associated $ith the cit" in the no%el1 s"m)olises $hat ?ishima percei%ed to )e the corr!pting in
- t$%ical )od" paragraph sho!ld follo$ the PQ&, for) •
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/2ve or )ore %aragra%hs0
"o%ic Sentence1 ?a(e a point NEQE. )egin a paragraph $ith a B!otation Quotation1 5i%e e%idence to s!pport the point Lse in%erted commas and em)ed the B!otation &o))ent3(nal$sis1 Comment on the e'ect of the B!otation -nal"se the lang!age ,in'- >in( )ac( to the B!estion
E&le: ?ishima introd!ces the reader to the character of 6as!o )" dra$ing attention not onl" to his $ealth and stat!s, )!t also his arrogance He $rites, 7"o!ng as he $as, he alread" (ne$ the secret of gi%ing himself importance0 Ho$e%er, the descriptions of his 7fat0 )od" and 7craft"0 e"e)ro$s create a grotesB!e image and a slightl" moc(ing tone, s!ggesting his arrogance is misplaced ?oreo%er, he reference to 6as!o0s 7red comple&ion0 perhaps foreshado$s his imminent and h!miliating fall from grace In this $a", ?ishima immediatel" esta)lishes him as an !ndisciplined, decepti%e and !ns"mpathetic character, partic!larl" $hen contrasted $ith the far more h!m)le and admira)le Shin#i
&onclusion /one %aragra%h0
':e!plar
- t$%ical concl!sion sho!ld do the follo$ing: + S!mmarise "o!r main arg!ment and highlight "o!r most important points 5i%e a 8nal personal opinion a)o!t $hat the reader learns a)o!t the setting, characters, and ideas
+o do Sea)us +eane$ and 5oni6a (lvi e#%lore the i)%act of life changing events through language in 5id-ter) rea' and Presents fro) )$ (unts in Pa'istan res%ectivel$* In ?id2term *rea( and in Presents from m" -!nts in Pa(istan, Seam!s Heane" and ?oni@a -l%i )oth end!re impactf!l e%ents Heane" loses his )rother in a car accident $hile -l%i str!ggles to reconcile t$o clashing c!lt!res =eeling detached, )oth poets change their perspecti%es on e%ents and people and !ndergo an identit" crisis, altho!gh in di'erent $a"s In ?id2term *rea(, the poet emphasi@es that his )rotherMs death has altered his perspecti%e on life His father is said to MTha%eU al$a"s ta(en f!nerals in his strideM: $hen someone passed a$a" his father did not shed tears Heane" $o!ld ha%e loo(ed !p to him as a strong person $ho co!ld protect the famil" he !se of past tense s!ggests that his father no$ )eha%es di'erentl" and the persona has lost a constant Mtr!thM relating to his identit" Not onl" is Heane" Ms fatherMs Mcr"ingM, !nsettling him as his parent no$ appears $ea(, )!t this reaction also introd!ces the idea that e%er"one is %!lnera)le $hen the" lose their dearest person -dditionall", Heane" Ms perspecti%e on his home changes It is no longer a place of comfort and sec!rit" When Heane" entered the ho!se, Mthe )a)" cooed and la!ghed and roc(ed the pramM he repetition of MandM creates a
a)o!t its appearance )!t not h is reaction !pon seeing it )eca!se he is n!m)ed With reference to h i s )rotherMs )od " as Mthe corpseM, an impersonal description, he detaches himself from realit" as he does not $ish to admit it is his )rotherMs 9n the )od", Heane" notices Ma popp" )r!ise on the left temple no ga!d" scars, the )!mper (noc(ed him clearM he persona mimics a coroner, inspecting the )od", )!t again $ith an !nemotional tone Comparing the )r!ise to a
into her s!rro!ndings Ne%ertheless, )eing !na)le to )ring o!t the )est of her original c!lt!re ma(es her feel insec!re No$, she can onl" connect to her heritage %ia her memor" and imagination, as sho$n in the 8nal stan@a *oth poets str!ggle to 8nd their rightf!l place in their s!rro!ndings In M?id2term *rea(M, Heane" mentions he hears M$hispers informing strangers TheU $as the eldestM He cannot identif" $hom the" are coming from, $hich is !nner%ing he personi8cation creates a threatening impression $here he is the foc!s of the %isitors and feels o%er$helmed lso, $hen the old men stand !p to sha(e Heane"Ms hand, MThe isU em)arrassedM He is s!rprised $hen he, )eing a school)o", is treated li(e an ad!lt )eca!se he does not (no$ ho$ to react lt con%e"s his apprehensi%eness of the ne$ sense of responsi)ilit" the death of his )rother has gi%en him He m!st no$ sho$ greater strength than that of a child $ithin the famil", and perhaps ta(e care of the famil" In Presents from m" -!nts in Pa(istan, -l%i is also conf!sed MTSheU tried to glimpse TherselfU in the miniat!re glass circlesM: the am)ig! it" of her re
iterar" de%ices s!ch as imager", am)ig!it" and metaphor, the poets e&press their personasM internal feelings in relation to their e&ternal )eha%io!rs
"eacher7s &o))ent 4;A - percepti%e and con%incing response sho$ing a clear critical !nderstanding .esponds $ith insight, indi%id!alit" and
':e!plar > Explore how poets describe a moment in time.
Everyone has a moment in their lives in which they have a fond memory that they keep and cherish in their hearts forever. In ‘Island Man’ Grace Nichols puts herself in the
shoes of a Caribbean man to describe her memories of the island which us her beautiful and unforettable moment in time. In ‘Composed upon !estminster "ride# $eptember %# &'()’# !illiam !ordsworth uses mainly siht imaery to describe his e*perience of standin on !estminster "ride and lookin out to +ondon. Nichols creates an e*traordinary and memorable moment of the Caribbean by describin the memories she had on the island# while +ondon is described as a loomy and borin place. Nichols’s speaker misses the Caribbean a lot# but has to stay in +ondon to work in order to make a livin. ,he speaker dreams of how wonderful the Caribbean island is throuh the contrast of two places# the Caribbean and +ondon. ,he sea i n the Caribbean island is described as ‘blue surf’# to compare it with the ‘rey’ +ondon. ,he words ‘surf’ and ‘sound’ that is found in the first stan-a which describes the waves on the island# and actually echoes the actual noise that waves make as the y beat aainst the shore. $he also personifies the sun by sayin it is ‘surfacin defiantly’. ,he word ‘defiantly’ means resistance# so the poet is tryin to tell her readers that the island man does not want to be woken up from his sweet dream# but has to# so he unwillinly leaves his dream with hesitation. Nichols further creates the beautiful moment in time by describin the Caribbean island as a place of security in the first st an-a. ‘,he steady breakin and wombin’ suests to the readers that the Caribbean island is a place of comfort# and a security of place of birth. Nichols uses a word ‘wombin’ to describe the sound of waves on the island. ‘!omb’ is home to everyone# and is also a place of safety. ,herefore the word ‘wombin’ indicates a comfortable feelin and a sense of security. ,he word ‘his’ is used very often throuhout the poem to show emphasis of the sense of security and home. In the second stan-a of the poem# Nichols continues to develop the island man’s dream by portrayin the island as a paradise# where everythin is rela*in and laid back. $he uses ‘wild seabirds’ to describe the island as a stron# hard# untamed natural environment. ‘is s mall emerald island’ is used to describe the Caribbean# and from the description of his home makes it sound like a paradise# describin the lovely moments in the Caribbean. ,he metaphor is covered with reen trees# and it is very precious to the island man. ,his emphasises the richness of the veetation and nature in the Caribbean island# showin a beautiful and unforettable moment in time. "esides ‘Island Man’# ‘Composed upon !estminster "ride# $eptember %# &'()’ also shows a moment in time. It’s poet# !ordsworth# uses siht imaery to describe his lovely e*perience of standin on the !estminster "ride in +ondon and lookin out to the city. e transforms +ondon into a fabulous place by writin a /etrarchan sonnet. In the poem# he describes how wonderful it is durin the Industrial 0evolution. e first e*presses his feelins of the city by sayin that there is nothin that shows ‘more fair ’ on Earth than the wonderful siht he is seein on the bride. /eople who are ‘dull’ are those who 1ust pass by and do not stop to look at the ma1estic view. +ondon is also described as a calm and 2uiet place in the
mornin. ‘,he beauty of the mornin3 silent# bare’ In reality# most cities like +ondon# are noisy places# but !ordsworth portrayed the city as a silent place# displayin a peaceful moment in time. !ordsworth adds on to his e*perience by describin the surroundin that i s around him. ,he ma1ority of the cities in the world are polluted# particularly durin the Industrial 0evolution. ‘4ll briht and litterin in the smokeless air.’ +ondon is polluted and foy# especially durin that time period# but !ordsworth uses siht imaery to portray the city as a ‘smokeless’ place# increasin the loveliness of the moment in time. ,he poet further uses personification and some irony to describe his e*perience. !ordsworth writes about the sunrise as a ‘he’# personifyin the sun as a male# and that !ordsworth had never seen somethin that shone as beautifully before. ,he sun also ave the impression to the readers that nothin is as calm as the sunrise in +ondon# which is ironic# because +ondon is enerally a bustlin and busy cit y. e also personifies 0iver ,hames# illustratin the way it flowed. ,he river lides ‘at his own’ pace# ivin it freedom# tellin us readers that +ondon is a free city# addin beauty to the poet’s e*perience. Early in the mornin# people are still usually asleep# so the city also seems to be ‘asleep’. ouses are also personified as people who are sleepin# because houses do not sleep# it is the people who are the ones that should be asleep. ,he poet ends ‘Composed upon !estminster "ride# $eptember %# &'()’ by sayin the heart of the city is still ‘lyin still’. ,his hints that the mornin in +ondon is the beauty of the city. It shows the 2uietness of the city# and it also develops the lovely moment in time !ordsworth had on the bride. Grace Nichols and !illiam !ordsworth of ‘Island Man’ and ‘Composed upon !estminster "ride# $eptember %# &'()’ had certainly described a moment in time within their poems. "oth the poets include +ondon in their poems# but have different views of the city that was e*pressed in their poems. Nichols describes +ondon as dull and unwelcomin in ‘Island Man’# while in ‘Composed upon !estminster "ride# $eptember %# &'()’# !ordsworth describes how marvellous the city is.
&ritical 'ssay Assess!ent &riteria
*and +
A 4 3
*and
+
-ns$ers in this )and ha%e all the B!alities of *and $or(, $ith f!rther insight, sensiti%it", indi%id!alit" and
•
*and 3
+ + +
• •
•
•
*and 4
+ +A +4
• •
•
*and A
+3 + ++
• •
•
*and
+
• • •
•
*and
A
• • •
•
*and
4 3
• •
S!stains a percepti%e and con%incing personal response sho$s a clear critical !nderstanding of the te&t responds sensiti%el" and in detail to the $a" the $riter achie%es her;his e'ects integrates m!ch $ell2selected reference to the te&t ?a(es a $ell2de%eloped and detailed personal response sho$s a clear !nderstanding of the te&t and some of its deeper implications ma(es a de%eloped response to the $a" the $riter achie%es her;his e'ects s!pports $ith caref!l and rele%ant reference to the te&t ?a(es a reasona)l" de%eloped personal response sho$s !nderstanding of the te&t and some of its deeper implications ma(es some response to the $a" the $riter !ses lang!age sho$s some thoro!ghness in the !se of s!pporting e%idence from the te&t *egins to de%elop a personal response sho$s some !nderstanding of meaning ma(es a little reference to the lang!age of the te&t !ses some s!pporting te&t!al detail -ttempts to comm!nicate a )asic personal response ma(es some rele%ant comments sho$s a )asic !nderstanding of s!rface meaning of the te&t ma(es a little s!pporting reference to the te&t Some e%idence of simple personal response ma(es a fe$ straightfor$ard comments sho$s a fe$ signs of !nderstanding the s!rface meaning of the te&t ma(es a little reference to the te&t >imited attempt to respond sho$s some limited !nderstanding of simple;literal meaning
No ans$er ; Ins!Vcient to meet the criteria for *and
&ritical .ocaulary sho$
impl"
s!ggest
infer
ill!strate
demonstrate
portra"
con%e"
re
de%elop
emphasise
depict
reinforce
present
represent
e&amine
e&plore
descri)e
e&press
!se
compare
contrast
refer
re%eal
create
*iscourse Marers "o indicate se.uence =irst, in the 8rst place, at 8rst, to )egin $ith, at the )eginning, starting $ith, initiall", from this point, earlier, second, secondl", in the second place, ne&t, , then, after that, follo$ing that, s!)seB!entl", so far, later on, third, in the third place, last, last of all, at last, at the end, in the end, 8nall", to 8nish, to concl!de, in concl!sion, conseB!entl" "o %rovide an e#a)%le =or e&le, as an e&le, for instance, in this case, to ill!strate, to sho$, to demonstrate, to e&plain, s!ppose that, speci8call", to )e e&act, in partic!lar, s!ch as, namel", for one thing, indeed, in other $ords, to p!t it in another $a", th!s "o concede 9f co!rse, after all, no do!)t, nat!rall", !nfort!natel", $hile it is tr!e, altho!gh this ma" )e tr!e, altho!gh, to admit, to confess, to agree "o conclude or to su))ari6e o concl!de, in concl!sion, to close, last of all, 8nall", to end, to complete, to )ring to an end, th!s, hence, therefore, as a conseB!ence of, as a res!lt, in short, to s!m !p, to s!mmari@e, to recapit!late "o add a %oint -lso, too, as $ell as, )esides, eB!all" important, 8rst of all, f!rthermore, in addition /to1, moreo%er, li(e$ise, a)o%e all, most of all, least of all, and, eitherOor, neitherOnor, ho$e%er, "et, )!t, ne%ertheless, still, to contin!e "o co)%are -s, as $ell as, li(e, in m!ch the same $a", resem)ling, parallel to, same as, identicall", of little di'erence, eB!all", matching, also, e&actl", similarl", similar to, in comparison, in relation to "o contrast ho!gh, altho!gh, and "et, )!t, despite, despite this fact, in spite of, e%en so, for all that, ho$e%er, in contrast, )" contrast, on one hand, on the other hand, on the contrar", in one $a", in another $a", altho!gh this ma" )e tr!e, ne%ertheless, nonetheless, still, "et, to di'er from, a stri(ing
A
di'erence, another distinction, other$ise, after all, instead, !nli(e, opposite, to oppose, in opposition to, %ers!s, against
"o e)%hasise or to intensif$ -)o%e all, after all, indeed, chie<", especiall", act!all", more important/l"1, most important of all, most of all, moreo%er, f!rthermore, signi8cantl", the most signi8cant, of ma#or interest, the chief characteristic, the ma#or point, e&tremel", to emphasi@e, to highlight, to stress, !ndo!)tedl", $itho!t a do!)t, certainl", s!rel", a)sol!tel", o)%io!sl", to c!lminate, in tr!th, the clima& of, to add to that, $itho!t B!estion, !nB!estiona)l", as a res!lt "o generali6e 9n the $hole, in general, as a r!le, in most cases, )roadl" spea(ing, to some e&tent, mostl"
*eveloping a Tone .ocaulary angr" sharp !pset sill" )oring afraid happ" hollo$ #o"f!l all!si%e s$eet %e&ed tired )itter dream" restrained pro!d dramatic sad cold !rgent #o(ing poignant detached conf!sed childish peacef!l moc(ing o)#ecti%e %i)rant fri%olo!s a!dacio!s shoc(ing som)re
gidd" sentimental fancif!l complimentar " condescendin g s"mpathetic contempt!o! s apologetic h!mo!ro!s horri8c sarcastic nostalgic @ealo!s irre%erent )ene%olent sed!cti%e candid pitif!l
?ore tone $ords satiric $himsical dramatic learned informati%e !rgent con8dent o)#ecti%e diVdent ironic fact!al restrained elegiac disdainf!l l!g!)rio!s candid pedantic indignant )antering
contentio!s insolent concerned
Words that descri)e lang!age
#argon %!lgar schola rl" insipid precis e esoteri c plain literal
colloB!ial e&act arti8cial s"m)olic detached simple
poetic moralistic slang
emotiona 8g!rati%e l pedantic )om)astic
idiomatic
e!phemi a)str!se stic pretentio grotesB!e !s sens!o!s concrete
homesp!n
pict!resB!e
o)sc!re e&act
)iterary Ter!inology (llegor$ - s"m)olic narrati%e in $hich the s!rface details impl" a secondar" meaning -llegor" often ta(es the form of a stor" in $hich the characters represent moral B!alities he most famo!s e&le in English is ohn *!n"anMs PilgrimMs Progress, in $hich the name of the central character, Pilgrim, epitomi@es the )oo(Ms allegorical nat!re Ka" *o"leMs stor" G-stronomerMs WifeG and Christina .ossettiMs poem GLp2HillG )oth contain allegorical elements (lliteration he repetition of consonant so!nds, especiall" at the )eginning of $ords E&le: G=etched fresh, as I s!ppose, o' some s$eet $oodG Hop(ins, GIn the Qalle" of the El$"G (ntagonist - character or force against $hich another character str!ggles Creon is -ntigoneMs antagonist in SophoclesM pla" -ntigoneX eiresias is the antagonist of 9edip!s in SophoclesM 9edip!s the King (side Words spo(en )" an actor directl" to the a!dience, $hich are not GheardG )" the other characters on stage d!ring a pla" In Sha(espeareMs 9thello, Iago %oices his inner tho!ghts a n!m)er of times as GasidesG for the pla"Ms a!dience (ssonance he repetition of similar %o$el so!nds in a sentence or a line of poetr" or prose, as in GI rose and told him of m" $oeG WhitmanMs GWhen I Heard the >earnMd -stronomerG contains assonantal GIMsG in the follo$ing lines: GHo$ soon !nacco!nta)le I )ecame tired and sic(, ; ill rising and gliding o!t I $anderMd o' )" m"selfG &haracter -n imaginar" person that inha)its a literar" $or( >iterar" characters ma" )e ma#or or minor, static /!nchanging1 or d"namic /capa)le of change1 In Sha(espeareMs9thello, Desdemona is a ma#or character, )!t one $ho is static, li(e the minor character *ianca 9thello is a ma#or character $ho is d"namic, e&hi)iting an a)ilit" to change &haracteri6ation he means )" $hich $riters present and re%eal character -ltho!gh techniB!es of characteri@ation are comple&, $riters t"picall" re%eal characters thro!gh their speech, dress, manner, and actions .eaders come to !nderstand the character ?iss Emil" in =a!l(nerMs stor" G- .ose for Emil"G thro!gh $hat she sa"s, ho$ she li%es, and $hat she does Chor!s - gro!p of characters in 5ree( traged" /and in later forms of drama1, $ho comment on the action of a pla" $itho!t participation in it heir leader is the choragos SophoclesM -ntigone and 9edip!s the King )oth contain an e&plicit chor!s $ith a choragos ennessee WilliamsMs 5lass ?enagerie contains a character $ho f!nctions li(e a chor!s &li)a# he t!rning point of the action in the plot of a pla" or stor" he clima& represents the point of greatest tension in the $or( he clima& of ohn Lpdi(eMs G- Y P,G for e&le, occ!rs $hen Samm" B!its his #o) as a cashier &o)ed$ - t"pe of drama in $hich the characters e&perience re%ersals of fort!ne, !s!all" for the )etter In comed", things $or( o!t happil" in the end Comic drama ma" )e either romantic22characteri@ed )" a tone of tolerance and genialit"22or satiric Satiric $or(s o'er a dar(er %ision of h!man nat!re, one that ridic!les h!man foll" Sha$Ms -rms and the ?an is a romantic comed"X Che(ho%Ms ?arriage Proposal is a satiric comed" &o)ic relief he !se of a comic scene to interr!pt a s!ccession of intensel" tragic dramatic moments he comed" of scenes o'ering comic relief t"picall" parallels the tragic action that the scenes interr!pt Comic relief is lac(ing in 5ree( traged", )!t occ!rs reg!larl" in Sha(espeareMs tragedies 9ne e&le is the opening scene of -ct Q of Hamlet, in $hich a gra%edigger )anters $ith Hamlet
3
he Empathic In the empathic tas( "o! are reB!ired to e&plore a speci8c moment thro!gh the e"es of one partic!lar character in a pla" or short stor" -s $ell as sho$ing (no$ledge of the incident concerned, depending on the partic!lar tas( it ma" )e helpf!l if "o! demonstrate some a$areness of $hat has led !p to it 6o!r identi8cation $ith the character might also )e conditioned )" "o!r a$areness of $hat happens to the character later in the pla" or short stor" /if that is appropriate to the tas(1, tho!gh this $ill pro)a)l" not )e referred to speci8call" hro!gh "o!r response, "o! are e&pected to demonstrate detailed (no$ledge of the te&t and the characterX )!t this tas( is not an in%itation merel" to re2tell a stor" -n empathic tas( is designed also to test "o!r !nderstanding and interpretation of a character and that character0s !s!al responses, and $ill ma(e inferences a)o!t $hat s;he might )e thin(ing or feeling a)o!t a partic!lar sit!ation 5ood ans$ers $ill )e conditioned )" an o%erall !nderstanding of the $a" the character )eha%es in the te&t as a $hole
&haracteristics of successful e)%athic tas's •
•
•
•
• •
•
•
Detailed (no$ledge demonstrated )" a $ide range of te&t!al reference or echoes of the te&t - $ell2crafted and s!stained insight into the character at the speci8ed moment he ass!mption of a compellingl" a!thentic %oice and %ie$point for the character - con%incing and informed personal response $hich engages $ith the tas( directl" It $ill )e $ritten in the 8rst person It $ill sho$ a comprehensi%e (no$ledge of the te&t and of the partic!lar character0s role in it, )!t $ill not merel" tell the stor" It $ill con%incingl" interpret the character0s li(el" reactions to a speci8ed e%ent It $ill )e $ritten in a s!ita)le and con%incing st"le
&haracteristics of ea' e)%athic tas's • • •
• • •
Kno$ledge and de%elopment of points s(etch" Kno$ledge of onl" a short part of the te&t sho$n .esponse not rooted in the detail of the te&t too m!ch !nfo!nded creati%it" >ittle or no appreciation of characterisation - %oice lac(ing in a!thenticit" Lncertaint" a)o!t the moment speci8ed
.oice
3+
Pro)a)l" the most diVc!lt aspect of the tas( to tac(le, the degree of s!ccess in creation of a %oice $ill demonstrate the degree to $hich "o! ha%e engaged $ith the character and responded to the literar" B!alities of the $or( he st"le adopted m!st )e s!ita)le to the character In a Sha(espeare te&t, for e&le, it $o!ld )e inappropriate for an aristocratic character to spea( in o%er2colloB!ial lang!age, or for one of the 7lo$er0 characters to spea( in a partic!larl" re8ned $a" /*!t candidates are ne%er e&pected to tr" to reprod!ce 7Sha(espearian0 English, for e&le1 ho!gh it is not generall" appropriate to B!ote directl" from the te&t in in%erted commas in ans$ering a tas( of this sort, ans$ers are li(el" to )e enhanced )" the !se of partic!lar t!rns of phrase normall" !sed )" the character -n empathic tas( $ill !s!all" )e $ritten to a form!la as follo$s: •
•
•
•
•
•
•
•
•
•
•
6o! are Tcharacter &U loo(ing )ac( o%er "o!r e&periences at TOU Write "o!r tho!ghts 6o! are Tcharacter &U #!st after "o! ha%e paid a %isit to Tcharacters " and @U Write "o!r tho!ghts -t the end of the pla" $e are told that TOU Imagine "o! are Tcharacter &U and ha%e )een as(ed a)o!t this )" Tcharacter "U What do "o! sa" to him 6o! are Tcharacter &U $aiting to meet Tcharacter "U for the 8rst time Write a)o!t $hat "o! are thin(ing 6o! are Tcharacter &U at the end of the stor", #!st after Te%ent @U has happened Write "o!r reactions 6o! are Tcharacter &U at the end of Scene , and are $riting "o!r report to Tcharacter "U on $hat has happened and ho$ "o! feel a)o!t it Write the report 6o! are Tcharacter &U at the end of Scene 3, #!st after Tcharacter "U has left the stage Write "o!r tho!ghts 6o! are Tcharacter &U o%erhearing Tcharacter "U0s speech to the others a)o!t "o! Write "o!r tho!ghts 6o! are Tcharacter &U at point in the stor" $hen Te%entU, and are $riting the letter to Tcharacter "U in $hich "o! comment on TincidentU Write "o!r letter 6o! are Tcharacter &U after ha%ing )een instr!cted to TOU Write "o!r tho!ghts =or more speci8c tas(s see "o!r teacher or the M+A Stories of 9!rsel%es St!d" 5!ide for St!dentsM
•
':e!plar 4Ro!eo and ?uliet8
You are "$balt just after $our uncle ,ord &a%ulet has ordered $ou to behave $ourself at the ball and leave the disguised Ro)eo alone4 Write $our thoughts4
3
!st one so!nd of his %oice and I (ne$ he $as a ?ontag!e 6es, that %illain, sla%e, $retched )o": .omeo I cannot )elie%e m" !ncle called him a 7gentleman0 -nd that people here, in Qerona thin( of him as a $ell )eha%ed and good2 mannered )o" He does not deser%e that respect Ho$ dare he come to o!r part" !nin%ited With that mas( on, he act!all" tho!ght I $o!ld not recognise him I can smell a ?ontag!e from a mile a$a" -nd if it $as not for m" !ncle, I $o!ld ha%e (illed him then and there I do not thin( (illing him is a sin Instead it is m" d!t" He came to moc( o!r cele)rations herefore it is dishono!ra)le for me to #!st let him go I do not !nderstand $h" m" Lncle does not agree $ith me -m I the onl" one $ho sees thro!gh all this It does not matter $hether he ma(es tro!)le or not d!ring the feast His mere prescence alread" sho$ed his contempt He $as la!ghing at !s He $as r!ining o!r great name 7Cap!let0 I don0t (no$ ho$ m" Lncle fo!nd this tolera)le, $hile I $as #!st a)o!t to e&plode $ith anger -ll I $anted to do $as to 8ght o' the shame .omeo $as p!tting !pon or ho!sehold )!t instead m" !ncle called me insolent ?" Lncle, so )linded )" the cele)rations $as !na)le to see $hat $as right and $rong -nd e%en no$, I am sha(ing to hold all the f!r" and rage $ithin me I $ill let this anger acc!m!late $ithin m" )od" I $ill car%e it into m" heart I might ha%e let him go this time )!t ne&t time, I promise, he $ill not )e allo$ed to $al( a$a" $ith s!ch ease He $ill regret I $ill ma(e him pa" for the shame he has )ro!ght to o!r ho!sehold
&o))entar$ he candidate ass!mes an appropriate %oice and $ea%es echoes of the te&t into the ans$er: for e&le, 7that %illain, sla%e, $retched )o"0 and 7I do not thin( (illing him is a sin0 She sho$s good (no$ledge and !nderstanding of the character: for e&le, his sense of isolation in )eing the onl" one to o)#ect to .omeo, his o)session $ith famil" hono!r, and his rage )oth at .omeo and at the in#!stice of Cap!let0s re)!(e It is a %er" competent and conscientio!s ans$er, tho!gh lac(s the e&tra degree of s!)tlet" and insight, and sophistication of st"le that a top ans$er $o!ld sho$ ?ar(: *and
':e!plar >
You are "$balt just after $our uncle ,ord &a%ulet has ordered $ou to behave $ourself at the ball and leave the disguised Ro)eo alone4 Write $our thoughts4 He shall )e end!red I shall not end!re a %illain s!ch as he, .omeo, a ?ontag!e He has made a moc(er" of the ho!se of Cap!let, attending o!r feast as tho!gh he $as in%ited, as tho!gh he )elonged I shall t!rn on
33
.omeo as he made m" !ncle t!rn on me Ho$ )lind m" !ncle is, to not see this foe p!rposel" comes here to scorn at o!r solemnit" Ho$ sic( it ma(es me, to hear that Qerona )rags of him He is a ?ontag!e, of no more $orth than a dog, in the street ?" s(in cra$ls #!st loo(ing at him ?" hand "earns for m" rapier If I had it here it $o!ld )e )!t a moment )ef ore I dro%e it deep into his heart and str!c( him dead .omeo is follo$ed $ith the name of ?ontag!e and ne%er )efore ha%e $e not dra$n o!r longs$ords and rapiers to 8ght someone of that ho!se ?" !ncle does not reali@e that in fact, he onl" ma(es a fool of himself and of !s, the more $orth" Cap!lets I cannot tolerate this ins!lt to m" name .omeo has soiled o!r nameX and onl" !nder the protection of m" !ncle does he li%e right at this moment .omeo is a %illain - shamef!l %illain, If I cannot ma(e a m!tin" among these g!ests, then I $ill ma(e one on the street O a challenge he co$ard sho!ld hide $ith shame if he does not accept o the ho!se of dogs I $ill send a letter =or life or death he m!st 8ght and I $ill ma(e s!re it is death he chooses I feel m"self sha(ing $ith anger .omeo is to )lame *" m" life he $ill accept m" challenge I am no princo&, no goodman )o" I am ")alt, Prince of Cats and I shall ne%er stop li%ing !p to this name With $hat little patience I ha%e, I $ill $ait for this re%enge .omeo $ill pa" for his ins!lt $ith his life, it0s a certaint" that I s$ear on the name and ho!se of Cap!let
&o))entar$ he ans$er )egins %er" strongl", $ith a direct echo of the te&t: 7He shall )e end!red0, and later 7this foe p!rposel" comes here to scorn at o!r solemnit"0 he candidate is integrating the act!al lang!age of the pla" seamlessl" into the monolog!e he strength of feeling attri)!ted to ")alt is con%incing and the lang!age s!ita)l" %iolent he ideas are $ell de%eloped and there is a sense of ")alt $or(ing thro!gh his intention to e&act re%enge here are also all!sions to earlier e%ents s!ch as the confrontation $ith ?erc!tio: 7I am no princo&, no goodman )o"0, $hich are made to contri)!te to the strength of his feelings to$ards .omeo he ans$er $as #!dged to e&hi)it all the characteristics of a top )and ans$er ?ar(: *and +
'!pathic Assess!ent &r iteria
*and + *and *and 3
h
s!stains an entirel" con%incing %oice
+ + +
sho$s a detailed appreciation of character rooted in the te&t, and s!stains an engagingl" con%incing %oice sho$s a clear !nderstanding of character rooted in the te&t and s!stains a largel" a!thentic %oice
34
*and 4
*and A *and *and *and
+ + +A +4 +3 + ++ + A 4 3
sho$s !nderstanding of character and te&t, incl!ding some of the deeper implications and !ses s!ita)le feat!res of e&pression sho$s some !nderstanding of character and te&t and )egins to ass!me a %oice appropriate to the character sho$s a )asic !nderstanding of character and te&t
sho$s a fe$ signs of !nderstanding of characters0 tho!ghts or feelings sho$s limited !nderstanding of characters0 tho!ghts or feelings No ans$er ; Ins!Vcient to meet the criteria for *and
3A
Passage )ased;!nseen response his form of $riting is %er" similar to a critical essa" )!t the foc!s is on detailed anal"sis of an e&tract from the te&t or a poem, and "o! $ill need to practice timed $riting World >iterat!re E&am Paper /Lnseen1
e&t Prose e&tract or poem
ime + ho!r +A min!tes
Paper 3 /Set e&t1
S3: E&tract from a no%el /*al@ac and the >ittle Chinese Seamstress1 or a poem /Songs of 9!rsel%es1 S4: E&tract from a no%el /*al@ac and the >ittle Chinese Seamstress1 or a short stor" /Stories of 9!rsel%es1
4A min!tes
%nseen
"i)ing 3 min!tes reading the B!estion and deconstr!cting it + mins reading and annotating the passage AA min!tes $riting essa" • • •
It is e&tremel" !sef!l to address the )!llet points )eca!se these are the (e" areas for e&planation -s( "o!r teacher for some past papers and e&emplars Tips on tacling the passaged ased questions in Paper @
*efore "o! start, chec( the foc!s of the B!estion/s1, then highlight or !nderline rele%ant details /$ords;phrases, rather than )ig ch!n(s1 co%ering (e" rele%ant parts of the e&tract It0s !sef!l to as( "o!rself $h" this partic!lar e&tract has )een chosen: it ma" )e a t!rning point in the stor", or it ma" re%eal something ne$ or signi8cant a)o!t a character, for e&le his co!ld )e a starting point for "o!r ans$er hen, esta)lish an o%er%ie$, s!mming !p $hat "o! $ill sa" in the rest of "o!r ans$er, clearl" addressing the B!estion =oc!s is reall" important here 6o! need to position "o!rself and ma(e clear $hat "o!r point of %ie$ is: as long as "o! )ac( !p $hat "o! sa" $ith e%idence from the te&t, "o!r interpretation is li(el" to )e %alid
3
*e speci8c for e&le, if the B!estion is a)o!t ho$ the $riter creates mood and atmosphere, sa" straight a$a" $hat the mood and atmosphere is, or if it is a)o!t a character, ma(e a clear point a)o!t the character in B!estion ac(le the (e" areas of the e&tract, selecting and highlighting detail D9N0 =9.5E HE FLESI9N ?a(e s!re "o! go right to the end of the e&tract there $ill )e a good reason $h" it starts and ends $here it does If it0s rele%ant, "o! ma" ma(e )rief reference to other parts of the te&t 2 to p!t the e&tract in conte&t )!t "o!r main concern is the e&tract Don0t, $hate%er "o! do, treat the e&tract as an !nseen /it ma(es the reader $onder $h" the" are there1 Don0t get so ca!ght !p )" anal"sing the detail that "o! neglect the content $hat is act!all" going on in the e&tract .E?E?*E. H- E-CH P-SS-5E *-SED FLESI9N SH9L>D -KE 69L -*9L 4A ?INLES 9 C9?P>EE ':e!plar 4Ani!al #ar!8
+o does Orell8s riting here vividl$ conve$ the relationshi% beteen the %igs and the other ani)als* Re)e)ber to su%%ort $our ideas ith details fro) the stor$4 9r$ell demonstrates in this passage that the pigs ha%e no$ ass!med complete control o%er the other animals his is done mainl" thro!gh their s!perior intellect )!t also in other $a"s =irstl", he sho$s this )" al$a"s incl!ding an element of do!)t in the other animals0 minds =or e&le, it states that Clo%er tho!ght she co!ld remem)er as opposed to: she co!ld remem)er his demonstrates that she B!estions her o$n mind and is therefore eas" to manip!late It is this !ncertaint" that the pigs !se to )end them to their $ill -s Clo%er is !na)le to concl!si%el" demonstrate that she is correct, the pigs ha%e the ad%antage herefore this is 9r$ell0s $a" of sho$ing that the pigs can re2 $rite e%ents to s!it themsel%es, as the" ha%e done here $ith the =o!rth Commandment Perhaps a more re%ealing insight into their relationship is gi%en )" the clear di'erences in intelligence =or e&le, 9r$ell #!&taposes the pigs0 )rains against the fact that the animals are !na)le to read his ill!strates the fact that the" are intellect!al opposites and that this ca!ses the pigs to ass!me the position of the r!ling class 9r$ell also sho$s that the pigs0 s!perior intelligence means that the" can manip!late the animals $itho!t them )eing a$are of it =or e&le, SB!ealer still referring to them as comrades, the ill!sion is gi%en that the" are still eB!al Ho$e%er, this is clearl" far from )eing tr!e herefore 9r$ell is sho$ing the ease $ith $hich intellect!als can manip!late those less intelligent than themsel%es
3
9r$ell adds to this )" pointing o!t that e%en ?!riel, $ho $e (no$ is a)le to read to an e&tent, can onl" read $ith some diVc!lt" his sho$s that e%en the more intelligent animals are far less so than the pigs his cements the a!thorit" of the pigs and helps 9r$ell con%e" their t"rannical r!le 9r$ell also points o!t ho$ Napoleon0s a!thorit" means the pigs0 r!le cannot )e challenged he fact that he has a title ma(es him appear more prestigio!s and therefore harder to oppose he !se of the name >eader to descri)e him also helps )rain$ash the other animals into )elie%ing the" m!st s!pport him herefore it ma(es them more s!)missi%e Napoleon0s a!thorit" is f!rther emphasised )" his s!pport from *o&er *o&er0s slogans are incredi)l" dangero!s and )" sa"ing this is the !s!al $a" in $hich he reacts, 9r$ell sho$s the reader that *o&er $ill ne%er B!estion Napoleon his is s!pported )" the !se of the $ord al$a"s in Napoleon is al$a"s right, as this sho$s a constant ref!sal to challenge him herefore 9r$ell sho$s *o&er0s )lind acceptance of the pigs0 a!thorit" Whilst *o&er is onl" one animal, his lac( of action is highl" rele%ant 9r$ell has ta(en care to introd!ce him earl" as the admiration of e%er"one and enormo!s Hence, he co!ld easil" incite a re)ellion sho!ld he choose to Ho$e%er, as he dismisses all of Napoleon0s fa!lts, this helps ens!re the pigs0 total domination of the animals -nother $a" 9r$ell sho$s the relationship is thro!gh the lang!age emplo"ed )" SB!ealer SB!ealer is clearl" the most capa)le tal(er and the reader has )een informed pre%io!sl" that he can t!rn )lac( into $hite herefore his a)ilit" to manip!late the animals is clear *" !sing man" rhetorical B!estions, s!ch as -nd $h" not, SB!ealer challenges the animals and reminds them of their inferior stat!s D!e to their afore2 mentioned minimal intelligence, the animals cannot arg!e )ac( 9r$ell here !ses SB!ealer to sho$ ho$ comple& lang!age can conf!se others into s!)mission SB!ealer !ses $ords s!ch as repose $hich are almost certainl" !n(no$n to the other animals his forces them to recognise the pigs as cle%erer than them and therefore pre%ents them from retaliating herefore 9r$ell sho$s ho$ manip!lation of lang!age gains the pigs a!thorit" SB!ealer also stops an" dissent completel" )" reminding them of the common enem": ones hro!gh doing this he is !niting them all and threatening them $ith the one thing the" dread most -s this arg!ment is !sed to #!stif" all the pigs0 actions, the reader is a$are of its a)s!rdit" herefore, 9r$ell is sho$ing ho$ threats can )e !sed o%er and o%er to s!)d!e arg!ments 9r$ell also sho$s %er" s!)tl" that the pigs are still !sing force to control the farm SB!ealer is attended )" O dogs, $hich sho$s that he has protection he dogs are clearl" an allegor" for the arm" herefore 9r$ell is sho$ing the reader that the pigs are maintaining po$er )" instilling fear in the animals his is an e'ecti%e method as the dogs are initiall" !sed to dri%e o!t Sno$)all herefore, animals $ill )e intimidated )" them and )e o)edient to the pigs
3
In concl!sion, 9r$ell has sho$n that the pigs dominate the farm thro!gh consistent manip!lation of the other animals *" eliminating an" possi)ilit" of the animals challenging their r!le, the pigs ha%e e'ecti%el" s!)d!ed their opposition 9r$ell sho$s this thro!gh comparing their intelligenceX he creates a terrif"ing relationship
&O55E9"(RY his response co%ers all the )ases It foc!ses closel" on the B!estion and some points sho$ sophisticated critical perceptionX for e&le, the disc!ssion of *o&er0s faith in Napoleon and conseB!ent remo%al as a threat to the pigs0 dictatorship -spects of 9r$ell0s lang!age are sensiti%el" considered - top *and + response The assessment criteria is the same as for the critical essa" on page U
3
9arrative =or I5CSE p!rposes, follo$ these r!les /=or "o!r o$n $riting there are no r!les1: Word length: 3A24A $ords See MStories of 9!rsel%es St!d" 5!ide for St!dentsM for more detailed ad%ice his tas( tests $riting assessment o)#ecti%es W+ to WA W+ artic!late e&perience and e&press $hat is tho!ght, felt and imagined W seB!ence facts, ideas and opinions W3 !se a range of appropriate %oca)!lar" W4 !se register appropriate to a!dience and conte&t WA ma(e acc!rate !se of spelling, p!nct!ation and grammar
*and +
++2+3
*and
2+
*and 3
2
*and 4
A2
5eneral Criteria W+: Content is comple&, sophisticated and realistic W: 9%erall str!ct!re is sec!re and the constit!ent parts $ell )alanced and caref!ll" managed W+: Content de%elops some interesting and realistic feat!res in parts of the $riting W: Writing is orderl", and )eginnings and endings are satisfactoril" managed W+: Content is straightfor$ard $ith ideas, feat!res and images that satisfactoril" address the tas(X some opport!nities for de%elopment are ta(en W: 9%erall str!ct!re is competent and some sentences are $ell seB!enced W+: Content consists of rele%ant ideas that are )rie<" de%eloped W: 9%erall str!ct!re is easil" follo$ed, tho!gh some constit!ent parts are
Speci8c criteria 2 narrati%e he plot is con%incing $ith elements of 8ction s!ch as description, characterisation and clima&, and $ith cogent detail he plot incorporates some interesting feat!res, )!t not consistentl" so: the reader ma" )e a$are of the creation of s!spense and a sense of clima& he plot is straightfor$ard and cohesi%e $ith some identi8cation of feat!res s!ch as character and setting
.ecording of rele%ant )!t sometimes !nrealistic e%ents o!t$eighs other desira)le elements of narrati%e 8ction
*and A
324
*and
+2
*and
too long or too short to )e e'ecti%e W+: Content is simple, and the presentation of ideas and e%ents ma" onl" )e partiall" credi)le W: 9%erall str!ct!re is recognisa)le, tho!gh paragraphing is inconsistent and seB!ences of sentences insec!re W+: Content is inconsistent in rele%ance, interest and clarit" W: Str!ct!re is freB!entl" !nclear, re%ealing a limited grasp of p!rpose W+: Content is rarel" rele%ant and there is little material W: he str!ct!re is disorderl"
Content and Str!ct!re
he plot is a simple narrati%e that ma" consist of e%ents that are onl" partiall" credi)le or $hich are presented $ith partial clarit"
he plot lac(s coherence and narrates e%ents indiscriminatel"
he plot is hard to follo$ and is onl" partiall" rele%ant
St"le and -cc!rac" *and +
++2+
*and
2+
*and 3
2
*and 4
A2
*and A
324
*and
+2
*and
Writing is consistent, st"listicall" ang!age pro8cienc" is lac(ingX incorrect sentencesX m!ltiple errors of spelling, p!nct!ation and grammar
':e!plar
?!d Deep, thic( m!d It s!rro!nded me, it sti
his is a po$erf!l response as it e%o(es the sense of )eing trapped in )oth a ph"sical and emotional $a" as the soldier hears the enem" coming, "et desires to escape from the horrors s!rro!nding him -ltho!gh it has a narrati%e str!ct!re, there is a strong descripti%e foc!s thro!gho!t he details are immediate and po$erf!l at times, s!ch as 7fear cl!ng to me li(e a $eeping child0 and the 7deep )ar(s of soldiers e%er"$here0 he clima& is e&tremel" $ell handled and $or(s $ell as a release from the )!ild !p of tension and horri8c s!rro!ndings he sense of a!dience is strong thro!gho!t, altho!gh in a )id to (eep a contin!!m of detail and emotion, there are a co!ple of instances of sentence control errors ?ar(: + /content and str!ct!re1 Z + /st"le and acc!rac"1 *and + ':e!plar >
-s the" loo(ed in the mirror the" $ere ama@ed to 8nd t$o completel" di'erent people smiling )ac( at them he genetic alteration had $or(ed perfectl" on the t$o fresh2faced recr!its, changing their DN- to that $hich $as deemed s!ita)le )" the H!man -rm" heir smiles $ore o' as B!ic(l" as the anaesthetic did, and )oth men no$ realised $hat the" had )ecome no longer indi%id!als, )!t templates, onl" recognisa)le as di'erent )" the di'ering n!m)ers )randed !pon their sho!lders Pri%ate *+ $as still feeling the after2e'ects of the treatment as he $as carted into the ad#acent room and his ser%ice !niform $as )eing 8tted ro!ghl" onto him His mind $andered to the past, to a time )efore his name $as a letter follo$ed )" three n!m)ers, to a time $hen he $as Harr" Elson, a farmer )ac( on his home$orld he da" $as hot and la@", and his )ea!tif!l, fair2haired $ife $as )ec(oning him inside from the )right "ello$ corn8eld as the golden2 orange s!n faded in the s(" He remem)ered a helicopter, and a militar"2loo(ing man greeting him Something a)o!t a $ar against a race from far a$a", something a)o!t inter%ening after a ne!tral planet had )een in%aded, something a)o!t doing his d!t" E%er"thing after that )l!rred and mi&ed together in a s$irl of colo!r Pri%ate *+ $o(e !p from his da"dream to 8nd himself gripping a com)at ri
-fter a )rief pa!se, the order came Drop he helicopter side2door $as i(e the retreating tide, Harr" slo$l" lost conscio!sness and another n!m)er B!ietl" faded a$a" Commentar" his is an e&cellent piece of $riting and an e&le of a 8rst class narrati%e completed !nder e&am conditions he initial B!otation )lends in )ea!tif!ll" to a f!t!ristic setting in $hich men ha%e )ecome 7templates, onl" recognisa)le as di'erent )" the di'ering n!m)ers )randed !pon their sho!lders0 .eferring to 7a stream of red on his arm0 and 78ring )lindl" at dim spec(s0 e'ortlessl" !nderlines the fact that the soldier, and the others, do not recognise $hat the" are doing as the" are no$ non2h!man =lash)ac( is )ea!tif!ll" handled and is !sed again as a str!ct!ral de%ice to )ring the d"ing 7ro)ot0 soldier )ac( to a happier, h!man time and pro%ide an e&cellent, $ell tho!ght o!t ending he $riting is sophisticated, cle%er and %irt!all" error free ?ar(: +3 /content and str!ct!re1 Z + /st"le and acc!rac"1 *and +
Descri%tive =or I5CSE p!rposes, follo$ these r!les /=or "o!r o$n $riting there are no r!les1: =oc!s on a place or a moment in time
Write in the present tense Lse as man" senses as possi)le and appropriate Lse imager" 2 metaphor, simile and personi8cation No dialog!e =oc!s on interesting %er)s, ad#ecti%es and ad%er)s Change of foc!s )!t not change of time /%er" short time span of min!tes1 Create an atmosphere thro!gh $ell chosen and appropriate diction No
- School l!nch hall Condensation slides its $a" do$n the $indo$, lea%ing )ehind it a ri))on of smooth, m!r(" dar(ness he sheer s!'ocating heat and h!midit" inside s!ggests the n!m)er of drenched )odies see(ing ref!ge from the relentless onsla!ght of rain In one corner, a single teacher loses the )attle to restrain a gro!p of sho!ting children and is s$amped in a $a%e of !niformed )odies *!@@ing $ith anticipation, their instincts triggered )" the promise of food, the mass of children charges past him into the canteen Dragging )ac( some small meas!re of control, he 8nall" manages to stem the
is !nited in hilarit", all eagerl" scanning the three2h!ndred or more people for the g!ilt" part" he c!lprit /a min!te, "ear se%en )o"1 stands ne&t to the o'ending pile of )ro(en china and, as se%eral of the older st!dents )egin to $hoop, proceeds to
Other te#t t$%es
Word length: A23A $ords /=or I5CSE e&am p!rposes, not "o!r o$n $riting1
!or)al ,etter
E&emplar /see =>E Paper !ne 1 Dear ?r and ?rs Do"le, I recentl" spent a fe$ nights at "o!r hotel, the 7Shamroc( Hotel0 and I m!st confess that I fo!nd m" time there e&tremel" en#o"a)le I $as !ne&pectedl" charmed )" the !niB!e and indi%id!al atmosphere in the hotel, right from its eccentric )!t $elcoming appearance to the li%liness created )" the n!mero!s animals there It $as, $hat I thin( e%er"one $o!ld consider, a m!ch2needed de%iation from the norm of )oring, formal hotels I $as partic!larl" ta(en )" the great shingle roof, littered $ith odd trin(ets and )its and pieces
=!rthermore I feel it m" d!t" to commend "o! on li%ing !p to the sign on "o!r front door, $hich o'ers accommodation to )oth man and )east at lo$est rates Not onl" $as m" sta" fantasticall" ine&pensi%e, )!t I thoro!ghl" en#o"ed the presence of the %ario!s animals and the familiar sight of the fo$l in p!rs!it of grasshoppers in front of the )ar door, or the goat that stood )" the tro!gh, ne%er failed to )ring a smile to m" face, not to mention the mother hen and her precio!s chic(s, nested near the co!ch Indeed, I recall e&periencing a profo!nd connection to nat!re, one that is not so easil" fo!nd in the other hotels of the state his $as not onl" d!e to the interiors of the hotel, )!rsting $ith animal and h!man life, )!t also )eca!se of its tranB!il and secl!ded location -ltho!gh con%enientl" close to *allarat it still managed to retain an atmosphere of calm and B!iet $hich pro%ided an escape from the constant h!stle and )!stle of e%er"da" life I $ill also carr" $ith me al$a"s, fond memories of the interesting fol(, the li(es of $hich I ha%e ne%er seen )efore, farmers from far a$a" and the li(e -nd not to forget o!r charming landlord Do"le o see him am)ling a)o!t in his good nat!red manner and a pair of stin(ing tro!sers, hand2made for him )" his $ife, reall" added a to!ch of h!mo!r to m" da" and I than( "o! for that I m!st also than( "o! again and commend "o! on the tr!l" one2of2a2 (ind ser%ice "o! pro%ided it is one that an" tra%eller, $ho $ishes to e&perience the #o"s of an !ncon%entional atmosphere li(e that of the 7Shamroc( Hotel0 m!st tr" o!t 6o!rs sincerel", Content: + WritingX 4 5rade: -] he $riting in B!estion + $as pleasantl" enco!raging in a formal letter to ?r and ?rs Do"le he co!rteo!s, appreciati%e tone to the letter $as maintained thro!gho!t and nicel" echoed the eccentricit" of the hotel and its o$ners he opening $as )rief, )!t the conte&t $as B!ic(l" esta)lished as that of a single person passing )", not a famil" on an ann!al holida" he st"le hardl" crea(ed at all, and the letter comforta)l" assimilated details in three main areas the )!ildings, the animals and the people #or!al )etter Structure
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9pening
/-ddress "o!r letter to Dear Z the name or #o) title of the person "o! ha%e )een as(ed to $rite to, then start a ne$ line for the opening paragraph N* -ltho!gh it is good practice to teach and e&pect st!dents to p!t dates and addresses on formal letters, and to sign them appropriatel", these are not reB!ired and not re$arded in the e&am1
Paragraph +: Introd!ction
/Wh" are "o! $riting 5i%e the general aim and minim!m information onl", eg to complain, appl", reB!est, disagree, and an indication of $hat "o! are responding to eg a recent holida" or a letter in last $ee(0s ne$spaper1
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Paragraph : Details of sit!ation
/5i%e pre%io!s histor" of e%ent or "o!r )ac(gro!nd or e&perience Sa" $hat happened e&actl" if "o! are ma(ing a complaint, or foc!s directl" on the te&t "o! are arg!ing $ith his section sho!ld incl!de speci8c data s!ch as names, dates, facts and details1
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Paragraph 3: =!rther de%elopment
/5i%e f!rther s!pport to "o!r claim or reB!est S!mmarise the c!rrent sit!ation and $h" "o! sho!ld )e gi%en consideration eg other pro)lems $hich occ!red $ith "o!r holida" accommodation, ho$ $ell "o! f!l8l the #o) reB!irements1
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=inal paragraph: =!t!re action
/Sa" $hat "o! $ish to happen ne&t eg that "o! loo( for$ard to )eing called for inter%ie$ or e&pect to recei%e some compensation as soon as possi)le S!ggest, 8rml" )!t politel", $hat ma" happen if "o! do not recei%e a response to a complaint1
e&emplar /see A -!nt Pegg1 Dear Parents, -fter recei%ing the in%ite, I cannot descri)e to "o! ho$ %er" pri%ilidged I felt to 8nall" ha%e the opport!nit" of spending some %al!a)le time $ith "o!r children Ho$e%er, $hen I arri%ed at "o!r home I immediatel" realised the enormit" of the tas( It is a goo) #o) I $as prepared for this, other$ise I $o!ld hate to thin( ho$ %er" di'erentl" "o!r children $o!ld ha%e )eha%ed thro!gho!t the $ee( I do not !nderstand $h" children of this age $o!ld $ant to treat each other so )adl" I ha%e to admit, I had some tro!)le on the 8rst da" stopping them from 8ghting $ith each other, or gra))ing one another I soon fo!nd the sol!tion to this pro)lem, as I al$a"s do he (e" to pre%enting them from harming each other $as to promote team$or(, and I $as a)le to do this )" (eeping them )!s" and occ!pied at all times We all (no$ ho$ m!ch ho!se$or( there is to do, so from da" one I reB!ested all hands on dec( and I $as %er" pleasantl" s!rprised to see them all get on $ith the $or(, $itho!t a single complaint he" $ere a tremendo!s help $hen it came to coo(ing and cleaning he" )ecame so foc!sed and concentrated on $hat the" $ere doing, it $as almost as if the" had lost the a)ilit" to comm!nicate $ith each other I also )elie%e that the" )ene8tted greatl" from the ed!cational programme I introd!ced altho!gh on one occasion the" did plan a great escape, )!t again I $as e&pecting something li(e this to happen and $as a)le to deal $ith it I am delighted to sa" that as the $ee( progressed, the children )ecame less %iolent to$ards each other and )ecame more a$are of their tas(s and ho$ to approach them I $as fort!nate eno!gh to see signi8cant impro%ements in the form of the coo(ing, the cleaning and their treatment of each other and also of me It seems as tho!gh the" realised that m" e&pectations $ere simpl" going to )e )ene8cial to them and the" accepted this gracef!ll" Ho$e%er, I am slightl" disappointed in "o! as parents as I feel that the" are treated $ith too m!ch respect and not eno!gh discipline If it $asn0t for m" $atchf!l e"e, $ho (no$s $here the" co!ld ha%e disappeared o' to, on o!r trip to to$n his coming $ee( I plan to catch !p on all of the ho!se$or( I $as !na)le to compete this last $ee( here is a ho!se to clean, a garden to (eep in tact and animals to feed I also plan to pa" "o! a %isit, and see ho$ the children are getting on
6o!rs sincerel", -!nt Pegg
he letter de%elops ideas relating to the 8rst t$o )!lletsX the third section is $ea(er, ho$e%er, )eing )rief and %ag!e, and there is little reference thro!gho!t to speci8c detail he B!alit" of the $riting is high: it is
9es Re%ort
Ne$s .eport Str!ct!re Headline +
Ne$s E%ent
/What When Where Who1
*ac(gro!nd
/Wh" pre%io!s histor", lead2!p to this e%ent, ca!ses1
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.eport of act!al ne$s e%ent
/detailed acco!nt of $hat happened and $hat is still happening1
S!)2Heading /short phrase, B!otationX optional1
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F!otations
/participants, $itnesses, police, hospital etc1
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=!t!re
/conseB!ences, in%estigations, predictions1
!or)al Re%ort
=ormal .eport Str!ct!re +
E&planation of sit!ation
/5i%e some indication of $hat "o! are reporting on and $hat the circ!mstances are: it co!ld )e presenting 8ndings to a committee after e%al!ation options, gi%ing a $itness acco!nt of an e%ent, gi%ing e%idence after monitoring a process eg a st!dent on a $ee(0s $or( e&perience he person rece%ing the report is someone in a!thorit" in an oVcial position, and the st"le m!st re
=irst phase or aspect of report
/.eports of an e%ent, s!ch as a school trip, ha%e a chronological str!ct!reX others loo( in t!rn at se%eral aspects of a proposition or se%eral candidates for a #o) or a$ard hese phases sho!ld )e treated in separate paragraphs to sho$ the change in time or topic If e%al!ating people or %en!es, for instance, it $o!ld )e logical to start $ith the least recommended1
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Second phase or aspect of report
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hird phase or aspect of report
/It $o!ld )e logical to mention last the aspect $hich is most important or memora)le, or the thing;person $hich one has decided to gi%e the decision in fa%o!r of or highest recommendation for1
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Concl!sion
/he 8nal paragraph of a report $ill ma(e an o%erall e%al!ation of s!ita)ilit" or $eigh !p the 8nal )alance of ad%antages and disad%antages of a proposition eg 7Despite occasional lapses, the st!dent o%erall sho$ed great diligence in the $or(place and aptit!de for the profession, and $e $ere pleased $ith his general attit!de and the progress he made d!ring the co!rse of his $ee( in
o!r 8rm0X 7-ltho!gh there ha%e )een man" school trips o%er the last fe$ "ears, it $as !nanimo!sl" agreed that this $as the )est )eca!se of the attracti%eness of the destination and the remar(a)le team spirit amongst the gro!p01
5aga6ine (rticle
TInsert pdfU
Dialogue3Intervie
E&emplar Headteacher: >ets consider $hat these st!dents ha%e said I m!st let the 5C (no$ toda" $hich 8nalist $e ha%e chosen I am sorr" to ha%e left it so late )!t I ha%e )een e&tremel" )!s", "o! m!st forgi%e me: Dep!t": 9f co!rse Headteacher, and I am also f!ll" a$are of "o!r dilema, there reall" is some sti' competition this "ear and of co!rse onl" one can )e chosen Head: 6es it0s s!ch a shame So an"$a", onto o!r 8nalists I m!st sa" Didier has reall" impressed me, he loo(s strong and athletic and is of co!rse %er" pop!lar $ith the other )o"s, )eing foot)all captain "o! (no$ -nd loo( here he sa"s he has alread" )een part of an acti%it" gro!p for )o"s, lighting 8res and 8shing for food and shelter )!ilding, all %er" important criterea from the 5C lea