PAPER 1 QUESTION 1 HOW LONG SHOULD YOU

PAPER 1 QUESTION 1 HOW LONG SHOULD YOU SPEND ON THE QUESTION? 5 MINUTES Read the question Read from the specific lines set You can directly quote OR paraphrase Write in full sentences Make sure that you are answering the question ANSWER THIS QUESTION BEFORE YOU READ THE WHOLE OF THE SOURCE

Q 1 HIGHLIGHT THE IMPORTANT PARTS OF THE QUESTION FIRST Draw round the right lines on the paper

PAPER 1 QUESTION 1 – ‘A Hanging’ – George Orwell 5 mins We set out for the gallows. Two wardens marched on either side of the prisoner, with their rifles at the slope; two others marched close against him, gripping him by arm and shoulder, as though at once pushing and supporting him. The rest of us, magistrates and the like, followed behind. Suddenly, when we had gone ten yards, the procession stopped short without any order or warning. List four things about the people walking to the gallows. 4 marks 1. 2. 3. 4.

PAPER 1 QUESTION 1 – Mark yourself We set out for the gallows. Two wardens marched on either side of the prisoner, with their rifles at the slope; two others marched close against him, gripping him by arm and shoulder, as though at once pushing and supporting him. The rest of us, magistrates and the like, followed behind. Suddenly, when we had gone ten yards, the procession stopped short without any order or warning. Award yourself 4 marks for any of the following: 1. Some of them were armed 2. One of them is a prisoner 3. Some of them were wardens 4. The procession stopped suddenly 5. The prisoner is being physically restrained. 6. Some of them were magistrates 7. They walked for 10 yards before stopping

BEFORE YOU READ THE SOURCE, READ THROUGH EACH QUESTION AND PLAN Q 2 Q 3 Q 4

ANNOTATE THE SOURCES AND ADD TO PLAN AS YOU READ QUESTION 4 SECTION IS MADE CLEAR STRUCTURE FOCUS FOR EACH PARAGRAPH

PAPER 1 QUESTION 2 HOW LONG SHOULD YOU SPEND ON THE QUESTION? 10 MINUTES READ THE QUESTION • Make sure that you only focus on the section you have been asked to. • Go through and find as many things as you can. • Pick your strongest THREE to take forward (if you have nothing to say about why the writer used it, don’t put it in your answer) – be judicious, ‘zoom in’ on words to analyse. • Do not just identify the technique eg a simile you must identify the effect it has. • The bullet points do not equate to marks- you do not have to find a point for each. • ALWAYS THINK ABOUT THE WHY –WHY HAS THE WRITER CHOSEN TO USE THAT LANGUAGE?

Q 2 HIGHLIGHT THE IMPORTANT PARTS OF THE QUESTION FIRST. ANNOTATE THE EXTRACT WITH YOUR IDEAS

THE HOUND OF THE BASKERVILLES – ARTHUR CONAN DOYLE How does the writer use language here to describe the fog? You could include the writer’s choice of: • words and phrases • language features and techniques • sentence forms. 8 marks I have said that over the great Grimpen Mire there hung a dense, white fog. It was drifting slowly in our direction and banked itself up like a wall on that side of us, low but thick and well defined. The moon shone on it, and it looked like a great shimmering ice-field, with the heads of the distant tors as rocks borne upon its surface. Holmes' face was turned towards it, and he muttered impatiently as he watched its sluggish drift. Every minute that white woolly plain which covered one-half of the moor was drifting closer and closer to the house. Already the first thin wisps of it were curling across the golden square of the lighted window. The farther wall of the orchard was already invisible, and the trees were standing out of a swirl of white vapour. As we watched it the fog-wreaths came crawling round both corners of the house and rolled slowly into one dense bank on which the upper floor and the roof floated like a strange ship upon a shadowy sea.

THE HOUND OF THE BASKERVILLES – ARTHUR CONAN DOYLE How does the writer use language here to describe the fog? You could include the writer’s choice of: 8 marks – 10 mins • words and phrases • language features and techniques • sentence forms. Simile AO 2 Adjectives AO 1 Impenetrable/ opaque/ obscuring

THE HOUND OF THE BASKERVILLES – ARTHUR CONAN DOYLE – What a good one looks like. How does the writer use language here to describe the fog? You could include the writer’s choice of: • words and phrases • language features and techniques • sentence forms. Doyle uses the adjectives “dense” and “thick” to create the impression that the fog is impenetrable; it obstructs the narrator’s vision and rises “like a wall” in front of Holmes. The simile makes the fog seem imprisoning, which adds to the sinister atmosphere.

THE HOUND OF THE BASKERVILLES – ARTHUR CONAN DOYLE – YOUR TURN to continue How does the writer use language here to describe the fog? You could include the writer’s choice of: 8 marks – 10 mins • words and phrases • language features and techniques • sentence forms. Repetition AO 2 Juxtaposition AO 1 Threatening/ menacing/ sinister

PAPER 1 QUESTION 3 HOW LONG SHOULD YOU SPEND ON THE QUESTION? 10 MINUTES READ THE QUESTION • Make sure you check whether the question wants you to focus on the whole of the source or part of the source. • Next to each paragraph, note what the focus is of each paragraph. • Focus on the beginning, middle and end. • Think about WHY the writer has chosen to structure the text this way.

Paper 1 Q 3 Structure as sequential and cohesive development Students might identify traits such as shifts in time or movement in thought, eg from past to future. Other structural examples include: • zooming in from something big to something much smaller (or vice versa) • a sudden or gradual introduction of new characters at significant points • moving from inside to the wider outside world (or vice versa) • combining external actions with internal thoughts • switching between different points of view • developing and reiterating – focusing on a point of view by expanding and repeating it • cyclical structure – returning at the end to what happened at the beginning • positioning of key sentences and their impact on the whole.

Q 3 Annotate the extract!

THE BEES – LALINE PAULL The cell squeezed her and the air was hot and fetid. All the joints of her body burned from her frantic twisting against the walls, her head was pressed into her chest and her legs shot with cramp, but her struggles had worked - one wall felt weaker. She kicked out with all her strength and felt something crack and break. She forced and tore and bit until there was a jagged hole into fresher air beyond. She dragged her body through and fell out onto the floor of an alien world. Static roared through her brain, thunderous vibration shook the ground a thousand scents dazed her. All she could do was breathe until gradually the vibration and static subsided and the scent evaporated into the air. Her rigid body unlocked and she calmed as knowledge filled her mind. This was the Arrivals Hall and she was a worker. Her kin was Flora and her number was 717. Certain of her first task, she set about cleaning out her cell. In her violent struggle to hatch she had broken the whole front wall, unlike her neater neighbours. She looked, then followed their example, piling her debris neatly by the ruins. The activity cleared her senses and she felt the vastness of the Arrivals Hall, and how the vibrations in the air changed in different areas. Row upon row of cells like hers stretched into the distance, and there the cells were quiet but resonant as if the occupants still slept. Immediately around her was great activity with many recently broken and cleared-out chambers, and many more cracking and falling as new bees arrived. The differing scents of her neighbours also came into focus, some sweeter, some sharper, all of them pleasant to absorb. With a hard erratic pulse in the ground, a young female came running down the corridor between the cells, her face frantic.

THE BEES – LALINE PAULL The cell squeezed her and the air was hot and fetid. All the joints of her body burned from her frantic twisting against the walls, her head was pressed into her chest and her legs shot with cramp, but her struggles had worked - one wall felt weaker. She kicked out with all her strength and felt something crack and break. She forced and tore and bit until there was a jagged hole into fresher air beyond. She dragged her body through and fell out onto the floor of an alien world. Static roared through her brain, thunderous vibration shook the ground a thousand scents dazed her. All she could do was breathe until gradually the vibration and static subsided and the scent evaporated into the air. Her rigid body unlocked and she calmed as knowledge filled her mind. This was the Arrivals Hall and she was a worker. Her kin was Flora and her number was 717. Certain of her first task, she set about cleaning out her cell. In her violent struggle to hatch she had broken the whole front wall, unlike her neater neighbours. She looked, then followed their example, piling her debris neatly by the ruins. The activity cleared her senses and she felt the vastness of the Arrivals Hall, and how the vibrations in the air changed in different areas. Row upon row of cells like hers stretched into the distance, and there the cells were quiet but resonant as if the occupants still slept. Immediately around her was great activity with many recently broken and cleared-out chambers, and many more cracking and falling as new bees arrived. The differing scents of her neighbours also came into focus, some sweeter, some sharper, all of them pleasant to absorb. With a hard erratic pulse in the ground, a young female came running down the corridor between the cells, her face frantic.

The extract opens with a focus on the setting (“the cell”), which immediately intrigues the reader as we are invited to wonder who the “her” is and how she ended up imprisoned in a “hot” cell. The sense of claustrophobia builds further as the writer describes each of her actions in detail (“twisting”, “pressed”, “kicked”, “forced”, “tore”, “bit”). The tension is suspended in the third paragraph; our attention is drawn away from the action as the writer reveals that she is a “worker” in an “arrivals hall”. This information is deliberately vague, to intrigue us further (we don’t know what she works as). The mystery is further exaggerated by the shift to a one line paragraph – there is a sense that much is left unsaid.

PAPER 1 QUESTION 4 HOW LONG SHOULD YOU SPEND ON THE QUESTION? 20 MINUTES READ THE QUESTION • Make sure that you check whether the question wants you to consider all of the text or a certain section of the text. • Question 4 is asking you to bring your thoughts together from questions 2 and 3. You need to think of questions 2 and 3 as preparing you for this! • EXAM TIP: You will probably find it easier to AGREE with the statement. The reviewer has said it for a reason. You need to make it clear to the examiner whether you agree or disagree. • Think of this question as a treasure hunt. The reviewer has made a statement and now you need to find everything in the text that proves them correct.

Q 4 Annotate the extract! MAKE SURE YOU ARE CLEAR THE LINES YOU ARE LOOKING AT

THE SNOWMAN – JO NESBO After reading this opening, a teacher observed that "The writer creates a tense and suspenseful atmosphere” To what extent do you agree? In your response, you could: • write about your own impressions of the creature • evaluate how the writer has created these impressions • support your opinions with references to the text. 20 marks

THE SNOWMAN – JO NESBO IT WAS THE day the snow came. At eleven o'clock in the morning, large flakes appeared from a colourless sky and invaded the fields, gardens and lawns of Romerike like an armada from outer space. At two, the snow ploughs were in action in Lillestrom, and when, at half past two, Sara Kvinesland. slowly and carefully steered her Toyota Corolla SR 5 between the detached houses in Kolloveien, the November snow was lying like a down duvet over the rolling countryside. She was thinking that the houses looked different in daylight. So different that she almost passed his drive. The car skidded as she applied the brakes, and she heard a groan from the back seat. In the rear-view mirror she saw her son's disgruntled face. "It won't take long, my love, " she said. In front of the garage there was a large patch of black tarmac amid all the white, and she realised that the removal van had been there. Her throat constricted. She hoped she wasn't too late. "Who lives here? " came from the back seat. "Just someone I know, " Sara said, automatically checking her hair in the mirror. "Ten minutes, my love. I'll leave the key in the ignition so you can listen to the radio. She went without waiting for a response slithered in her slippery shoes up to the door she had been through so many times, but never like this, not in the middle of the day, in full view of all the neighbours' prying eyes. She heard the buzz of the doorbell inside, like a bumblebee in a jam jar. Feeling her desperation mount, she glanced at the windows of the neighbouring houses. They gave nothing away, just returned reflections of bare black apple trees, grey sky and milky-white terrain. Then, at last, she heard footsteps behind the door and heaved a sigh of relief.

PAPER 1 QUESTION 5 HOW LONG SHOULD YOU SPEND ON THE QUESTION? DESCRIPTIVE WRITING 35 MINUTES NARRATIVE WRITING The paper could • Write a story from a first contain of person • Think about your description – oneperson/third perspective. each question, or use vocabulary and figurative • Give language. 2 of one type – details of an experience there is noand take the reader on a • Include a variety of sentence journey. lengths and types. guarantee; you • Think about the order you do • Use ‘show don’t tell’ in to be able need to - include things like things order to avoid making obvious statements, give clues to thedo both. flashbacks reader, focus on small areas in detail and develop your description. • Use interesting vocabulary along with a variety of sentence lengths and types.

Describing a character or place using SHOW DON’T TELL Brief version - ‘TELLS’ the reader Sally is disorganised (weak writing) Sally, who worked in a newspaper office, was very disorganized. Detailed version - ‘SHOWS’ the reader Sally is disorganised (effective writing) As she sat down at her desk, Sally heaped a pile of letters and files onto the top of her in-tray. She Brief version – ‘TELLS’ the reader the street was covered in snow (weak writing) When I woke in the morning, I saw my street was covered in snow. Detailed version – ‘SHOWS’ the reader the street was covered in snow (effective writing) I emerged from beneath my duvet to see that my street was covered in a white, glistening

PAPER 1 QUESTION 5 DESCRIPTIVE WRITING NARRATIVE WRITING • Write the opening of a story where someone is trapped. • Write the opening of a story titled 'Everything is Broken'. • Write the opening of a story that begins with the lines: "Where do they go? There is no where in the world where they belong. " • Write the middle part of a story that involves a place that has been damaged by war. • Write the ending of a story that has the last lines: "The calm returned, and silence fell once again.

PAPER 1 QUESTION 5