 is welcome, welcome, welcome to this afternoon live. So welcome guys to this live where I'm gonna be going over last minute revision for language paper one. So as you can see here, what I'm gonna do is begin by recapping on the most important things that you need to consider when it comes to timings, when it comes to what you should anticipate for questions one, two, three, four and five, and also what assessment objectives are tested for the different questions and the different, I suppose the different responses you're gonna be expected to come up with in the exams, but also as you can see behind me, what I want to walk you guys through is basically the frameworks that you can adopt when it comes to creative writing, descriptive writing and also for questions one or rather question two, three and four, I want to outline for you guys the different techniques you can talk about when it comes to language and the different techniques you can talk about when it comes to structure, okay? So I'm gonna begin by going over that, but then afterwards what I want to do is I'm gonna walk you guys over a past paper question and in this case, I'm gonna be going over the scorpion paper, okay? So this is the exam that people in your position last year sat. So I wanna show you guys how you can apply basically all of these different frameworks when you are sitting this exam, but also more specifically guys, just pay attention to how I've answered the questions. Don't be too fixated on the fact that, oh, this is the scorpion exam, you know what if a different extract comes up tomorrow morning? What I want to more show you guys is when you're reading an extract for the first time tomorrow and working through the extract, how can you pick out specific techniques that are guaranteed to come out, but also how you can explain them, okay? So I'm gonna begin quickly by running through just the general framework for the language paper one exam, okay? So when it comes to language paper one, remember that you've got one hour 45 minutes for this exam. So if you've got extra time, make sure you adjust these timings that I'm gonna walk you guys through accordingly, but also this is what examiners are after, okay? So off the one hour 45 minutes, always make sure you spend the first 10 minutes of this exam. Firstly, reading through all five questions, highlighting the keywords in the questions, especially for questions one to four so that you can know what you're looking for in the insert that you're given. And also within the first 10 minutes, so maybe it should take you roughly like 60 seconds to read through the questions, highlight the keywords, then the remaining time actually then read through the insert, but because you've got the questions at the back of your mind, you're then reading the insert strategically, right? Reading it to look for specific answers rather than just highlighting random bits of the extract and highlighting things that you might not end up using anyway for questions one to four, okay? So that's the first 10 minutes of your one hour 45 of the English language paper one exam tomorrow, okay? Now, after you spent time knowing exactly what you're gonna find and finding your bits of evidence, remember question number one, which is worth four marks. You're always asked to look at the first paragraph or just the first few lines within the insert. This question is really straightforward and it tests your AO1. Basically, this question, the only way to mess it up is either taking evidence from the wrong bit of the question or writing one word responses, okay? Try not to write one word answers for question one. So don't put, for example, a scorpion or like, you know, man or something right still in full sentences but you don't need to quote, okay? So this question tests your AO1 which just simply means are you able to show, are you able to retrieve the right amount of information from the text and are you able to just basically answer the question, okay? So AO1 is just basically, are you able to retrieve the correct information that the examiners want you to find in the insert, okay? Question number two, which is the language question. This question is worth eight marks, okay? Now, when it comes to language, I have had lots of people asking me questions to do with language, okay? And I've released some videos talking about like a perfect response for language. Language is really simple and straightforward. Language simply means when you're looking at the words that the writer is using and even for instance, the literary techniques because this is a fiction piece of writing. It's kind of like you're reading an unseen literature text meaning you're referring to also traditional literature techniques you would have used for say your Shakespeare texts or your modern texts. You're also still using that in question number two. In addition, you're also using language that kind of building block words, right? When you're zooming in on one particular word, things like nouns, verbs, adjectives, and adverbs and so on, okay? So when it comes to language, it's actually straightforward in terms of the skills it's testing. And if you've done literature, you're literally taking the language and terminology that you've already used for your literature exams and including them in question number two. Now, this question is worth eight marks so you should try to aim to spend 10 minutes on this question. It tests your AO2. AO2 simply means are you able to show an awareness of the correct subject terminology, right? What that means is, you know, are you aware of words like alliteration, simile, metaphors, all of that stuff. But also AO2 in the third bullet point for question number two relates to sentence forms, okay? Now sentence forms technically is structure but for some reason, AQA wants you guys to also talk about sentence forms for question number two. So you can literally mention, for example, the writer's use of a declarative sentence or for instance, a simple sentence if it's a brief sentence or if it's a long sentence, you can call it complex, okay? That's question number two. It's just simply the language question. And I'm gonna go over like a slightly longer list of language devices that you can kind of memorise and use for tomorrow's exam, okay? Now, when it comes to question number three, so this question is the structure question. Now, what this question tests your awareness of is when it comes to the question and you look at the whole source because you tend to be asked to look at the entire source, are you able to talk about how it starts, how the writer shifts our focus and how they keep us entertained? Now, the examiner doesn't actually care about your personal opinion in the sense that, you know, how's the writer's use of structures to interest us as readers? The examiner doesn't really care whether you generally are interested or not. You're always interested and you're basically saying, okay, here's an example of structure. This is why it's entertaining for us as readers. This is why we're gripped from the beginning in addition to the middle of the text and even at the end of the text, okay? Now, question number three also tests your AO2 in terms of what examiners are looking for. And AO2 in this case is strictly structure. For question number three, I've seen some people in, I think, my question three video who are basically saying, oh, do you need to zoom in and do some word-level analysis? You don't do that for question number three. You only do that for question number two, okay? The zooming in where you're picking out, say, for example, a noun and then kind of analyzing that, that's language techniques and that's language analysis. Okay, so that goes in question number two, but not three. Three is strictly structure. Spend 10 minutes on this question and by the way, in terms of how much to write, for question number two, which is the eight marker, you should try to aim ideally to write two paragraphs. Okay, so picking one bit of evidence, going into detail on that, I really like using the pill paragraph structure, so point evidence explanation link and then try and do that twice, meaning you have about five minutes for each paragraph. If you're a bit of a slow writer, then try to make sure you write one chunky paragraph. That's question number two, same goes for question number three. Aim to write at least two pill paragraphs where you're thinking, okay, this is what happens in the beginning versus the end. That's your first paragraph and of course you pick a bit of evidence from the start and the end. And then your second pill paragraph could be, for instance, how the writer zooms our attention in on a different character or how there's a shift of focus to like the setting or something, right? So as I mentioned, with question three, because it's structure, but it's still worth eight marks, try to go for two pill paragraphs. Question four, this is where you get a student statement and it tests your AO4, okay? So question four, which is worth 20 marks, you need to try and spend around 20 minutes on this question. This question always gives you a student statement and you're asked to look at the second half of the extract and you're asked to what extent do you agree? Now, AO4 means your ability to evaluate. Evaluate is something meaning, are you able to say you agree, you disagree or you agree to an extent, but then also justify your response by saying, okay, I agree to an extent or I disagree or for me, I usually suggest students just agree because the student statement doesn't tend to contradict what's going on in the extract. When you're then saying why you agree, you then say, okay, so here's an example of language, here's an example of structure. So when you're evaluating, you're still combining the skills that you're using for question two and question number three in question four, okay? So question four is simply, to what extent do you agree? Just literally state, we can see the student or we can see whatever the student statement says or you can also say, I agree, right? I usually suggest try to write in third person perspective. So indeed, what keywords in the student statement, we can see this because blah, blah, blah. And again, guys, I'm gonna walk you guys through the scorpion paper and you'll kind of see how this plays out in question number four, right? So with this question, spend 20 minutes on this question, try to aim to write a minimum of three pill paragraphs, right? So thinking about a mix of language and structure points, you can simply agree, right? You say you agree for reason one, two and three. And if you are a fast speed writer, try to aim to do four paragraphs. And if you're going for gold, maybe an introduction and a conclusion, but intro conclusion is completely optional. You can go straight for point number one, two, three and four, but make sure you're mixing in some language analysis as well as structure analysis. That's question number four. Now, question number five, which is now worth half of the overall paper's marks. It's worth 40 marks. This question used to spend 50 minutes on this question, the line share of the time because it literally will make or break your exam, okay? So with question number five, you always get a choice of two questions. Image related to descriptive writing, statement is literally just the story. This is for the summer exams. Usually for the reset paper in November, it usually tends to be the image that's the story question and then the statements that you're given that's the descriptive writing. So sometimes maybe some of you might have done some November practice questions. So say for example, you might have done some recent practice questions that you've noticed, oh, hang on, sometimes they have a story question related to the image and then the descriptive statement. That's for the November paper. In the exam you're sitting tomorrow, the image tends to go with the descriptive writing and then the story is literally the statement. Now, this question, test your AO5 and AO6. AO5 simply means, can you write imaginatively? AO6 means, are you able when you're writing imaginatively to use ambitious language, really colorful language in order to bring your story to life, okay? Now for this question, spend, it's really important to plan, okay? That time is super sacred. So spend 10 minutes planning your response, figuring out, okay, am I gonna go for the descriptive writing? Am I gonna go for the story? Whichever you go for, you then develop the different points, right? So for me, I usually suggest to my students, go for the story because you can start at one point and you're not too restricted with what you've got to work with, which is the image. You can start at one point and a different place. You can start with darkness and with light or vice versa. So I feel like stories going for the story question, it gives you a bit more flexibility and the best way to prepare for the story question is literally just have a set bank of ideas which you can use for tomorrow's exam, okay? And guys, I did release a video on story plans on Friday where I gave like five different examples. Again, I'm gonna show you guys my model story and also I'll walk you guys through like a descriptive writing question, but I tend to suggest go for the story, okay? It's less restrictive. And with this question, if you're not very good with timing, so if at this stage and literally a day before your exams, you're finding that you still run out of time to do this because you spent way too long on this in terms of technique and approach work backwards. Start off with question number five to make sure you're secure at least half of the papers marks, then four, three, two, one. If you're okay though with your timings and you're really, really strict in discipline, I usually suggest just work through it chronologically. Warm yourself up before you get to your creative or descriptive writing questions. By the way, guys, I am gonna look at questions or if you guys have any questions, but I'm gonna first begin by kind of quickly summarizing and then I'll check the comments if there's any questions before I then show you guys responses and how you can apply this framework to the exam that came up last year. So this is a scorpion exam, okay? Now, I'm gonna walk you guys through language and structure. This is especially relevant for question two, three, but of course you're talking about both language and structure for question number four. Now, in terms of language, right? So this is what's tested in question number two. I would suggest if you are stuck and still struggling on language techniques, what language devices are my guarantees to find in tomorrow's exam, I would suggest these are the language techniques you are 100% guaranteed to find in tomorrow's extract, right? Memorize them, remember them. These are alliteration when two or more words start with the same letter. Similarly, like for us, metaphor describing something as if it were something else, oxymoron, which is opposite words. Semanticful, which is one of my favorite language techniques is super easy. Semanticful just simply means you find two or more words that belong to a broad category and then just say it belongs to the semantic field. For example, roses, daffodils, tulips belongs to the category of flowers. So it's a semantic field of flowers. Phone, smartwatch, iPad belongs to the semantic field or the category of technology. It's a really easy one, but it's like a super clever technique that students don't tend to maybe think about when they're going through the insert or the extract that they're given, okay? I really, really like that's my favorite language technique. It sounds super clever, but it's so easy to find anything that belongs to semantic field. Of course, also when you're doing your zooming in or your word level analysis for language, these are the techniques and the points that you talk about, right? So you mentioned nouns, verbs, adjectives, and you can even add adverb or pronouns, okay? Those are the words that you use for your word level analysis. You pick out a general quotation. So for example, a simile as large as a bear, right? So that's your quotation, which you're kind of analyzing in your language answer. However, when you then zoom in, you can zoom in on one particular word, for example, the noun bear, and then talk about, okay, so this makes us, you know, this use of language shows us that, I don't know, the writer's feeling in this way or whatever, okay? So in terms of language techniques, these are the techniques. However, beyond that, I would suggest look for pathetic fallacy as well, right? So pathetic fallacy is when the weather is described and it somehow reflects the atmosphere. That's another really good language technique. Not always relevant for any question, but it can be something that you can look for. Also juxtaposition, which is a little bit more of a general form of oxymoron. Juxtaposition is when you have two separate words that somehow put together in one sentence to create some kind of contrast. Obviously a very specific type of juxtaposition is oxymoron, opposite words. Other techniques could be hyperbole, over exaggeration, personification. But to be honest, I would say don't overload yourself with too many language techniques that you're memorizing. Try to memorize at least just these. If of course you're able to spot pathetic fallacy really quickly, or personification really quickly, or hyperbole, you can also include that, okay? That's the language. However, when it comes to structure, this is for question number three. These are the structural techniques you will find in your extracts tomorrow, okay? So of course, the first bullet point in question number three always asks you to talk about what's happening in the beginning, okay? So of course, if you literally mention, the writer opens the text at the beginning by focusing our attention in on blah, blah, blah. You've already talked about structure. You're getting your A02 points in, okay? Then obviously middle and end is also a structural device, okay? So literally talking about beginning versus end, beginning versus middle. That's a really, really powerful point you can even draw from when you're describing and answering the question for tomorrow. Another structural device is of course change of focus, which is mentioned in the second bullet point for question number three. Change of focus could literally be, maybe it starts in the beginning where it's like really dark and horrible. Then the shift in focus could be it's light and sunny. For example, one paper that I did yesterday on TikTok was to do with heart up. This was a 2019 paper. There was a shift of focus from the van at the beginning of the extract to heart up himself in the middle and then Alice and how miserable she is at the end, okay? Literally just saying shift of focus will change your focus, that's structure. Another structural technique is of course when they zoom in, so for example, if you say, oh, the writer zooms our attention in or makes us focus in on this character or the zoom out by describing, you know, this character and then the landscape, that's structure, okay? That counts as structure. Anaphora is a really, really nice and clever structural technique. It's just a fancy way of saying when a subject is referred to and repeated back to. We call that anaphora. So for example, the 2021 paper, which is the ugru. I don't know if you guys have done that, but it basically was about a guy called Ugru who was about 13. He was going to work for master. The extract starts off by literally talking about master. And there's constant reference to master was like this, master read too much, master, master, master. That is anaphora, okay? Anaphora of preferences when a subject is constantly repeated back to and that's a really, really good structural technique. The opposite by the way of anaphora, for those of you that want to be a little bit clever is cataphora. Cataphora or cataphora of preference is when initially maybe the subject is hinted at but then more information about the subject is later revealed. We tend to find this, for example, in horror stories, right? So for example, you could read, for instance, the creature walked in through the door. Its ears pricked, its paws touched the ground softly and then towards the middle of the end, the dog looked around, right? So the subject is hidden and then anaphora of references made later on to this subject, okay? But if you don't get it, just go for anaphora, okay? Repetitive reference repeating, the main subject back over and over again. Final structural technique is switching point of view. So this one is kind of ignored sometimes by teachers. To be honest, it's not necessarily like a massively important structural technique but just in case you're looking for like a different structure point to talk about, switching point of view. So for example, maybe for instance, going back to the 2021 paper where we had Ugu the 13 year old boy serving master, the initial point of view and the initial focus is master. Then we've got the auntie who's just talking and telling Ugu, oh, you know, masters like this, masters like that. Then by the end, the point of view is focused in on Ugu who's just standing by the door waiting, okay? That's a structural technique, okay? So to be honest, if you remember just simply illiteration, simply medical, oxymoron, semantic field as well as noun, verb, adjective and adverb, for language devices, you're absolutely fine for question two. If you remember beginning, middle and end, change of focus, zooming in or zooming out as well as anaphora and switching point of view, you're absolutely fine for structural techniques when it comes to question three. And of course, question four is simply a combination of both. So when you're talking about how, you know, you agree with the student statement or your written extent, you literally just say, okay, here's the quotation and here's how the author uses the illiteration or here's another quotation, here's how, you know, the beginning is illustrated or whatever, right? So question four is just you bringing together your skills for question one and two, okay? Now, final thing before I then show you guys a model response is creative and descriptive writing and structure and framework. Now, guys, I'm very biased when it comes to question number five. I usually suggest go for the story as opposed to descriptive writing. The reason why is because with descriptive writing, you're going to be given an image, you've got to think about five different ways to describe one aspect of the image, zooming in, describing the same thing, thinking about different synonyms to say the same thing. Then you've got focus on another part of the image, zooming in, talking about it in five different ways. Focus on another part of an image, there's a lot of pressure on you in terms of describing the same thing in lots of different ways. And on top of that, you don't know what image can come up. So if you can't, you know, the image that can come up would be really random. So for example, like last year's image, the kitchen one, where you've got like this random kitchen which is super colorful. Of course you can describe it loads, but it's a really kind of difficult question from my perspective to use. Whilst creative writing, you can start off with describing the setting as well as the character. Then the character goes on an adventure, the feelings change, then the face of problem, before the problem you know is somehow resolved and then the ending. You have so much you can work with. In addition to obviously making sure you have some descriptive language, you don't have to find five ways of describing the character or five ways of describing the setting. It just has a bit more flexibility. So this is my suggestion. Of course, if you like descriptive writing, go for it or power to you. But I would suggest for tomorrow's paper, creative story writing is probably more straightforward. And I always suggest splitting up your story into five separate paragraphs. Starting off with your beginning paragraph, where you've got the sense of setting. So you describe the setting, use pathetic fantasy to set a mood, right? So for example, if you're describing the start of a story, I usually suggest start off with like a sense of hope or promise. And so you're using pathetic fantasy, the sunshine, the sun's rays gilding the ground, right? The sun is smiling down on you. Use that in your beginning paragraph where you're creating a sense of hope. Of course, if you wanna do like a dark story, like a horror story, you can describe the foggy, misty air, right? The dark, corpuscular sky. Corpuscular means twilight, right? Either way, in your beginning paragraph, your first sentence should be a weather sentence to establish and create a sense of mood. And of course, then you talk about, you know, you from the first person perspective. Again, I really like first person narrative, but you can do first person or third person. Then your buildup is when now your character goes on an adventure, right? They're walking around town. They look around, right? One of the essay plans was, you know, the character in the beginning. He's cycling through the streets of London. He's a school kid. Come back for a school. The sun is shining down on him. The buildup is he then weaves through the tourists and then cuts to the side street because he wants to get home faster. So he's looking around at these like little, narrow side streets. And you know, he's still feeling really hopeful. He's really excited to get home and just, you know, kind of have like a rest at home. Then the problem, this is where you've got your issue, your obstacle. Now with creative writing, remember, try not to introduce lots and lots of different characters because you don't have that much time. 50 minutes will literally go by in a flash. Try to keep it to one main character. And if you introduce a villain, just one main villain, max two characters. If absolutely, absolutely, you need to add another character, three. But don't add like five different characters, 20 different settings. You're just not going to have enough time to even develop your story. It's just going to be your listing lots of different characters in different settings, okay? So going into the problem, so going back to my example, beginning really nice, sunny, it's afternoon. You know, my protagonist is cycling. He's really, really happy. He's really excited to be going home. Then the build-up is he weaves through the tourists. Then he cuts to the side road. And then, you know, he goes through this very narrow alleyway, but he's still excited where sunshine is maybe filtering in through the alleyway. But perhaps there's now more shadows. Now the problem could be he has something behind him, maybe a rickety bike. And then he turns and sees another man behind him, right? And he looks at this person as looking directly at him. He looks disheveled, quite shabby. And so the problem is a villain in this case. And of course, this person, your protagonist could have, his heart starts racing, his palms grow moist and sweaty. He stops peddling faster and faster. And then he's now starting to weave in through the side streets, okay? You can describe London, let's say for instance, you decide to set it in London. You can describe London being like a maze, right? Now here the problem could be, you've got your villain, but also the city suddenly becomes, goes from being really nice and beautiful to be kind of scary and inaccessible. Then your resolution is now, how do they resolve this problem? If they resolve, or maybe the villain is the one that resolves that problem. In my case, and in the story example that I gave, or the story idea that I gave, it could be for instance, they go into yet another kind of narrow street trying to escape this person, but then they find a dead end. And this person who's chasing them hits the bike, causes them to fall onto the ground and this person can snap out their knife, right? And then the ending paragraph is, you could end either in a cliffhanger, maybe that person's heart is racing, they're wondering, ending of their tropical question is just the end. Or perhaps the person like, snatches the bag out of their hand and they take the bicycle and then they cycle off whilst the kid is left there with this rickety old bicycle, right? Either cliffhanger or just a normal ending, whichever works, just make sure you don't over complicate your story by having lots and lots of different characters, okay? I would also suggest with creative writing before finally going to descriptive writing, keep it to one setting, but your setting can start off being quite sunny and then it can grow a little bit shadowy and dark or it can start off being dark and then becomes like super, super, super dark, right? So the sky goes from being maybe foggy to competing like a carpet of dark. The sky seems like a dark carpet above your head for instance, okay? But keep it to one setting, one maximum two characters. Don't over complicate it by adding way too many characters. You're just not gonna have enough time to actually develop any of the characters or to develop it in enough depth to make a story interesting for your examiner and to not make it confusing. That's creative writing, I'm very biased. I suggest go for creative writing, there's way more to work with. You can start at one point and at a different point, but if you decide to go for descriptive writing, this is my suggestion in terms of framework and I will be showing you guys a descriptive writing example just so that you can see how that plays out, okay? So descriptive writing, your first paragraph, kind of like with creative writing, think about what's going on when you look at the image. The main mistake that students make when they do descriptive writing, they see the image that they're given and then they go straight for the most obvious thing in the image. For example, so one example I'm gonna be showing you guys is an old paper where you had like an old man who's looking directly at you. So the mistake somebody might make is that she say, okay, in this image, the most obvious thing is the old man. So I'm just gonna go for it. I'm gonna describe this old man in lots and lots of detail. So you've got like maybe one massive, massive page of descriptions to do with the old man, but then you don't have very much else to work with. However, what I would suggest is ignore the central focus and the most obvious thing, the descriptive writing image first. Warm yourself up, think about what else is going on around that image. Hence think about the setting and the weather. Going back to the example of the old man, there's like a kind of black background around him, meaning maybe he's in a dark room. He's maybe in a dingy room. Maybe perhaps also the room can be cold, right? You describe that in lots of detail. And of course, also it's quite dark. So you're describing kind of the darkness in lots and lots of detail. Then your second paragraph established the sense of mood. Does he feel, for instance, kind of abandoned? Is the place very empty? Is it perhaps empty of any kind of fresh air? Is there kind of this stifling atmosphere, right? So you kind of creating this sense of hopelessness. Well, that's what I would say if I was looking at that image. Now, your central focus paragraph is now where you've got the most obvious thing, right? So you've warmed yourself up. We've talked about what's going on around the old man. You then focused in on perhaps what the atmosphere is, right? Maybe it's like a negative atmosphere because he seems a little bit abandoned. Now your central focus is where you've got, you can go to town on the most obvious thing in the image, the old guy. You're going to lots of detail. You know, he's got this wrinkly face. He's got these piercing eyes. He looks like he's got kind of yellowing beard, whatever it is, right? Then your fourth paragraph, whatever your central focus is, try to describe their feelings. Now, if, for instance, you have an image like the one that came up in 2022 last year, which is like the kitchen, what I suggest to students is with the central focus, let's say the table or like the row of cups and stuff, personify them. If obviously in your image, you've got like an actual person who's the central focus, then now describe what their interior feels like, right? How they're feeling. So I guess in the case of the old man, you know, he's feeling abandoned. He's feeling really sad. His day's still dreary. Then your final paragraph could be an ever so slight change. Is there like a chip of light that comes in through a crack for the old man, or does the darkness get even more overwhelming and consuming? So literally when it comes to descriptive writing, you are trying to describe all of these different things and keeping it super static. You don't have that much room to move and to maneuver and to talk about things that are not inside the image. And also in descriptive writing, you can't flashback or flash forward because that's not related to the image. You've got to keep it to what you've got in front of you, okay? Whilst in creative writing, you can do that, you can flash forward, you can flash back, there's so much you can work with. So my suggestion is creative writing, okay? So now with that being said, guys, timings, techniques, creative descriptive writing, and by the way, guys, I've created a grid, you can download it, it's free. If you want to have this with you as you're preparing, download it directly. Now what I want to do, guys, is I'm gonna quickly check if there's any comments. However, I literally want to now dive straight into how to apply especially this methodology for language and structure to the exam paper that came up last year. I actually have two videos where I did the kitchen image and the story about a life-saving rescue. So what I might do for question number five, I might offer you guys a slightly different example just so that it's not too repetitive, okay? So what I'm gonna do is I'm gonna check the comments, but if there's no comments, I'm just gonna dive straight into the 2022 paper, okay? So I don't know, guys, if there's any additional comments, but what I'm gonna do is now move into literally how do you apply all of that information to the 2022 exam, okay? I can see the comments are kind of, I don't know if I can see the comments one second, guys. But let me just move you guys here and hopefully you can see the paper. All right, so guys, I'm gonna zoom out just a little bit and then I'm gonna walk you guys through how to write a response to the questions, okay? So I'm gonna be looking at the 2022 exam and this was the poll. Now guys, of course, when you're answering your questions, make sure you have lots and lots of different highlighters and different pens and so on, okay? Now, what I'm gonna do is I'm gonna read through this insert and to walk you guys through how and what I would be thinking about if I were answering this question. So let me first set myself down and then I'll walk you guys through this paper, okay? So if I were answering this question, of course, I then, guys, it's AQA today, okay? So I'm gonna zoom in a little bit if you can see. Let's see if you can see the paper a little bit more clearly, okay? So guys, firstly, I'm gonna read through the insert and then walk you guys through how to apply the questions or I'm gonna walk you through a model response that I've pre-prepared and then walk you guys through how I've put it together, okay? So I don't think I can see the comments properly so I'm just literally gonna dive right into it. Tell me, guys, hopefully it's kind of a bit clearer but I'm gonna walk you guys through this paper, okay? Now, when it comes to the insert itself, when you're panicking tomorrow, make sure you still try your best to read through the insert that you've given. Actually, to be honest, you're gonna read through the question paper first, questions one, two, three, four and five, okay? So for instance, you first read through the questions, okay? And of course, as I mentioned, I've pre-prepared it. Read through question number one, question number two. Then question number three. So you first do it in that order. Then question number three, highlight the keywords. Then question number four, highlight keywords and then question number five, decide what you're gonna go for and then highlight keywords, okay? So again, guys, I'm literally gonna walk you through the model response but once you've finished highlighting the keywords, you've gotten a layer of the land, you know what you're looking for, then you read through the insert in that order, okay? So the insert, the little blurb at the top here tells me, in this extract from the beginning of the novel, keynote, a poor pearl diver is with his wife, Juana and the baby Coyotito in the village home in Mexico. That's the information, that's the context. The only bit of context are being given by AQA to use. So let's have a look at the first paragraph. The sun was warming the brush house. So here, the author immediately starts with pathetic fallacy, okay? What does that do? Usually when we see sunshine, there's a sense of hope and promise established but what's really interesting is maybe perhaps, does the author use it? Maybe you could even ask yourself, does the author use this to establish hope or they're using it in an ironic way, okay? So the sun was warming the brush house, breaking through its crevices, which means cracks in long streaks. In one of the streaks felt on the hanging bed box where baby Coyotito lay and on the ropes that held it. So one of the streaks felt on the hanging bed box where baby Coyotito lay. It was a tiny movement that drew the ice of the hanging box. Keynote and Juana froze in their positions. Now here we've got some tension that's created structurally through this brief, simple sentence, okay? Down the rope that hung the baby's box from the roof support, a scorpion moved slowly. So here there's now a new character that's introduced, okay? Its stinging tail was straight out behind him but it could whip it up in a flash of time. Keynote's breath whistled in his nostrils and he opened his mouth to stop it. So here we've got Keynote's breath whistling and the writer uses onomatopoeia to create a buildup of tension, okay? So onomatopoeia language is used here, okay? Then, and then the startled look was gone from him and the rigidity from his body. In his mind a new song had come, the song of evil, the music of the enemy. Any foe of the family, a savage secret, dangerous melody underneath the song of family cried plaintively. What's really interesting here and this is now my favorite language technique, these words evil, enemy and foe belong to the semantic field of, you could either say semantic field of enemies, semantic field of, I would actually say maybe semantic field of enemies, okay? So we've got evil, even semantic field of hatred, okay? I love this technique, it sounds super, super clever but actually it's really, really straightforward and easy to pick out, okay? And of course also there's lots of listing that's being used here. Semantic field remember guys is language, listing is structure. What is this doing? This is literally increasing our sense of tension, trepidation, fair, okay? Trepidation by the way guys, simply means how do we spell trepidation? T-R-E-P-I-D-A-T-I-O-N. Trepidation simply means we're starting to sweat, we're kind of scared of what's going on, what's the scorpion gonna do next? The scorpion moved delicately down the ropes and now the scorpion is moving delicately. Really powerful adverb, keynote was in motion, simple sentence. Remember short sentences speed up the pace of the text, long sentences, slow it down. His body glided quietly, quietly across the room, noiselessly and smoothly. We've got quietly how he moved noiselessly and smoothly. This is rule of three. His hands were in front of him, palms down and his eyes were on the scorpion. There is constant anaphoric reference to the scorpion, anophora, okay? So here we've got anophora, which is just a clever way of referring to when you've got one subject, the constant repetitive reference to the subject or character, we call it anophora. It sense danger when keynote was almost within reach of it. It stopped and its tail rose up over its back in little jerks and the curved thorn on the tail's end glistened. So this little thing that's pricking is described as a curved thorn, which is what we call a metaphor, okay? Describing something as if it were something else, metaphor. Keynote stood perfectly still, simple sentence. Tension is back up. He could not move until the scorpion moved and it felt for the source of the death that was coming to it. Keynote's hand went forward very slowly, very slowly, very smoothly. The thorned tail jerked upright. So now here, there's almost this climactic description where like, oh my gosh, what's going on, what's going on. At that moment, the laughing coyoteato shook the rope and the scorpion fell. So this is the baby. Now here, this is a structural technique I haven't put up because it's kind of one of those that's a little bit hard to spot. But if you can spot it, you can also include it as part of your like structure points, right? We call this the turning point in a story or in other words, a Volta. Basically, there's this delicate balance. Initially, you've got the scorpion that's just hanging. Then you've got Keynote and they're almost kind of doing this delicate dance around each other. Then suddenly the baby just goes, oh, and then just yanks everything and then this delicate balance is totally destroyed and this scorpion falls. Now it becomes, now the speed of the text starts increasing. Keynote's hand leaps to catch it but it fell past his fingers, fell on the baby's shoulder, landed and struck. So here we've got repetition. This is now the heart wrenching moment when everything changes. So the writer is using structure here to convey this. Okay? Then snarling on a matapia. Keynote had it, had it in his fingers, rubbing it into a paste in his hands, metaphor. He threw it down and beat it into the earth floor with his fists and Koryo Tito screamed with pain within his box. But Keynote beat and stamped the enemy until it was only a fragment in a moist place in the dirt. So here again, there's lots and lots of metaphors that's being used. By the way, guys, remember metaphors are super, super popular. Remember that the extra that you're gonna be given tomorrow is a fiction extract. If you remember, and you recall from your literature exams, you should obviously know when it came to Shakespeare, when it came to your modern texts, the writers just love metaphors. So really, that's one technique that you're looking for, that you're banking on coming up. So here, as we can see, there's loads and loads of metaphors. Metaphors, writers absolutely love that. His teeth or bed and fury fled in his eyes and the song of the enemy roared in his ears. We've got alliteration here too. And of course, this entire sentence is a complex sentence. Or if you ever get stuck in terms of sentence types, just go for declarative sentence. I use the declarative sentences for my sentence form in question number two, but you can also use it for question three or four. Declarative sentences is the most common type of sentence. It means a sentence that states a fact, feeling or mood. I'm even speaking right now in a series of declarative sentences. This whole thing is declarative sentences, it's easy. But Juana had the baby in her arms now. She found the puncture with redness. Now Juana takes the baby in her arms, right? This kid is crying. He's like in loads and loads of pain. She found the puncture with redness starting from it already. She put her lips down over the puncture and sucked hard and spat and sucked again. So here she's now trying to take out the poison from the baby's body. Kino Hoved, he was helpless. He was in the way. So here, the writer is using tricolon. You've got this as well as this and this. Tricolon wants more. I've not put it as a structural technique because it's not always guaranteed to come up. It can be a little bit difficult to find. However, if you do remember tricolon, it's literally just three separate clauses within the sentence that you can list. However, if you're not sure, just literally say, oh, and this is a character sentence. Easy, okay? The screams of the baby brought the neighbors. Scorpion, the baby has been stung. Constant anaphoric reference from the start. So here we can see anaphora, scorpion, scorpion, scorpion. Literally, we never forget the main subject of this extract. The screams of the baby brought the neighbors. Scorpion, the baby has been stung. Wanna stop sucking the puncture for a moment? The little hole was slightly enlarged and its edges whiten from the sucking, but the red swelling extended further around it in a hard mound. So now here, you've got how horrible this puncture is. An adult might be very ill from this thing, but a baby could easily die from the poison. Now there's this tension. The author now tells us, okay, like this kid, he might die. Again, there's this sudden and dramatic turn of events. Okay, so this is a dramatic change, a dramatic shift. It goes from at the beginning, we were kind of really hopeful. We were like, okay, something's gonna happen. The parents are gonna obviously step in just in time. Now suddenly the baby's about, you know, potentially could die. First would come swelling and fever and tightened throat and then cramps in the stomach. And then Koyotito might die, repetition of die. So again here, the writer really, really wants us to feel lots and lots of sympathy and fear. And who is this writer? He's one of my favorite writers, John Steinbeck. And actually guys, last year, if you guys had been on any of my lives, I used to talk about this novel that I loved so much. Okay, this novel is literally like 85 pages. Let's Call the Pearl by John Steinbeck, one of my favorite authors ever. Anyway, but the stinging pain of the bite was going away. Koyotito screams to Mone. So now here we've got Koyotito, who was initially quite quiet. And now we've got lots of onomatopoeia, which is very, very climactic. We've got this sense that now the tone and the atmosphere has suddenly changed. Going back to this pathetic fallacy, you could argue then in that case, because usually sunshine creates a sense of hope. But in this case, we can see that Steinbeck, the author has used pathetic fallacy in an ironic way. Remember, if the author starts off with something like sun, but then he's describing something really horrible from the start, that's ironic. Of course, also they use stuff like rain, fog, mist, et cetera, but then they're describing something really, really nice. Then that's also ironic, okay? Once more, when you're now analyzing, that's the analytical depth you want to go into. Kino had wandered often at the iron in his patient fragile wife. So here he's now admiring his wife, this guy Kino. And he's using obviously, Steinbeck is using metaphor. She was obedient and respectful and cheerful and patient. So here he uses listing to talk about, so there's lots of adjectives here listed. She could stand fatigue and hunger almost better than Kino himself. She was like a strong man. Similarly, now she did a most surprising thing. So now there's a shift in focus. We go from how Kino was there, like, oh, I'm a man. I'm gonna literally get the scorpion. Oh my gosh, oh my gosh. Now there's a shift. And Steinbeck is building our anticipation here, right? Using this simile. He's also using all of these adjectives. And what is this showing us? So carrying on, okay? So now we get to the final dramatic end. And always guys, remember, it's always gonna be a final dramatic end. Any extra to get tomorrow is always gonna be a final dramatic end, okay? Like the examiners just want you to say this stuff and then just, you know, like, try to bring that slightly different angle. Don't just say, oh, this makes the reader want to read on. That's boring, okay? Don't say stuff like that. That's really generic. It's very overused. Say, oh, you know, he increases the tension. He speeds up the pace. It ends in the final dramatic ending. The doctor, she said, go to get the doctor. So here she's now saying, look, this is what we've got to do. The doctor would not come. Kino said to Wana, right? If you're this kid's dad, why would you then say this? She looked up at him. Her eyes as cold as the eyes of a lioness. Powerful simile. This was Wana's first baby. This was nearly everything there was in Wana's world. And Kino saw her determination. So you've got here simile. And of course she is literally, she speaks in these monosyllabic language and uses the repetition of the word doctor. But we can see here, actually, she has a lot of authority. Then we will go to him, Wana said. And one hand she arranged her dark blue shawl over her head and made one end of it into a sling to hold the moaning baby and shade her eyes to protect him from the light. So here she's not waiting for Kino to do anything. She's doing something. The people in the doorway pushed against those behind to let her through. Kino followed her. So there's this really interesting shift in the narrative because this final sentence shows that there's this power dynamic that's gone from, and there's a shift of focus from Kino at the start. So this simple sentence structure, it's moved from Kino at the start, right? Kino's hair, oh, I'm the man of the house. I'm gonna do something about it. But then, whoop, the scorpion falls through his fingers. And then suddenly there's now a shift of focus at the end here. And it's Wana that's doing all the commanding. She's like, okay, we've got to get into action, blah, blah, blah, blah. And then suddenly it seems like Kino is kind of like, oh, okay, fine. Right, let's do it, okay? So that's what I would do as I was, if I was in your position tomorrow, guys, I would work through the extract in this way. Obviously, I've read the questions and I know what I'm looking for. Then I'd work through the extract in this way. So now let's have a look at, and I'm gonna zoom out just a little bit. Hopefully it's still clear. Let's have a look at how to answer each of the questions. Question number one is really straightforward. In terms of question number one, you shouldn't swear. Literally, you're finding, you're always asked to look at the first paragraph, right? You're always asked to look at the beginning paragraph, one to six, four things about brush house and what's happening from this source. This one, literally just write four sentences, don't do one word sentences. And of course also, when you're looking for the bit of evidence, make sure you're taking it from the right place in the passage. So here you've got the sun is warming the brush house. That's the first thing. The baby's hanging on the bed box in the brush house. You can even just have the baby's hanging on the bed box. Kino and Wana are inside the brush house and finally, a scorpion is moving in the brush house. That's really it for question number one. Don't sweat question number one. Just select the relevant bits of information. Spend a max of five minutes on this question. More than that. And you're now starting to run into dangerous territory when I'm managing your timings for elsewhere in the paper. My suggestion, guys, if you're really strictly yourself in the timings, work through it chronologically. Now, of course, question number two, you're always given an extract and something to work with. Here, in this case, you always get the insert. So you don't actually have to look at the question paper, okay? In this case, I would suggest when you're answering question number two, which you always know it's gonna be the language question, language referring to the techniques I've talked about, metaphor, simile, alliteration, onomatopoeia, but of course, you also have to talk about sentence forms. Easiest sentence form to talk about is declarative sentence. You literally couple one of your observations with how the writer uses declarative sentences. Now, guys, in this case, you're asked how the writer uses language to describe the conflict between Kino and the scorpion. I would suggest take something from the beginning and something from the end. Or you can take something from the beginning, middle, and end. Do not select evidence, which is next to each other. Don't take something here and then something there because it comes across as a little bit lazy. And of course, for this question, I would suggest aim to write two pill paragraphs, pill meaning point, evidence, explanation, link. So I'll show you guys my model answer for this particular question and how I've applied language devices and of course, sentence forms when answering this. Now, what I'm gonna do, guys, as I mentioned, I've already pre-prepared this because if I was writing this out, the live would go on forever and I'm not trying to be here all afternoon. The live is gonna end around six o'clock, okay? However, what I'm gonna do, guys, is I'm gonna use these different color codes. So let's see what's gonna be my opening point. My point is gonna be blue. My evidence is gonna be orange, explanation green, link perfect. I'll show you guys how you can apply what I was suggesting in the opening, talking about language and how you can also incorporate an observation on sentence forms. Make sure you always highlight the keywords of the question because you are referring back to those key words. So let's have a look at my first model response, my first peel paragraph and I'm gonna zoom out a little bit and we'll also talk about how the writer uses language to describe the conflict between keynote and the scorpion. Hopefully it's still clear this paper as I'm zooming out, okay? So here's my opening point. Firstly, the writer effectively using keywords from the question describes the impending conflict between keynote and the scorpion. I say the word impending because I am also aware that I'm doing an English exam, therefore I need to use ambitious language and show my examiner that in addition to answering this question, I also have a wide range of language that I can use to describe the same thing. Impending means it's about to happen. Evidently, keynote seems tense and he is poised as he's ready to attack the scorpion. This is my opening point, okay? So this, all of this is my opening point. And then I embed my evidence, okay? So this is now my point, here's my evidence, here's how I embed the bits from this box. Keynote's breath whistled as he glided quietly, quietly, noiselessly and smoothly. That's my evidence. I've embedded my quotations, okay? So I've opened up my point, here's my evidence, now here's my explanation. This is now where you're gonna rack up your AO2, your assessment objective two. Gonna use green to highlight my explanation, okay? So the author uses the onomatopoeia, sound word, whistles to convey how tense and alert to keynote is. Moreover, the rule of three is used and we learn he moved quietly as well as second page, noiselessly and smoothly. So I've talked about the use of going back to this in my explanation, okay? So this is where the bulk of the marks are. I've talked about onomatopoeia, which is language. I've also talked about rule of three, which is language. And I'm now gonna go into a little bit of an explanation what does it show about the conflicts between keynote and the scorpion. We can see there was a mounting sense of conflict keywords from the question between keynote and the scorpion. And then I'm gonna zoom in on one particular word as the adverb quietly reveals how keynote is moving like a predator ready to attack. As you can see, guys, the green bit in my pure paragraph is super long. Why is it quite long and quite detailed? This is because this is where the bulk of your marks are, okay? In your opening point, you're simply just saying, okay, this is the question. This is what I think about the question. Evidence you're creating from the little box. Your explanation, that's where you're racking up your marks and you're getting your AO2, okay? And in this case, in your explanation, make sure you talk about one general like language checking clock, onomatopoeia say, but then you then zoom in on one particular word. In this case, I zoomed in on the adverb quietly. The key words to use when you're zooming in, noun, verb, adjective, adverb, pronoun. Just know the difference between the five and then just use those as you're zooming in words. Now here's my link back to the question. Thus it's clear that keynote is about to pounce on the scorpion as the conflict between them is unavoidable. I think I'm referring back to keynote, scorpion conflicts because I never want to lose sight of the key words in the question. When you repeat key words in the question, you're not repeating yourself too much. You're not knowing the examiner. You are showing this examiner that you'll understand the assignment. Remember examiners are human beings. They're gonna be marking 40 to 50 pages on scripts a day during the summer holiday. Make it easy for them to say, oh, okay, great. They're answering the question, they're mentioning the language that they need to talk about. However, of course, also guys, you're gonna notice in my first paragraph, I'm yet to talk about sentence forms. I've only talked about onomatopoeia. I've mentioned adverb and so on. So I need to make sure in my second pill paragraph, I mentioned sentence forms, okay? So here's my second pill paragraph. Again, I'm gonna highlight all the different steps in my pill paragraph so you can see how I embed my quotations and so on. So here's the second point. Moreover, it appears that this conflict may be unpredictable as the scorpion also seems ready for attack. In fact, it senses keynote's intentions and it appears like it will counter attack him. That's my second point. Then here's my evidence. The creature's curved thorn on the tail end glistened. That's my evidence. The creature's curved thorn and the tail end glistened. As you can see guys, my evidence, I'm not using like reams and reams of quotations, okay? You don't have to use like loads and loads of quotations. Keep it concise, but then unpack it and say, okay, here's a technique, here's me zooming in on one particular word. And also here's this particular word in this declarative sentence is what it shows me. Here's my explanation. The writer uses a powerful metaphor in this declarative sentence. Now I've mentioned sentence forms. I'm covered, I'm good, because I've literally now talked about words and phrases, language, language, technique, sentence forms, I'm good. So the writer uses a powerful metaphor in this declarative sentence to illustrate how deadly the scorpion's thorn is. Then now I'm gonna zoom in again. The noun thorn paints a terrifying image of a sharp weapon in the reader's mind, revealing that the scorpion may match keynote strength with its next page, brutal thorn. That's my explanation. Guys, pay attention to the fact that the green bit, which is my explanation, is super long. The reason why is because that's the bulk of your marks, okay, this is where you're now racking up your AO2. This is where you're showing your examiner. Hey, Mr. Examiner, hey, Mr. Examiner. I totally understand the assignment. I totally know what I'm supposed to talk about. In connection with the question itself, how the writer describes the conflict between keynote, okay? Now here's my link back to the question. So I then simply finish off by linking consequently, Steinbeck, the author, portrays the conflict between keynote and the scorpion in a frightening way. We wonder if keynote will be able to overpower this creature. As I mentioned, guys, now let me just zoom out just a little bit so you can kind of see how it all looks like together. Four question number two. The great thing about question number two, you always get the extract given in front of you. You just select something from the beginning, something from the end, or something from the beginning and middle. Don't take evidence next to each other because you come across as lazy when you're answering the question. That's the first thing. Next thing is you obviously highlight the keywords, use those keywords in your question. Final thing is don't forget the important sentence forms. Easy way to talk about sentence forms is literally talk about one of the quotes that you're using. It's part of the character sentence. How does the author use this, okay? So as you can see here, two pill paragraphs, that's the structure that I've taken. Start off with my first paragraph, point evidence explanation, then I'll finish off with linking. Then second pill paragraph, point evidence explanation. And in this second pill paragraph, I've talked about declarative sentence before I finished off by linking it back to the question, okay? So guys, don't let question number two intimidate you. To be honest, guys, I thought question number two is super straightforward as long as you memorize key language devices. And of course also just make sure you talk about a declarative sentence for your sentence forms. You're good. You just need to know then unpack and then say how does that relate to the keywords in the question? That's question number two. Let's have a look at question number three. So number three, you always know that it's a structure question. How's the writer structure the text to interest you as a reader? And you were always interested as a reader. Question number two, I would suggest obviously going for two pill paragraphs. However, your first pill point, you should talk about beginning versus how that shift of focus happens. Beginning versus end, beginning versus middle. That's a really powerful way to do so and to talk about structure. But that also of course means you're talking about two bits of evidence, something from the beginning, something from the end. Obviously, you then have to look at the extract. You select, okay, I'm gonna take something from here, but then talk about what's going on in the middle or what's going on at the end, which still makes us really, really intrigued in the extract. So guys, again, I'm gonna show you how my beginning versus end paragraph looks like. It's gonna be a little bit longer because I'm talking about two bits of the text. And then my other point will be another structural features, okay? Or another structural feature. So here's my first opening paragraph, okay? So this is my pill paragraph, but for structure and how this interests us as readers. So here's my opening point. Firstly, the writer's success if he opened the text in a way that engages us as readers. I've already said how this interests us as readers. I'm referring back to the key words in the question. How does this intrigue us? This is because they conveyed the delicate balance between the scorpion, which is moving, and Kino, who watches it closely. I'm talking about beginning here, still. But then now I need to talk about ending. Yet in the middle, so now here I'm mentioning middle rather than ending actually. This delicate balance is tipped when the baby shakes the scorpion, which intrigues us. Here's my opening point. It's obviously a little bit longer because I'm just supposing what's going on at the start versus what's going on at the end. Here's my evidence from beginning versus middle. There is a tiny movement of the scorpion at first. However, the laughing Koyotito moved and shook it. So here's my first evidence from the beginning, tiny movement. Then here's my second bit of evidence from the middle. How Koyotito shakes the scorpion. Now, here's my explanation. I'm gonna talk about how does this shift from beginning to middle interests us as readers. As you can see, guys, you need to always make sure you're keeping a tight focus on the question. Steinbeck begins by instantly creating tension as we can see the scorpion is delicately moving. We are on edge as readers, yet we hope the baby will be safe. So I've started off by saying what's happening in the beginning and why we are super interested and captivated as the audience or readers. Nevertheless, there's a turning point in the middle. So now here I'm mentioning this turning point and to our dismay, the baby causes the scorpion to fall down. Then I carry on. Here's my link back to the question. Hence the writer keeps us engaged in the start and the middle of the passage. Our fear tends to horror when the baby shakes the rope. So I've juxtaposed in this first paragraph, what happens at the start where there's a delicate balance versus the middle where there's a turning point and a shift in the narrative. Now here's my second peel paragraph for question number three. Additionally, the writer keeps us engaged as readers by focusing our attention on the scorpion. Steinbeck's sudden introduction of the creature is unexpected and we watch it in trepidation. Remember the sudden introduction or the introduction of a new character, that's structure. So here's my point, okay? Then moving on into my evidence. By the way guys, trepidation means we're stressed, we're sweating. Here's the evidence. The writer constantly eludes, refers to the scorpion in the extract, that's my evidence. The authors, now here I'm talking about technique, structure. The author's repetitive repetition referenced back to this new and unexpected character, structure, is engaging and surprising for us, okay? So I've literally started off by saying, hey, this is what we're interested. And bear in mind guys, I'm not saying at no stage have I said, this makes us as readers want to read on. That is so boring. Don't say that, it's played out. The examiners are literally gonna be rolling their eyes if they say that. Say stuff like, it's unexpected. It's a dramatic turn of events. Add that kind of language. In fact, his anaphoric reference, this is what I was talking about with anaphora. This is how you can use it. In fact, his anaphoric reference to the scorpion makes us focus on its minut, which means tiny movements. And we're curious to see what it will do next. This is my explanation. I've talked about introduction of character as well as repetition and anaphora. I'm really packing in my AO2 points here. Here's my link back to the question. As a result, the writer maintains our interest in the extract about focusing our attention on the scorpion. So our interest is maintained. We fearfully watch as it moves and we worry about the baby. That's my link back to the question, second pill paragraph done, okay? Started off from my point, evidence explanation link. If you only have enough time to do just one paragraph, make it chunky, talk about beginning versus end or beginning versus middle as I've done here, then your evidence, then your explanation, as you can see the green bit, that's where it has to be super long because that's the bulk of your marks and then link. If you've got time, if you can, try and do two of these, okay? That's on average then around five minutes per paragraph. That's question number three. Question four, the student statement. We always agree with the student statement. We always get the student statement. You can agree, you can disagree to an extent. I would say just agree, make your life easy. And then say how, you know, the writer shows this. So here you're asked, look at the second part of the source, it's always the second half, line 19 to the end. A student said this part of the story, in this part of the story, one is reaction to the danger facing the baby is different to keynotes. The writer shows that keynotes is unhelpful and one tries to save the baby's life. Do you agree? I would argue, I agree. So here's my response, my first pill paragraph. To begin with, it's clear that one is reaction to the danger is different to keynotes reaction. Using key words from the student statement. And I'm not saying I agree. I'm saying words like indirectly agreeing, it is clear. It is evident. I'm basically saying yes, I agree because it's clear that we can see what the student's saying about one is reaction. Whilst Kino displays bravado, which means like he's like over the top, masculine and stuff like that. When stamping the scorpion, his actions seem unhelpful in saving the baby's life. As it's one who comes to the baby's rescue, here's my opening point. Basically saying, yep, one is helpful, Kino is unhelpful, okay? So I'm referring constantly back to the student statement. Here is my evidence. Even if Kino was snarling as he beat the scorpion, it was one who had the baby in her arms. So I've juxtaposed quote from Kino versus quote from one. The right is the onomatopoeia. So here's my explanation, language. The right is the onomatopoeia snarling to emphasize how dramatic Kino was as he killed the scorpion. I've added language. Remember question number four is basically you combining the skills that you're bringing in question two and three together and then basically saying how you agree. Yet the simple sentence now here I've added structure which describes Juana shows she is the one who clearly focused on saving the baby. Here's my explanation when I talk about language and structure. Here's my link back to the question. Thus it's evident that Kino was unhelpful in his reaction and it's one of you tries to save the baby. Links back to the question. Start off my point. Added the evidence, explanation, link and I've made it clear that I simply agree with the student statement and I'm basically saying yep, we can see that indeed Juana is actually the one that jumps to save the baby. Not so much Kino. That's my first point. Here's my second pill paragraph. So here's my second point or paragraph even. Secondly, Juana is quick to spring to action whilst Kino stands watching her. So I'm now working through the extract, okay? So I started off but basically in the extract talking about and juxtaposing how Juana was quick to jump, to action, Kino doesn't do very much. All he does is literally like stamp on the scorpion. I'm not gonna work through the extract and pick out another bit of evidence. So Juana is quick to spring to action whilst Kino stands watching her. She attempts to remove the poison from the baby's bloodstream. So now here I'm talking about where and how she responds, okay? So now here I'm gonna talk about how she is putting her lips down over the puncture and trying to get the poison out. Here's my evidence. Juana sucked hard and spacked however Kino was helpless as he stared. Again, I'm juxtaposing and showing why I agree with the student statement. I never lose sight of the keywords in the question. Here's my explanation. The writer's use of siblings language reveals Juana was focused on saving the baby as she sucked and spat the poison. That's my explanation, but I still am not done. Yet the adjective I'm now zooming in helpless portrays how unhelpful Kino was. It is infuriated, it is frustrating for us as readers to see how he watched her mutely. He's mute. Again, I'm not basically saying, oh, and this is why we agree. I'm interpreting the student statement and kind of agreeing, but then saying, okay, this is the reason why I agree. This is what we can see in Kino's reaction versus Juana. Here's now my link back to the question. As a result, the reactions are clearly different as Juana acts quickly to help the baby at Kino is unhelpful. I'm basically saying, yep, I agree with the statement. And I haven't said explicitly, I agree, but since things like Juana is quick, we can see she attempts. Hence, as a result, their reactions are clearly different. I'm indirectly in a slightly more sophisticated way, saying using third-person narrative. I agree with the student statement. Here's my third pill paragraph. And guys, by the way, once I'm done, I'm gonna check before I dive into question number five, I'm gonna check the comments and just see if there's any final questions before I move on to question five. Thirdly, so now here's my third point. By the way, guys, with question number four, try to enter at least three pill paragraphs if you can. Four, you've got 20 minutes. So if you do four paragraphs, that's five minutes per paragraph. If that's too quick for you, three paragraphs. So thirdly, there's a dramatic shift in power as Juana takes control and guides Kino. So now here, I'm talking about what starts to happen as we're getting towards the end of the extract. It started off with Kino, kind of being the one that's jumping into action and stamping on the scorpion. But now there's this shift in power, which I'm gonna talk about, okay? As the extract draws to a close. So there's a dramatic shift in power as Juana takes control and guides Kino. Point, evidently, he's so unhelpful as she has to direct him on what to do to save the baby's life. So here again, I'm basically saying, yep, he's useless, whilst Juana is the one that saves the baby. Here's my evidence. Kino believed that she was like a strong man and he followed her. Steinbeck uses the simile. Again, now I'm talking about language. Like a strong man to convey how determined and forceful Juana was in saving the baby. Mentioned language, but I'm not done yet. I'm going into lots of detail in order to get my AO4. The final simple sentence reveals, so now here I'm talking about structure, reveals that Kino was reduced to simply following his wife's instructions as he did not know what else to do. So that's my explanation. As you can see here, I've gone into lots of detail why I agree with the student statement. Here's my link back to the question. Hence, it's clear that Juana takes charge as she quickly considers how to save the baby's life. Kino seems really lost and unhelpful as he watches her in awe. That's my link back to the question. So again, if you only have enough time in the exam to do three body paragraphs for this question, do that and then move on. However, if you have a bit more time, here's a fourth and final paragraph that you can consider. And of course, this is how I would suggest the method that you can use when answering the question. You can literally use the explanation bit. This is where you're racking up your points, talking about techniques and why you agree or disagree with the student statement. So here's my fourth and final point. So finally, Juana puts in several suggestions and solutions forward. She wants to visit the doctor, yet Kino seems pessimistic as he tries to block her from going to see the doctor. Here I am referring now to this dialogue at the end. So now I've shifted to the final bit. As you can see, hopefully you can see this, I've worked through the extract. Again, I'm showing the examiner, look. I'm literally gonna take something from here, something else from here, and now I'm getting to the end. Here's another thing and why I agree with the student statement. So this is my opening point. She puts forward several suggestions and she wants to visit the doctor, but Kino's unhelpful because he's the one that seems really pessimistic. He blocks her from trying to go and see the doctor. Then I'm adding my evidence. Juana asks him to go to get the doctor. Nonetheless, Kino believes the doctor would not come. Again, I'm juxtaposing the two characters. Here's my explanation. The author uses dialogue. This is structure to illustrate that Juana considers very practical ways of saving the baby. So I've started off by talking about dialogue. Nevertheless, Kino is extremely unhelpful as he seems reluctant. Indeed, he even believes the doctor would not come, which presents him as useless in saving the baby. So again, here, what am I doing? I am referring back to the student statement and saying I agree and here's some evidence to show why I agree with what the student has to say. The fact that Kino is unhelpful and really useless. I'll never lose out of the keywords in the question. Here's my link back to the question. See this final paragraph as like a bonus paragraph. Therefore, whilst Juana thinks of different ways to save the baby's life, Kino in contrast seems to put roadblocks in her way. He seems unhelpful, yet she's determined to save their baby. Here's my link back to the question. That's question number four, finished, okay? So guys, as I mentioned, I'm gonna quickly check if there's any questions. If there's none, I'm gonna go straight into creative writing, okay? So guys, just to recap, what did I do? I went over this paper, questions one to four, and I think also my comment thing is glitchy. So guys, I literally, I don't think, I'm gonna try and see if I can see the comments, but I feel like these comments are kind of glitchy. Guys, this is AQA. So I don't know if I can see any other comments. Anyway, guys, as I mentioned, just to quickly recap, looking at paper one, 2022 exam. This is exam that students sat last year and more specifically when it comes to question one, okay? So just to quickly recap, question one, super simple, straightforward. Just make sure you write in full sentences. Question number two, which is what I've just explained. I'm gonna zoom out just a little bit. Question two, language simply means things like alliteration, metaphors, simile, sibilance, and so on. And also don't forget to mention sentence forms as part of the final bullet point. You can simply talk about declarative sentence. Try to aim to write at least two pill paragraph for this question. As you can see, this is my first pill paragraph. Pill meaning point, evidence explanation link. Blue is point, orange is evidence. Here's my explanation where I talk about language techniques before I finish off by linking back to the question. I did that times two. Try to aim to write two pill paragraphs in tomorrow's exam. Question number three, this is a structure question. This question do not zoom in or do any language or word level analysis. Word level analysis is question. In this case, I would suggest have your first paragraph juxtaposed in beginning versus end. And that's what I did. Obviously it's gonna make it a little bit longer, but here, or even actually to be honest, it can be beginning versus middle. So actually I talked about beginning. How does it start addressing the first bullet point? Then I mentioned how does it change in the middle, right? So then juxtaposed the two. You can either have beginning versus end or beginning versus middle. So that's my opening point. It's a little bit long because I'm juxtaposing the two. Then here's my evidence. Then I'll go on to talk about, okay, this is why it's interesting for us as readers. It captivates us. It makes us really, really curious. There's this delicate balance between keynote and the scorpion that's upset. Then my second structure point was simply to do with the repetitive reference, the anaphora going back to the scorpion. There's always this constant focus on this character. Again, start off my point, evidence, explanation, and then link. That's question number three, done. Then question four, try to aim to write at least three peel points, three paragraphs, or if you can, go for four, okay? So I went for four, started off with how I grew the student's statement. And I basically said, I agree because here's some language, here's some structure. And I did this times four, okay? If you only have enough time to do three, then do three. If also you're poor with your time management, start backwards and work through the exam backwards. Start on the question five, then four, three, two, one, okay? But if you're okay with time and you're super straight, then just work through it chronologically. I would suggest just working through it chronologically. Now guys, as I mentioned, I've actually got some videos, which I did for this. So what I wanted to do was to give you guys another example of a creative writing question that I've done in the past with some of the other questions, okay? Because I feel like I've literally like given an answer. I think it's like one of the early videos I did at the start of this year, right? On this kitchen and also this lifesaving rescue. And actually this was even one of the examples that I suggested that you could use for the essay plan, the creative writing essay plan. So what I want to do guys at this stage is actually show you another creative writing example that I did. So let me find it, okay? So, and then maybe if people want me to go over the, I don't know if I'm gonna have enough time. So I'm probably gonna only have enough time to go over just another creative writing and another descriptive. Anyway, so guys, I want to show you how to answer the, yeah, another creative writing example. But in this case, I want to show where is this? If I can find it, here we go. Right, so this is another creative writing question. But I'm gonna walk you guys through the structure once more, okay? So this one, which one did I go for? This is descriptive writing, okay? So I don't think I've ever gone over this one. So I'm gonna go through, so let's see. This one is descriptive writing. So I'm gonna read you guys through descriptive writing example. And then afterwards, I believe I'm gonna try and go over, oh, this is yet another descriptive writing. So I'm probably gonna go over a story, okay? So I'm gonna show you guys one descriptive writing and then one story. So, going through this one. So this is descriptive writing for the bus, okay? Again, as I'm going over it guys, for tomorrow's exam, pick examples and kind of bits of this text that you think work really well in terms of how it describes the setting. As you can see with descriptive writing, and I've mentioned this in terms of like how to approach this question. With descriptive writing, what's really challenging is being able to describe in like five or six different ways the same thing that you see, right? And with descriptive writing, my suggestion is, so your first paragraph of the setting and weather, second paragraph, atmosphere and mood, third paragraph, central focus, fourth paragraph, feelings and fifth paragraph, slight change. So what I'm gonna do is I'm gonna go over this model response that I did for this image just so that you can kind of see language you can use that say you've got like a city landscape tomorrow, or if you have like something that's, you know, in a busy setting and a busy environment, this is how you can write about it and you can borrow some of the language from here, okay? So here is my first paragraph when establishing the setting and the weather, okay? And pay attention to the ambitious language and ambitious vocabulary that I use in this opening paragraph. Beep, beep, beep. Onomatopoeia, the cacophonous, which means noisy, a noisy clatter of sounds all coming and crashing together. The cacophonous sounds of ringing, shuffling, rustling and talking all merge into one noisy din. Din means like loads and loads of noise. The bustling city streets were filled with a flood of workers, tourists and children who streamed through it. Against the luminous, scarlet azure and amber lights which shone and tried to seduce me, inviting me to enter the city's numerous shops. So here I'm talking about this image as if I were literally inside the bus looking at all of these colors. The ancient Victorian buildings played hosts to fashion houses, high street shops, sweet shops and restaurants. Behind me, central London seemed to come to life as darkness set in. The building at the edge of the street behind me had bright ruby signs screaming, Ripley's believe it or not. These scarlet lights shone onto the traffic. What have I done in my first paragraph? I've literally looked at this image and it seems to be inside a bus, but I've looked at what's going on outside. What can I see outside? I can see darkness. I can see this bright luminous believe it or not here. I can see loads of neon signs. I am describing not the most obvious thing. So in this case, I would say the obvious thing are these passengers. I'm leaving that till my third paragraph. The less obvious thing is what's going on around the image. How is the setting like? That's what I establish. And of course, as I'm writing this, I'm using a mix of long and short sentences. Here's now my second paragraph. This is where I go into what the atmosphere and mood is like when we consider this image. So I'm going to zoom in just a little bit more so that hopefully it's a little bit clearer. I narrowed my eyes as I gazed out of the bus's crystal clear windows, hot artificial heat jetted out of the bus's radiators. I've decided also, by the way, guys, to write it in first person perspective as if I were one of these characters. It mixed and mingled in with the crisp, frosty air that hovered above our heads like a bad memory. This is a simile describing a cold setting. An involuntary shiver left my body as I tapped my feet impatiently. Shifting my seat, I moved to my left and my right. The bus had been here for 10 ellipses, maybe 15 minutes. The gridlocked traffic had barely moved. A faint scent of burning petrol wafted through the bus. It fused in with a pungent, putrid odor of sweat. The bus let out a hiss. It started and stopped, yet we barely moved an inch. What are doing this paragraph? This paragraph of the previous ones, number one makes a long and short sentences. Number two, I'm also engaging my reader's sensory, my reader's different senses. I'll describe what I can smell. I'll describe how it feels like. It's really, really cold, right? Again, as I mentioned, this is what makes descriptive writing so challenging because you're literally trying to describe the same thing that you're given right here in front of you in like 10 different ways. Hence, you have to use lots of sensory language, lots of language relating to what you can see, hair, smell, touch and taste, okay? And that's what I've gone into lots of detail. But also, I've not lost sight of the fact that I need to use things like similes, metaphors, alliteration, all of that, right? But I'm still describing a very static image. Here's my third paragraph. Now here is where I can go to town on the most obvious thing within my image. In this case, I'm gonna go to town on how I look like. I pulled my cream color jumper, which was snugly couched within my obsidian jacket, obsidian means back. Tugging it closer to me, I shivered and shuddered. A faint frosty breeze entered the bus, sinking deep into our bones. Just then, plumes of artificial hot air from the bus's radiators blasted the cold away, hyperbole. We were at once too cold, then too hot. I listlessly listened to the lady closest to the bus window. She chatted endlessly on her phone. Her mousy hair, so now here I'm describing the other characters. I'm now going on to talk about how I'm listening to her as she is talking. She chatted endlessly on her phone, hyperbole. Her mousy hair, timorously, shakingly, moved as she nodded and chatted. Leaning on the window, she gazed out, absorbed in her conversation. My eyes shifted to the stranger behind her. Her neat brown braids cascaded down her face and her shoulders. Now here I'm talking about the other most obvious central focus in my image. So this person who's got braids, she serenely, silently, calmly watched the world beyond her. Slivers of her ivory polo neck poked out from her dark Juniper jacket. Juniper means green. So I've gone to town describing myself first. I'm writing it as if I was this person wearing a white hoodie and this black jacket. But instead of saying white, I can say cream colored pearl. Instead of saying black jacket, it's obsidian. Here she's got kind of mousy hair rather than just saying, oh, she's brunette and she's talking. Here this one, she's got like a white polo neck. She's got like a green top. So I'll describe it as Juniper. So here, remember with descriptive writing, you are literally trying to describe and using lots and lots of different ways to describe the same thing. That's what makes it challenging. So now here's my feelings paragraph. So now I'm gonna zoom in on the main image or the main central focus, like the most obvious thing, which in my opinion for this image is her, right? So what are her feelings like? So how does she feel? Now this is my fourth paragraph describing the feelings of the main thing in my image. My eyes turned back to the busses windows. Gazing ahead, I sighed deeply. Just then I caught my faint reflection in the window. The woman who looked back at me was silent and stony face. So that's what I'm describing here. Who was she? Rhetorical question. I felt like I was looking at a stranger. Deep wrinkles lined my pale face. The wrinkles, final page, rose and flow across my skin like sand dunes. Heavy bags sagged under my eyes. My mouth was turned down between the deep melancholy that I felt. The trip felt like it would never end. So I keep on talking about and taking my reader back to the fact that I'm sitting in a bus that's not moving. Here's my final paragraph. I'm talking about an ever so slight change but it can't be a massive change because it's a descriptive image. The bus let out another hiss as it jolted forward. Sound language. The woman beside me started up seemingly hopeful that we would escape this traffic. Her hands moved and I noticed her twiddling her fingers. Glancing away from the window, I looked ahead, peering down. At the thin walkway of the bus, I narrowed my eyes. Looking expectantly ahead, I felt crestfallen, disappointed when I saw a sea of traffic. Noisy police sirens pierced the air. Dawned on me there, I had been in an accident. We would sit in this bus for a long time. So I'm basically saying the slight change is the bus may be jolts forward, then it just stays and I'm feeling really disappointed because we're literally trapped here. So that's an example of descriptive writing. The reason why I'm not gone over the descriptive writing for the 2022 paper is because I literally have done a video on that. So, but what I might do actually, because I think I'm not sure if I've done the life saving rescue one, I might actually show you guys an example of how with creative writing, which is what I always suggest, you can write really, really powerful creative stories. Actually guys, what I might do with my creative writing example, I'm actually gonna go with this one, okay? So guys, just quickly recap, creative writing. I usually suggest guys in tomorrow's exam, go for the creative writing image because you can kind of work with different, you can kind of start at one point and at a different point. You can include a problem. You can kind of just, it's less restrictive, okay? As you can see with the example that I gave with descriptive writing, you've got to find like five different ways of describing what's going on the outside. Five different ways of describing like, say the atmosphere and mood. Five different ways of describing like how this person looks, right? However, let me show you guys how with creative writing, and in this case, actually, to be honest, I'm gonna do the life saving rescue one, how you can kind of start off at one point, but then end in a completely different place, okay? So this is life saving rescue and as you can see, you've got the story mountain here. Beginning paragraph where you establish a setting and weather, as well as the character, buildup is like the buildup of tension or what's going on in the story to make it exciting. Problem is your obstacle, your villain, resolution is how is this issue resolved before ending, okay? So I'm gonna read this and then, guys, I'm gonna check if there's any final questions before I end today's live, okay? So let me, I'm gonna actually zoom out a little bit. Hopefully you guys can still see my writing from my beginning paragraph. So this is creative writing, okay? I start off, as I always do with all my stories, with the weather, pathetic fallacy. Long-vaulting rays of sunshine fell across the towering pine trees. If you have an image, or not even an image, a story question tomorrow, where you can start off positively, literally remember this phrase, long-vaulting rays of sunshine, that's a really, really powerful, colorful way of describing how nice the sun looks like as it's shining over everything. Slowly traveling and wondering, the shafts of warm light illuminated the emerald bushes, the ruby roses, and the thick carpet of grass that stretched onwards and outwards. It's really clear from my opening paragraph that the setting is clearly probably in a forest, and I emphasize this by adding also lots of listing. Breathing in and out, I smiled. Ah, sighing in relief, my eyes roamed. They roved. Looking across the magnificent cluster of tall trees, I smiled as I craned my neck upwards, so I'm bending my neck upwards and gaze at the turquoise sky. I have a mix of short sentences, short brief sentences, speeding up the pace of the text, with longer sentences describing in detail what I'm doing, and of course, what this is doing from the opening is establishing this kind of sense of promise. There's a bit of calmness too, okay? But my opening paragraph is still not done. This is my beginning paragraph. I'm establishing the setting really, really clearly. The crisp cold winter had given way to a beautiful barmy spring. Gone the days of winter. Coats and thick socks, which are always layered on when I went on my favorite run through the woods. Now this is why I am in this part of the forest. Birds twitted and chirped, bees buzzed. Squirrels scurried up oak trees as I leisurely walked through the serene forest. I've got lots of onomatopoeia. I've also got listing and tricolon. We've got birds, we've got bees, we've got squirrels. That's my beginning paragraph. I've started off really strong. I've added a mix of long and short sentences, alliteration, pathetic fallacy. You don't have to do all of these, but try and incorporate at least five of these things in your story tomorrow. Here's my buildup. Growing warmer and warmer, I tugged my ivory hoodie and took it off, leaving my maroon t-shirt on. I've now gone into detail on my appearance, okay? I've got an ivory hoodie, white hoodie, maroon t-shirt, kind of reddish t-shirt. Tying it around my waist, I broke into a light sprint. Squelch, squelch, one word sentence. The damp earth groaned beneath my weight as I stepped over dead twigs, which mingled with tiny lime shoots that sprouted from the ground. Huffing and puffing, I ran past classes of blossoms. Inhaling the forest's fresh earthy scent, my heart thumped like a loud drum in my chest. I've done two things. I've described what I can smell. It's a sensory language, but also I've described what I can hear. My daily exercise was both exhilarating and challenging. As you can see here, guys, I am using lots of ambitious language. You don't have to use all of it, but I'm giving you guys the options and take what works for you, discard the rest. Some days I could only walk, other days I'd run as quickly as a cheetah. It all depended on my mood. Yet today could be my day. Stepping forward, I continued my jog. One, two, one, two. My feet stamped the earth growing faster and faster. That's my buildup. I'm basically describing how at the start, I'm in this forest, and it's really, really nice, really calm. Buildup is I'm running, I'll just literally describe it in lots of detail. Here's my problem paragraph. So what's the issue and how is this tied to the fact that it is a life-saving rescue? Key word in the question. So here's my problem, because I need to, obviously, have at the back of my mind that this needs to lead into a life-saving rescue. Second part is an ancient mulberry tree. My hazel eyes were drawn to dark hole in the ground. The ancient tree leaned forward. It seemed like it was staring straight into the dark abyss, dark darkness in the ground. Just then, I heard a whimper. Then a sob, then a cry. Try a cologne. Start off with someone whimpering, which is like the kind of sobbing, or crying a little bit quietly. Then they sob because it gets a little bit louder, then a cry. So I'm escalating the action and creating this sense of tension for my reader. What was happening? We talk a question. Jogging closest to the tree, which stood in a small clearing, I noticed the sobs growing louder and louder. Was I hearing things? My eyes narrowed as I slowed down from a jog to a walk. Stopping for a few moments, I strained my ears to listen. The whimpers continued. It must be coming from that hole in the ground. Drawing closer and closer to the hole, my shoulders tensed and rose up. Again, this is a problem paragraph because it's showing something unexpected, right? So it's like I'm jogging, I'm having a great time and then suddenly I hear someone sobbing. So of course my reader is like curious. They're like, okay, what's going on, what's going on? No one usually came this far out in the woods. Drawing closer to the edge of the hole, I leaned in and looked down. The mud-stained face of a young girl looked back up at me. This is a problem paragraph because firstly I've introduced a twist. There's a little kid that's in a hole. Secondly, I've shown that this really, really nice promising place. So here, you know, I started off with this really, really nice pathetic fallacy. Oh, it's so beautiful. I'm really enjoying myself running through the woods. Suddenly there's this twist. Now here's my resolution. How do I resolve this? How does this become a life-saving rescue? My heart stopped. Was I hallucinating? Blinking rapidly, I stared down. Sure enough, the wide, petrified eyes of a young girl stared back at me. Her face contorted into a frown before she burst into tears. She sat helplessly on what looks like a carpet of decaying leaves. By the way, guys, if, for example, you don't have, say, a life-saving rescue but you still want tomorrow to describe maybe someone who is really emotional, really sad and so on, use some of this phrasing and language. One of her legs was twisted at an odd angle. I had to do something. Quickly on furling my hoodie, I rented the mulberry tree and held onto its gnarled branch, which pointed directly into the hole. Clutching the branch with my right hand, I gingerly stepped to the furthest edge of the hole and lowered the hoodie with my left hand. So I'm resolving this issue. I'm basically saying, okay, so I saw this kid. She's bursting out into tears. And then what do I do? I take off my hoodie, lower it into the ground. So now how do I end this shoe? How does it become a life-saving rescue? So the girl sob stopped as she watched me lower one arm of my jumper into the hole. Sitting up, she began to reach her hand out. Stretching and stretching, I watched my jumper go lower until it touched the muddy tips of her muddy fingers. Clutching the edge of my hoodie with both hands, she hugged the jumper close to her. Feeling her weight, I pulled and heaved, groaning whilst holding onto the mulberry tree's branch for support. I tugged at my hoodie. Although it felt like a stone was dangling on my jumper, I could feel her lifting off the ground. So I've added lots and lots of language and descriptions, similes and stuff like that. I pulled all my might. Slowly walking back, I tugged and tugged. After what felt like an eternity? The tiny slender body of a girl emerged. Sliding across the forest floor as I pulled her away from the hole, her gaze never left me. Her eyes were wide stunned. My heart swelled with pride when I realised that I had saved this helpless child's life. Guys, as I mentioned when it comes to creative writing, why I really like creative writing is you can start at one point. So I started off with lots of promise, starting my first sentence with the weather. Okay, the best way to start creative writing and talk about the weather. Build up, I'm walking through this forest, really kind of taking in what I can see around me. Problem is I hear these cries. Time to live, save and rescue. Resolution, take off my jumper, lower it in, then ending. This kid, I'll manage to save them, okay? As I've mentioned guys with creative writing, I literally would suggest the best way to prepare for them is obviously reading through different story examples like this, memorising certain phrases that you can use regardless of the stories, right? So let's say for example, you're having a forest setting, you can borrow some of this language. If you're describing someone that's crying, borrow some of that language, okay? And on top of that, when it comes to creative writing, as I mentioned, the other good way to prepare for it is in addition to say, like, you know, looking at different stories and examples, have some plans in your mind. Try to have at least minimum of three different kind of stories that can cover a wide range of ideas and genres, right? So guys, as I mentioned, I literally created a video where I presented five different essay plans, right? So watch that after I finish this slide. But guys, what I'm gonna do now, given that I've given you guys an example of literally how to answer the 2022 paper, including the story, but also give you guys an example of descriptive writing, I'm not gonna put this back up on the board just to quickly recap and review like the main things for question number one, two, five in tomorrow's exam. And then if there's any questions, gonna address them before I finish this evening's live, okay? So guys, gonna shift this back to the board. So going back to this, oh, let me just move back and here we go. So guys, hopefully you kind of can see how to approach questions one to five. As I mentioned, when it came to the exams that I looked at all the exam paper, okay? So for tomorrow's exam, let me just move my chair back. As I mentioned, guys, just be super, super clear on like, okay, so go into section eight. Remember you're super, super clear on what language techniques and what structure techniques you're gonna be looking for in tomorrow's exam, okay? So when it comes to language, these are the techniques you are super guaranteed to find, but beyond that, you can mention things like sonification, hyperbole, rule of three. But if there's way too much, remember, these techniques are super popular with writers. Illiteration, seemingly best for oxymoron semantic fields. And of course, when it comes to structure, you already know that one of your structural points will have to be with beginning because that's always mentioned in the first bullet point. This is for question number three. But of course, if you want to also think about other structural points, change of focus, which is mentioned in the second bullet point, but of course also, anaphora, repetitive reference back to the main subject, zooming in and also point of view switching, okay? And as I mentioned, guys, in terms of your timings, make sure you spend the first 10 minutes, initially reading through the question paper, highlighting key words in the questions, questions one to five. Then for question number one, which is the full marker, spend a mass of five minutes in this question. Question two, 10 minutes, try to aim to write two pill paragraphs. Question number three, max 10 minutes, try to also aim to write two pill paragraphs or one chunky beginning versus middle or beginning versus end paragraph. Question number four, which is a 20 mark question, spend the max of 20 minutes on this question, try to aim to write at least three pill paragraphs if you can for if possible. Then question number five, you either go for descriptive or creative writing, 50 minutes in total, so 10 minutes planning, 40 minutes writing. My suggestion is go for creative writing. I call creative writing this way more breathing room to develop your story. However, of course, you can obviously go for descriptive writing, just make sure you have a massive bank of different ways to describe the same thing. Lots of synonyms, lots of also similes, metaphors, and so on, okay? So, and this is the framework, of course, to use for descriptive writing. So as I mentioned, guys, gonna be heading off. Let me just quickly check if there's any questions. But if there's none, I'm gonna end today's live and I hope you guys have found it useful. I will be doing a paper two live at some stage next Sunday. Maybe it might start a little bit later, but I'll see. So guys, thank you so much. I don't think I can see any questions or any comments. So guys, I will end the live. I'm just checking, maybe my comments are glitching, to be honest, because sometimes it does that. So let me just see if there's any comments. But if there's none, by the way, guys, you can also pop the comments into, once this video is live, you can pop the comments and I'll check later on today, okay? But anyway, guys, thank you so much for joining in today's live. I hope you found this useful and obviously best of luck in tomorrow's exam, first thing in the morning, and then of course, once this exam is over, you only have to worry about one final exam. So I can't see any comments, guys. So it doesn't seem like there's any questions unless the thing is glitched out. So I'm gonna end today's live. Thank you so much for joining in. I hope you found this helpful and best of luck, guys. Thanks, guys.