Creative Explorations in English Language Paper 1
This content provides a detailed guide for Creative Explorations in English Language Paper 1 assessment objectives, focusing on identifying explicit and implicit information, synthesizing evidence from texts, analyzing the use of language and structure, evaluating texts critically, and writing creatively with suggested timings and top tips.
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English Language Paper 1: Creative Explorations in Reading Assessment Objectives A01 AO2 Question One Question Two A01 Identify and interpret explicit and implicit information and ideas. (Points) List four things. How does the writer use language to ? (8 marks) Select and synthesise evidence from different texts. (Evidence) (4 marks) A02 Explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology. AO2 AO4 Question Three Question Four (Techniques and explanations) How does the writer use structure to ? (8 marks) To what extent do you agree ? (20 Marks) A04 Evaluate texts critically and support this with appropriate textual references. (Agreeing/ disagreeing)
5 minutes 15 minutes FIRST write these timings next to each question. 15 minutes 25 minutes AO5 & 6: Question Five 35 minutes Then 10 minutes to check SPAG, upgrade vocab., add ideas. Write a description suggested by .. OR Write about a time when you .. OR Write a story about .. (40 marks)
Top tips: 1. MARK OFF the lines (eg. What do you learn about _____ in the first five lines mark after line 5 to show where to read up to.) 2. Highlight answers as you read. 3. Answer as briefly as possible.
5 mins to read and annotate. 10 mins to write your response. dangerous Cruel/harsh More powerful relentless
Q3. You need to think about the whole extract now. How has the writer structured the text to interest you as a reader? (8 marks) You could write about: what the writer focuses your attention on at the beginning how the writer develops this focus as the extract develops the way that the extract ends. WRITE THREE PARAGRAPHS: OPENING, RISING ACTION (MIDDLE), END. Top tips: 5 mins to read and annotate. 10 mins to write your response. 1. Write your structure questions and techniques FIRST at the top of your page. 2. As you read through the WHOLE extract, highlight and annotate to answer your questions. 3. Use phrases such as: The writer opens with . Immediately, our attention is drawn towards .. Initially, we have sympathy/ a lack of sympathy towards Later in the extract, the focus shifts to In the next/ 3rd/ 4th paragraph, the pace increases/ slows down as The suspense/ tension/ mystery is further developed when The last line is particularly effective as we are left to wonder ..
Question Four Question Four You will always get a question and will have to evaluate to what extent you agree/ disagree agree/ disagree. Top tips: 1. ALWAYS agree with the statement. 2. FIND evidence that supports it ONLY from the named lines (eg 16-35) mark off again. 3. Use the key words in the statement regularly to maintain focus. 4. ANALYSE a RANGE of techniques (language and structure) 5. Give YOUR opinion, this makes me think/ I begun to sympathise with the protagonist because .
AO5 & 6: Question Five A: SET THE SCENE. Your opening 2 paragraphs should answer these questions: 1. Where is the character? Write a description suggested by .. OR Write about a time when you .. OR Write a story about .. (40 marks) 2. What is does it look/sound like there? Include: 3. Why are they there? Varied sentence types and openers Paragraphs Varied punctuation (;:-?!... ) Varied vocabulary Techniques (metaphors/ similes/ imagery/ juxtaposition/ flashback/ alliteration etc). 4. How are they feeling/ what are they thinking? B: BUILD SUSPENSE TOWARDS A CLIMACTIC EVENT. Your next paragraphs should: 1. Drop hints (foreshadow) the main event/ catastrophe, without giving away what will happen. 2. Build sympathy for your character by zooming in on their thoughts, expression, movements, memories (flashback?) C: CLIMAX: a catastrophic event that endangers your character. 1. Leave some questions unanswered - cliff-hanger? 2. Use minor sentences and rhetorical questions to create confusion and uncertainty.
Quick Fire Quiz: 1. Use your terminology sheet to crack the colour code: Bewildered, hurt, humiliated: shesearched for a trace of humanity in his once adoringexpression. 2. How long should you spend on qu 2 & 3? 3. Which questions should you analyse language techniques for? (similes/ metaphors/ personification/ sentence types/ adjectives etc) 4. Which question asks you to look at the WHOLE EXTRACT? 5. Rank these descriptive words from most to least suitable if I wanted to create a sense of foreboding/ slightly unsettling atmosphere on a grey, miserable day (a few hours before a storm). a) Dreary b) Thunderous c) Dull d) Overcast e)Bleak f) Depressing g) Desolate h) Relentless i) Darkening j) Looming k) menacing
Question One Identify and interpret explicit and implicit information and ideas. You do NOT need to quote or analyse but you CAN copy BITS of the extract to answer the question. EG. If the question asks you: List 4 things you learn about Harry Potter: Harry Potter was a small boy with bright green eyes and the tendency to get himself into trouble. Either : 1) He is small . OR 2) He is short. Is ACCEPTABLE for ONE out of FOUR marks.
I'm fast. I can sprint faster than any of the girls in our school, although a couple can beat me in distance races. But this forty-yard length, this is what I am built for. I know I can get it, I know I can reach it first, but then the question is how quickly can I get out of there? By the time I've scrambled up the packs and grabbed the weapons, others will have reached the horn, and one or two I might be able to pick off, but say there's a dozen, at that close range, they could take me down with the spears and the clubs. Or their own powerful fists. Still, I won't be the only target. I'm betting many of the other tributes would pass up a smaller girl, even one who scored an eleven in training, to take out their more fierce adversaries. The Hunger Games In this extract, taken from the futuristic thriller The Hunger Games, the Tributes are standing on metal discs as the games are about to begin. Tributes are the contestants who must fight to the death in a show that is televised for entertainment. Haymitch has never seen me run. Maybe if he had he'd tell me to go for it. Get the weapon. Since that's the very weapon that might be my salvation. And I only see one bow in that whole pile. I know the minute must be almost up and will have to decide what my strategy will be and I find myself positioning my feet to run, not away into the surrounding forests but toward the pile, toward the bow. When suddenly I notice Peeta, he's about five tributes to my right, quite a fair distance, still I can tell he's looking at me and I think he might be shaking his head. But the sun's in my eyes, and while I'm puzzling over it the gong rings out. And I've missed it! I've missed my chance! Because those extra couple of seconds I've lost by not being ready are enough to change my mind about going in. My feet shuffle for a moment, confused at the direction my brain wants to take and then I lunge forward, scoop up the sheet of plastic and a loaf of bread. The pickings are so small and I'm so angry with Peeta for distracting me that I sprint in twenty yards to retrieve a bright orange backpack that could hold anything because I can't stand leaving with virtually nothing. Sixty seconds. That's how long we're required to stand on our metal circles before the sound of a gong releases us. Step off before the minute is up, and land mines blow your legs off. Sixty seconds to take in the ring of tributes all equidistant from the Cornucopia, a giant golden horn shaped like a cone with a curved tail, the mouth of which is at least twenty feet high, spilling over with the things that will give us life here in the arena. Food, containers of water, weapons, medicine, garments, fire starters. Strewn around the Cornucopia are other supplies, their value decreasing the farther they are from the horn. For instance, only a few steps from my feet lies a three-foot square of plastic. Certainly it could be of some use in a downpour. But there in the mouth, I can see a tent pack that would protect from almost any sort of weather. If I had the guts to go in and fight for it against the other twenty-three tributes. Which I have been instructed not to do. We're on a flat, open stretch of ground. A plain of hard-packed dirt. Behind the tributes across from me, I can see nothing, indicating either a steep downward slope or even a cliff. To my right lies a lake. To my left and back, sparse piney woods. This is where Haymitch would want me to go. Immediately. A boy, I think from District 9, reaches the pack at the same time I do and for a brief time we grapple for it and then he coughs, splattering my face with blood. I stagger back, repulsed by the warm, sticky spray. Then the boy slips to the ground. That's when I see the knife in his back. Already other tributes have reached the Cornucopia and are spreading out to attack. Yes, the girl from District 2, ten yards away, running toward me, one hand clutching a half-dozen knives. I've seen her throw in training. She never misses. And I'm her next target. All the general fear I've been feeling condenses into an immediate fear of this girl, this predator who might kill me in seconds. Adrenaline shoots through me and I sling the pack over one shoulder and run full-speed for the woods. I can hear the blade whistling toward me and reflexively hike the pack up to protect my head. The blade lodges in the pack. Both straps on my shoulders now, I make for the trees. Somehow I know the girl will not pursue me. That she'll be drawn back into the Cornucopia before all the good stuff is gone. A grin crosses my face. Thanks for the knife, I think. I hear his instructions in my head. "Just clear out, put as much distance as you can between yourselves and the others, and find a source of water. But it's tempting, so tempting, when I see the bounty waiting there before me. And I know that if I don't get it, someone else will. That the Career Tributes who survive the bloodbath will divide up most of these life-sustaining spoils. Something catches my eye. There, resting on a mound of blanket rolls, is a silver sheath of arrows and a bow, already strung, just waiting to be engaged. That's mine, I think. It's meant for me.
Question Two (AO2) LANGUAGE You could include Language techniques (personification, similes, triples, metaphors, alliteration ) Word classes (verbs, adjectives, adverbs, personal and plural pro-nouns) Sentence types (simple, compound and complex) (Declarative, exclamatory, imperative and interrogative)
Q3. You need to think about the whole extract now. How has the writer structured the text to interest you as a reader? (8 marks) You could write about: what the writer focuses your attention on at the beginning how the writer develops this focus as the extract develops the way that the extract ends. WRITE THREE PARAGRAPHS: OPENING, RISING ACTION (MIDDLE), END. Question Three (AO2) STRUCTURE Track the extract from beginning to end, ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... ............................................................................................................................................................................................... 1) The beginning, middle and end. 2) Shifts in perspective 3) Cliff-hangers 4) Sentence and paragraph lengths 5) Punctuation
The sea spluttered and sprayed, foaming like a rabid dog, snarling against the impenetrable and indifferent stone wall. The train approached, a yellow bullet flying imperviously through the wild warfare.
Look at the following mark Look at the following mark- -scheme: Place the model paragraphs next to the appropriate levels. scheme: Level 1-2. Level 3-4 Level 5-6 Makes clear comments and explores the effect on the reader Shows an understanding of writer s methods and uses terminology Focuses on the question and refers back to it. Simple evaluation. Makes some comment on the effect on the reader Shows some understanding of methods Selects some quotes Focusses on the question slightly Makes simple comments. Shows limited understanding. Selects limited quotes. Challenge: Would you give it the lower or higher level? Explain why.
The writer makes the language dramatic for the reader because they use short sentences to show people dying splattering my face with blood. This suggests that people are dying. The writer makes the language dramatic for the reader because they use short sentences to show people dying splattering my face with blood. This suggests that people are dying. The writer makes the language dramatic for the reader because they use short sentences to show people dying splattering my face with blood. This suggests that people are dying. The writer makes the extract engaging and dramatic for the reader by describing scenes of death. The verbs 'grapple' and 'splattering' create a sense of excitement suggesting that everything is very fast-paced. The writer makes the extract engaging and dramatic for the reader by describing scenes of death. The verbs 'grapple' and 'splattering' create a sense of excitement suggesting that everything is very fast-paced. The writer makes the extract engaging and dramatic for the reader by describing scenes of death. The verbs 'grapple' and 'splattering' create a sense of excitement suggesting that everything is very fast-paced. The writer makes the extract extremely engaging and dramatic for the reader, as she slowly releases and omits information from the reader and character by using short, simple sentences "Then the boy slips to the ground. That's when I see the knife in his back." Initially, the writer uses onomatopoeic verbs such as 'splattering' to describe the character's opponent's movement and sounds. However, the following short sentence and the verb 'slips' symbolises the protagonist's opponent's sudden death. As a reader, this creates a sense of uncertainty and we question the protagonist's safety. The writer makes the extract extremely engaging and dramatic for the reader, as she slowly releases and omits information from the reader and character by using short, simple sentences "Then the boy slips to the ground. That's when I see the knife in his back." Initially, the writer uses onomatopoeic verbs such as 'splattering' to describe the character's opponent's movement and sounds. However, the following short sentence and the verb 'slips' symbolises the protagonist's opponent's sudden death. As a reader, this creates a sense of uncertainty and we question the protagonist's safety. The writer makes the extract extremely engaging and dramatic for the reader, as she slowly releases and omits information from the reader and character by using short, simple sentences "Then the boy slips to the ground. That's when I see the knife in his back." Initially, the writer uses onomatopoeic verbs such as 'splattering' to describe the character's opponent's movement and sounds. However, the following short sentence and the verb 'slips' symbolises the protagonist's opponent's sudden death. As a reader, this creates a sense of uncertainty and we question the protagonist's safety.
Question Four Question Four You will always get a question and will have to evaluate to what extent you agree/ disagree agree/ disagree.
Q4. Focus this part of your answer on paragraphs 9 and 10 (from A boy, I think from District 9 to Thanks for the knife, I think. ) A student said, Agree/ Disagree with statement. I like the way the writer makes this moment so dramatic for the reader. Highlight everything that proves it is dramatic. To what extent do you agree? (20 marks) In another colour, highlight anything that proves it isn t. In your response you could: write about your impressions of this moment evaluate how the writer creates a sense of drama support your opinions with references to the text.
The The writer writer makes and and dramatic dramatic for releases releases and and and character character by "Then "Then the the boy see see the the knife knife in in his onomatopoeic onomatopoeic verbs describe describe the the character's and and sounds sounds. . However, sentence sentence and and the protagonist's protagonist's opponent's reader, reader, this this creates creates a a sense question question the the protagonist's protagonist's safety makes the for the and omits omits information information from by using using short, boy slips slips to to the the ground his back back. ." " Initially, verbs such such as character's opponent's However, the the verb verb 'slips' opponent's sudden sense of of uncertainty the extract extract extremely the reader, reader, as extremely engaging as she she slowly from the the reader short, simple simple sentences ground. . That's That's when Initially, the the writer as 'splattering' 'splattering' to opponent's movement the following following short 'slips' symbolises symbolises the sudden death death. . As uncertainty and safety. . engaging slowly reader sentences when I I writer uses 1) Paragraph agreeing 2) Paragraph agreeing 3) Paragraph agreeing 4) Paragraph agreeing 5) HOWEVER, it could be argued that the writer . uses to movement short the As a a and we we
Complete Speaking and Listening DIRT Time in green pen Task One Why was your speaking and listening successful? E.g. My speaking and listening was successful as I spoke confidently, in standard English and with fluency. I didn t pause and I engaged my audience etc. Task Two What can you improve? E.g. If given the chance, I would ensure that I projected my voice more to ensure that it was more audible. I would do this by practicing at home in front of friends and family etc.
War of the Worlds Year 10 English Language Assessment
Question 1 Question 1 Read over the extract very carefully, looking for things you have learned about the cylinder, and what is inside it. List 4 of these things. E.g. The end of the cylinder was being screwed out from within.
Possible answers Possible answers In green pen, give yourself a mark out of four. The end of the cylinder was being screwed out from within Two feet of shining screw projected out of the cylinder The screw came out of the cylinder The lid of the cylinder fell upon the gravel with a ringing concussion A man/ an alien/ something came out of the cylinder
Question 2 Question 2 o Alliteration o Similes o Sentence length o Repetition o Rule of three o Imagery o Senses o Pronouns o Punctuation o Interesting words o Emotions o Adjectives
Question 2 Question 2 In this part of the extract, what has the writer done to describe how the man is feeling? Think about some specific examples that show what the writer has done to tell the reader how the man is feeling. Aim to pick 4 things, and write approximately 16-20 lines explaining your findings, in clear paragraphs
The writer uses short sentences to describe the narrators feelings a sudden chill came over me. This suggests that the narrator has a foreboding sense of horror that is sending his whole body into a state of panic that is disabling him from speaking or thinking coherently. As a reader the noun chill gives us a sense fear, as we are frightened for the narrator. Short sentences Metaphors Alliteration Personification The writer uses ______________ to show us the narrator is______. Personal pro-nouns Connotations _______________________. Adjectives and verbs This suggests This could also imply Sensory language As a reader, we feel______________________________.
Question 3 For this question, you must focus on the structure Think about how the structure is different in the first half of the extract compared to the second half Aim to pick 4 things you have noticed about the structure, and write approximately 16-20 lines explaining your findings, in clear paragraphs
In media res In the beginning of the extract, the writer uses in media res to interest the reader the end of the cylinder was being screwed out from within. Immediately, we are drawn to the middle of action and are left wondering what is happening to the cylinder, who the characters are and what will happen to the narrator. Cliff-hangers Adverb sentence starters Shift in focus/ tone/ mood/ astmosphere Shift in perspective In the middle of the extract, the writer uses _______________, ___________________________________. As a reader_________________________________________. Sentence lengths What the writer focuses on feelings of the narrator The thoughts and At the end of extract, the writer uses _______________, ___________________________________. As a reader_________________________________________.
