GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 1
Contents
GCSE in English/English Language
Teachers’ Guide (ENGLAND ONLY)
PAGE
Overview
3
Contacts and resources
5
Summaries of assessment
GCSE English
GCSE English Language
6
Overlap between specifications chart
9
Possible course plans
10
Controlled assessment (Reading and Writing)
Overview
Key points
What remains the same?
Commonality
14
GCSE English folder contents
GCSE English Language folder contents
General controlled assessment guidance
GCSE English Reading controlled assessment exemplars:
Shakespeare / literary heritage poetry
Different Cultures prose
GCSE English Language Reading controlled assessment exemplars:
Extended text
GCSE English Writing controlled assessment exemplars:
First person
Third person
GCSE English Language Writing controlled assessment exemplars:
Descriptive
Narrative
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 2
Controlled assessment (Spoken Language)
64
Overview
Speaking and Listening (GCSE English / GCSE English Language)
Overview
Examples of tasks
Studying Spoken Language (GCSE English Language)
Overview
Types of evidence
Spontaneous or scripted speech?
What length should the evidence be?
Task-setting
Differentiating tasks
How long should the assignment be?
Glossary
Useful websites
Recording advice
Transcribing speech
Some examples of transcriptions with tasks
Exemplar responses
External assessment (GCSE English and English Language)
85
Overview
Unit 1 question types
Unit 1 Exemplar material
Foundation Tier
Higher Tier
Unit 2 Exemplar material
Acknowledgements and thanks
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 3
Overview
WJEC offers three GCSE English qualifications:
- GCSE English
- GCSE English Language
- GCSE English Literature
These specifications are fully accredited for use in England.
We hope that this online teacher guide to all aspects of the specifications will prove useful to
teachers in both their planning for, and their delivery of, the courses.
Key features of the specifications are:
*Specifications produced following consultation with teachers
*Direct email and phone contact with subject officer and administrative support
*Straightforward, efficient administration
*Training offered across England and Wales
*Tried and trusted assessment
*Content allows flexibility in entry decisions as there is shared content and, in some cases,
shared units across the three subjects
*Reliable and well-established senior examiner team
*Separate units for Reading and Writing in English / English Language external assessment
allow for better time management in the exam and re-sit flexibility
* Online item level results analysis
*Audio CD of poetry in the poetry collection
*Wide range of materials planned by OUP and Heinemann, written by senior examiners.
Further information on our specifications is available as follows:
Main GCSE English page: http://www.wjec.co.uk/englishgcse
GCSE English:
Specification: http://www.wjec.co.uk/uploads/publications/9549.pdf
Specimen assessment materials: http://www.wjec.co.uk/uploads/publications/10091.pdf
GCSE English Language:
Specification: http://www.wjec.co.uk/uploads/publications/8317.pdf
Specimen assessment materials: http://www.wjec.co.uk/uploads/publications/10089.pdf
GCSE English Literature:
Specification: http://www.wjec.co.uk/uploads/publications/8319.pdf
Specimen assessment materials: http://www.wjec.co.uk/uploads/publications/8323.pdf
Frequently asked questions: http://www.wjec.co.uk/uploads/publications/9557.pdf
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 4
Please note the following:
- Pupils at mainstream maintained schools in England must be entered for EITHER GCSE
English OR GCSE English Language and GCSE English Literature;
- GCSE English and GCSE English Language is a prohibited combination;
- GCSE English and GCSE English Literature is a prohibited combination;
- Controlled assessment tasks will be published in the April of the year preceding the unit
award (i.e. tasks for 2015 will be published in April 2013);
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 5
Contacts and resources
Address
WJEC, 245 Western Avenue, Cardiff, CF5 2YX
GCSE English Team
[email protected]
Subject Officer (English/English Language)
Nancy Hutt
029 2026 5023
Subject Officer (English Literature)
Julia Harrison
029 2026 5374
Subject Support Officer
Matt Oatley
029 2026 5054
Subject Support Officer
Charlotte Dix
029 2026 5051
Functional Skills
Subject Officer
Julia Harrison
029 2026 5374 [email protected]
Admin Support Officer
Sally Cunliffe
029 2026 5070 [email protected]
Electronic resources
Website
www.wjec.co.uk/englishgcse
Email bulletin
website
tick the ‘Subscribe’ box at the bottom of the GCSE English page on the WJEC
Twitter feed
http://twitter.com/wjecgcseenglish
Printed resources
Bookshop
Follow link from www.wjec.co.uk to buy the following WJEC materials:
Oxford University Press WJEC 2010 resources
Heinemann WJEC 2010 resources
On Course for KS4 (WJEC National Language Unit):
1. Pre-1914 Anglo-Welsh Poetry;
2. Autobiographical, Travel, and Narrative Writing;
3. Modern Poems by Welsh Poets;
4. A Selection of Welsh Women Poets;
5. Real Welsh Lives 1: Contemporary Non-literary Resources;
6. Real Welsh Lives 2: More Contemporary Non-literary Resources.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 6
Summaries of assessment
GCSE English
WRITTEN PAPER 30% (1 hour)
June/Nov
Unit 1: English in the daily world (reading)
(40 Raw Marks) 60 UMS)
Reading: non-fiction texts
WRITTEN PAPER 30% (1 hour)
June/Nov
Unit 2: English in the daily world (writing)
(40 Raw Marks; 60 UMS)
Writing: information and ideas
CONTROLLED ASSESSMENT 40%
June/Nov
Unit 3: English in the world of the imagination
(80 Raw Marks;80 UMS)
Reading: literary texts (two assignments: 10% each): literary heritage poetry &
Shakespeare; different cultures prose
Writing: open writing (two assignments: 10% each): 1st and 3rd person narrative
CONTROLLED ASSESSMENT
June/Nov
Unit 4: Speaking and Listening
Speaking and Listening: Communicating and adapting language; interacting and
responding; creating and sustaining roles. This assessment (marked out of 40) is not
included in the final subject award.
ASSESSMENT OPPORTUNITIES
June 2013
Nov 2013
June 2014
Unit 1



Unit 2



Unit 3



Unit 4



Subject Award



All units offered in both June and November (from 2014 the November series will be
available to resit candidates only).
Qualification Accreditation Number: 500/7913/X
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 7
GCSE English Language
WRITTEN PAPER 30% (1 hour)
June/Nov
Unit 1: Studying written language
(40 Raw Marks; 60 UMS)
Reading: non-fiction texts
WRITTEN PAPER 30% (1 hour)
June/Nov
Unit 2: Using written language
(40 Raw Marks; 60 UMS)
Writing: information and ideas
CONTROLLED ASSESSMENT 30%
June/Nov
Unit 3: Literary reading and creative writing
(80 Raw Marks; 60 UMS)
Studying written language: extended literary text (15%)
Using language: creative writing (two assignments: 7.5% each: descriptive; narrative)
CONTROLLED ASSESSMENT 10%
June/Nov
Unit 4: Spoken language
(20 Raw Marks; 20 UMS)
Using language: Speaking and Listening (Communicating and adapting language;
interacting and responding; creating and sustaining roles). This assessment (marked out of
40) is not included in the final subject award.
Studying spoken language: Variations, choices, change in spoken language (10%)
ASSESSMENT OPPORTUNITIES
June 2013
Nov 2013
June 2014
Unit 1



Unit 2



Unit 3



Unit 4



Subject Award



All units offered in both June and November(from 2014 the November series will be
available to resit candidates only).
Qualification Accreditation Number: 500/7910/4
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 8
Overlap between specifications
English
Language
English
Unit 1
(Reading)
Common unit in English and English
Language
Unit 1
(Reading)
Unit 2
(Writing)
Common unit in English and English
Language
Unit 2
(Writing)
Unit 3
(Writing)
Writing tasks interchangeable
between English and English Lang
Unit 3
(Writing)
English
Literature
Unit 3
(Reading)
Linked text task assessed in GCSE English and English Literature
Unit 3
(Reading)
English different cultures reading task draws on English Literature set text list
Unit 4
(S and L)
Speaking and Listening assessed in
GCSE English and English Language
Unit 1
Unit 4
(S and L)
Unit 3
(Reading)
© WJEC CBAC Ltd.
Unit 3
English Language reading task draws
on English Literature set text list
Units
1 and 2
GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 9
Possible course plans
We present these course plans to help teachers in their planning. However, we must stress that there are many other ways of organising the
specification content, and these suggestions should not be seen as prescriptive. Clearly teachers will wish to consider the needs and abilities of
their students when planning courses. We hope that the suggestions which follow might prove a useful starting point for this planning.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 10
English Language and English Literature course structure - presuming that both subjects to be taught across two years
Notes
Autumn term
Year 10
English Language
Explain course content and
general plan
Practise skills for Descriptive
writing
S and L: Practise and complete
Individual presentation assessment
Assess students’ S and L group
work on textual issues linked with
Literature study
Spring term

Study different cultures prose
text for Unit 1 English Literature
exam
Year 11
English Language
Prepare for and assess S and L Role play
Prepare for Studying Spoken Language unit and
complete with assessment session.
English Literature
Teach Unit 2a/b chosen drama text
Prepare students for Unit 1
Reading- comprehension skills/question
types/approaches etc
Prepare students for Unit 2
Writing: formats/audience/tone
purpose/accuracy
Teach Unit 2a/b chosen prose text.
Submit sample controlled assessment to
moderator
Practise responses to exam type tasks
Submit sample controlled assessment to
moderator
Revise set texts and practise responses to
exam style questions
Prepare for Narrative/expressive
Continue to study different
writing controlled assessment.
cultures prose text
Revise descriptive writing skills
Revise approaches to unseen
Assessment session for Descriptive
poetry comparison
and Narrative/expressive writing
Assessment session for Extended
text essay
Since the Shakespeare/poetry linked task is likely to take up the most time, it may be wise to get on with it early in the two year course. In addition, if the student moves to a GCSE
English only entry, this time will not have been wasted.
Summer term

Set task and prepare for
Extended text essay (based on
different culture text)
English Literature
Study poetry for
Shakespeare/poetry linked task
and in preparation for the Eng.
Lit. unseen poetry test (Unit 1)
Study Shakespeare text;
introduce Shakespeare/poetry
linked task.
Assessment session for
Shakespeare/linked poetry piece.
In this plan, the chosen GCSE English Language Extended text is from the different cultures English Literature set text list.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 11
Plan for students taking GCSE English Language in Year 10 and GCSE English Literature in Year 11
Autumn term
Year 10
English Language
Explain course content and general plan
Year 11
English Literature
Study poetry for Shakespeare/poetry linked task and in preparation for the Eng. Lit.
unseen poetry test (Unit 1) and controlled assessment
Practise skills for Descriptive and Narrative/expressive writing
Study Shakespeare text; introduce Shakespeare/poetry linked task.
S and L: Practise and complete Individual presentation assessment
Assessment session for Shakespeare/linked poetry piece
Assessment session for Description and Narrative/expressive writing
Study approaches to unseen poetry comparison in preparation for sitting Unit 1.
Study text for Extended Text controlled assessment
Study chosen different cultures prose set text
Spring term
Assessment session for Extended text essay
Study chosen Drama and Prose texts (Unit 2a/b) in preparation for exam
Prepare for and assess S and L Role play
Prepare for Studying Spoken Language unit and complete with assessment
session
Submit sample controlled assessment to moderator
Summer term
Submit sample controlled assessment to moderator
Prepare students for Units 1
Reading- comprehension skills/question types/approaches etc
Revise and practise examination responses for Units 1& 2a/b
Prepare students for Unit 2
Writing: formats/audience/tone purpose/accuracy
Practise responses to exam type tasks
Notes:

The approach suggested above would preclude any opportunity for students to move to GCSE English once the GCSE English Literature qualification had been sat.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 12
Proposed course structure for students taking GCSE English only
Autumn term
Year 10
Year 11
Explain course content and general plan
Study poetry for Shakespeare/poetry linked task
Practise skills for First person writing
Study Shakespeare text; introduce Shakespeare/poetry linked task
Assessment session for First person writing
Assessment session for Shakespeare/poetry linked piece
S and L: Practise and complete Individual presentation assessment
Study chosen different cultures prose set text
Spring term
Assessment session for different cultures prose text essay
Prepare for and assess Third person writing.
Prepare for and assess S and L Role play
Prepare students for Unit 1
Reading- comprehension skills/question types/approaches etc
Prepare and complete assessment for S and L Group work
Prepare students for Unit 2
Writing: formats/audience/tone purpose/accuracy
Submit sample controlled assessment to moderator
Test examination skills
Summer term
Practise responses to exam type tasks
Notes

It is possible for students to retake controlled assessment tasks providing that they attempt a completely different title.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 13
Controlled assessment (Reading and Writing)
Overview
GCSE English:
CONTROLLED ASSESSMENT 40%
Unit 3: English in the world of the imagination
June/Nov
(80 Raw Marks;80 UMS)
Reading: literary texts (two assignments: 10% each): literary heritage poetry &
Shakespeare; different cultures prose
Writing: open writing (two assignments: 10% each): 1st and 3rd person narrative
GCSE English Language:
CONTROLLED ASSESSMENT 30%
Unit 3: Literary reading and creative writing
June/Nov
(80 Raw Marks; 60 UMS)
Studying written language: extended literary text (15%)
Using language: creative writing (two assignments: 7.5% each: descriptive; narrative)
English
(not Wales)
English
Language
Writing
Reading
(a) First person writing
Linked Shakespeare/ poetry essay
20 marks
20 marks 4 hours
(b) Third person writing
Different Cultures Prose essay
20 marks
20 marks 2 hours
Time allowance for all the
Writing work: 2 hours
(a) Descriptive writing
Essay on an extended text (prose or drama
(b)Narrative/expressive
taken from the GCSE English Literature set
writing20 marks
text list or any Shakespeare play.)
Time allowance for all the 40 marks 2 hours
writing work: 2 hours
Key points

Three GCSE qualifications will be offered by all awarding bodies. These are GCSE
English, GCSE English Language and GCSE English Literature.

Controlled assessment replaces coursework.

There will be time limitations upon the completion of each assignment.

Students are allowed preparation time before the assessment session.

All controlled assessment will be completed in controlled conditions either in the
classroom or examination hall.

Access to clean copies of literary texts will be permitted during the assessment sessions
for Reading.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 14

Students are not allowed to write draft responses. (This is a regulatory ruling.)

Students are allowed to take one A4 side of their own notes into the Reading
assessments. These notes must not contain a plan or a draft essay. If a student’s folder
is chosen for external moderation, the notes they have used must be included with the
work. Notes are not permitted in the Writing assessments.

Work may be word-processed but spellchecker and grammar programs must be
disenabled and students must not be able to log onto their work via the Internet.

It will not be possible for students to be assessed orally for any of the controlled
assessment assignments.

For the Reading controlled assessments WJEC will provide both generic and exemplar
tasks. Centres are at liberty to create their own tasks based on the exemplar tasks
provided.

All Reading assignments must be based on texts listed in the GCSE English Literature
Specification. Exceptions to this general rule are:
o
for the GCSE English Linked Shakespeare/poetry assignment, any
Shakespeare play may be chosen;
o
students may write on any Shakespeare play in addition to the set text list for
their GCSE English Language extended text essay;
o
in the GCSE English Literature linked Shakespeare/poetry assignment any
Shakespeare text may be chosen except for the two listed in the set text list.

Students will be allowed to word process their work although they will not be able to use
spell/grammar check programs, dictionaries or thesauri.

The external moderation arrangements will remain very much as they are present.

Teachers are still expected to make in-text and summative comments to support the
assessment on each piece of work.

Assessment criteria will be provided by WJEC for all tasks. (See individual
specifications.)
All the GCSE courses in England are linear from 2014. Assessment sessions for GCSE English
and English Language will take place in June and November (from 2014, the November series
will be available to resit candidates only). Assessment sessions for GCSE English Literature
will take place in June only.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 15
Commonality
When designing the new Specifications, the regulators requested awarding bodies to make it
easy for students at centres in England to transfer from a course consisting of GCSE English
Language and English Literature to the GCSE English course or vice versa. This will allow
examination entry decisions to be made late in KS4. So that this is possible, WJEC has built
into the courses certain aspects which are common.

There is some possible commonality in the controlled assessment Writing tasks (GCSE
English and GCSE English Language).

The linked Shakespeare/poetry task in the GCSE English Literature and GCSE English
folder is common. Thus a student beginning a GCSE English Language and GCSE
English Literature course may move work already completed for the Literature folder in
to the GCSE English one. There are slightly different assessment criteria so this piece
will need to be remarked if a student is moving between courses.

GCSE English and GCSE English Language will have common external assessment
examination units.

The GCSE English Literature set text list will be used in the GCSE English and GCSE
English Language Reading sections of the controlled assessment.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 16
GCSE English Controlled Assessment folder contents
Summary of requirements
Reading (Up to six hours work in total)

A linked assignment on a Shakespeare play and a range of English, Irish or Welsh
Literary Heritage poetry from WJEC collection. Students have a free choice of
Shakespeare play and must look closely at one or two poems from WJEC Poetry
Collection and refer to others. (4 hours: 20 marks)

An assignment on a Different Cultures novel chosen from the English Literature set text
list. (2 hours: 20 marks)
Writing (Up to 2 hours of work in total)

One piece of first person writing. Topic to be chosen from a list provided by WJEC. (20
marks)

One piece of third person writing. Topic to be chosen from a list provided by WJEC. (20
marks)
Guidance
Reading (20% of the total mark)

WJEC will provide generic tasks with examples of how those tasks could be structured
in practice on the WJEC secure website.

Teachers may prepare the students for the tasks. The time allowed for this part of the
process is separate from the period when the texts will be taught.

Students are allowed to take one A4 side of their own notes into the Reading
assessment session. This sheet must not include a plan or draft essay. Students will be
allowed access to clean copies of the texts they are writing about.

Students may word process their work but are not allowed access to spelling and
grammar checking programs in this part of their controlled assessment folder. Also they
must not be able to access their school work files from home via the internet.
Writing (20% of the total mark)

Teachers are allowed to prepare the students for this section of their folder.

Students may word process their work but are not allowed access to spelling and
grammar checking programs in this part of their controlled assessment folder.

Tasks will be provided by WJEC and changed on a regular basis (see the
Specifications).
© WJEC CBAC Ltd.
GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 17
An example of folder content
Reading
Shakespeare and Literary Heritage Poetry

Examine the way Shakespeare presents the relationship between Romeo and Juliet in
the early part of the play.

Examine the way Wyatt presents his love for the unobtainable woman in Whoso List to
Hunt. In your response refer to other poems.

What is your response to the pieces of literature you have read? Make links between
them.
Different Cultures Prose

How does Meera Syall present experiences of racism in Meena’s community in Anita
and Me?
Writing
First Person writing

My most special moment.
Third Person writing

The Prize
© WJEC CBAC Ltd.
GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 18
GCSE English Language Controlled Assessment folder contents
Summary of requirements
Studying Written Language (Up to two hours in total)
 One assignment on an extended literary text. Students may write about any
Shakespeare play or any text chosen from the GCSE English Literature set text list.
Using Language (Up to 2 hours of work in total)
 One piece of descriptive writing. Topic to be chosen from a list provided by WJEC.
 One piece of narrative/expressive writing. Topic to be chosen from a list provided by
WJEC.
Notes
Studying Written Language (15% of the total mark)
 WJEC will provide generic tasks with examples of how those tasks could be structured
in practice on the WJEC secure website. Tasks will concentrate on particular aspects of
character or style.

Centres must choose a Shakespeare play or a text from the English Literature set text
list to work on. Within a centre, it is not necessary for all students to choose the same
texts.

Students may write on one of the texts studied for the GCSE English Literature external
assessment.

Teachers may prepare their students for the task. The preparation time is separate from
the time spent teaching the text.

Students are not allowed to write drafts though they may take into the assessment
session one A4 side of their own notes. This must not contain a plan or draft.

Students will be allowed up to two hours to complete the Studying Written Language
section of the Controlled Assessment folder.

The assignment must be written form. It will not be possible to assess the work orally.
Using Language (20% of the total mark)
 Students will have to write two pieces for the controlled assessment folder. The first will
be descriptive and the second narrative/expressive.

Students are allowed up to two hours in total for the two pieces. It is likely that they will
wish to spend rather longer on the narrative/expressive essay than on the descriptive
piece.

Teachers are allowed to prepare the students for this section of their folder.

If the work is completed on a word processor, students are not allowed access to
spelling and grammar checking programs in this part of their controlled assessment
folder.

Tasks will be provided by WJEC and changed on a regular basis (see the
Specifications).
© WJEC CBAC Ltd.
GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 19
An example of folder content
Studying Written language
How does Shakespeare present the character of Macbeth up to the point where he kills
Duncan? Consider different interpretations of his character.
Writing
Descriptive
 Describe the scene in a busy supermarket.
Narrative/expressive
 A Night to Remember.
© WJEC CBAC Ltd.
GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 20
General guidance on the controlled assessment units
In choosing tasks, teachers should be aware of the ability of the candidates. Some tasks are
more challenging than others and it would be wise to steer less able candidates towards those
tasks in which they will be able to handle the material competently within the prescribed time
limit.
The final assessment session may be arranged in a number of ways. Candidates will have a
maximum of two hours to complete their two Writing assignments. The Reading/Literature
assignments have a maximum of two hours per assignment except for the linked
Shakespeare/poetry work which has a maximum of four hours since two texts are being
studied. These time allowances may be broken into shorter sessions to fit into the lesson
schedule. All work must be collected and kept secure within the centre at the end of each
formal assessment session. Alternatively, teachers may wish to arrange an assessment
session in the examination hall. The latter approach would have the advantage of ensuring that
all the candidates complete their work under the same conditions. During the final assessment
period, candidates are allowed to consult clean copies of the texts they are using and a single
sheet of notes which must not contain a draft or plan. Once the assessment session is
complete, students are not permitted to resubmit work.
After the completion of the assessment session, the work will be marked in the normal way
using in-text and summative comments. Candidates may see their marked essays but it is
important that the essays are kept securely in the teacher’s possession to prevent any
tampering with the work. All candidates must complete and sign the appropriate controlled
assessment coversheet(s).
Submission of the sample of folders to the moderator will generally follow the same structures
as have been in place for some years.
Reading tasks
There is no prescribed time limit for teaching and learning when preparing the texts for the
Reading and Literature tasks. However, the preparation time for the assignment should be
about 15 hours for a unit worth 20% of the final mark. This means, for example, that the GCSE
English Controlled Assessment Reading assignments could be given about 15 hours of
preparation time. During this period, the students can make suitable notes on their texts and
plan out their approaches. They may also look at critical texts and other aids. Similarly the
Writing assignments could be given about 15 hours of preparation time though it is unlikely that
candidates will need so long. Candidates are not permitted to write drafts of their essays. At this
stage the candidates will be able to consult their notes and the texts and any other relevant
material.
© WJEC CBAC Ltd.
GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 21
Given that the time limit is relatively short, students will need to be focused on the task from the
onset of their writing. It is not expected that the essays produced will be of great length and they
should provide good experience for the external assessment sessions. In the Reading
assessment, candidates who spend time on extraneous aspects, like biographical details, will
put themselves at a disadvantage.
The fact that the candidates are only allowed to take one sheet of notes into the assessment
session should eliminate the opportunity for plagiarism. However, it is important that teachers
are aware that it may still occur. If plagiarism is discovered after the assessment session, it will
not be possible for the candidate to rewrite the work and no marks will be awarded.
Writing
The assessment criteria for the Writing sections of the GCSE English and GCSE English
Language are essentially the same as for the legacy GCSE English Coursework folder. There
will continue to be a split between the Content and Organisation mark (out of 14) and Sentence
Structure, Punctuation and Spelling marks (out of 6).
Reading controlled assessment exemplars
For ease of reading, mechanical errors have been corrected in the Reading and Literature
essays since the SSPS aspect is not part of the assessment criteria.
The Writing exemplar essays are not necessarily based on the tasks published for the 2012
examination session. They are, however, indicative of the standards required to meet the
criteria for the relevant bands.
GCSE English
Linked Poetry and Shakespeare texts
Please note: These essays were written before final accreditation of the specification. They are
a little too focused on a particular part of the Shakespeare text and they make little reference to
other poetry.
Macbeth’s “To-morrow, and to-morrow, and to-morrow” speech by William Shakespeare
and Christina Rossetti’s “Song”.
It is ironic how much time reflecting on the inevitability of death can consume the living.
This is no more so than in the comparison of Macbeth’s “to-morrow, and to-morrow, and tomorrow” and Christina Rossetti’s ‘Song’. Both poems share the same themes, are certainly
influenced by religion, love and life yet their attitudes and feelings are in stark contrast as a
consequence of how these intensely personal feelings have impacted on their respective lives.
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In 1606, William Shakespeare composed his eminent masterpiece ‘Macbeth’, a play built on
ambition and treachery. This tragic tale depicts a young man striving to fulfil his fate in an
attempt to take control of his destiny. Ironically, he soon discovers that he is no match for the
power of fate suffering drastic repercussions in the process.
After a bloody but victorious battle between Scotland and Norway, Macbeth and his
companions, including another Scottish general called Banquo, encountered three witches who
held prophecies on Macbeth’s future. They predicted him “Thane of Cawdor” and “King
hereafter”. In time, the great King Duncan granted the heroic Scottish general Macbeth, “Thane
of Cawdor”. Overjoyed, his wife Lady Macbeth longing for Macbeth to fulfil this prophecy,
persuaded Macbeth to commit murder. That night, assisted by his wife, Macbeth first murdered
King Duncan then proceeded to kill the guards, smearing Duncan’s blood on their daggers and
implicating them in the murder. True to the prophecy, the crown was passed down to Macbeth.
However, Lady Macbeth, tortured by her conscience, and constantly imagining the blood of the
late king Duncan smothered on her hands, commits suicide. Unnerved by the ghost of Banquo
haunting him after the death of his wife, Macbeth returns to the witches, to ease his fears, and
offer him more prophecies. They warned him to beware of Macduff and in the final battle
against him; Macbeth boasts that he ‘cannot be harmed by any man of woman born’. Macduff
then declares that he was “from his mother’s womb untimely ripp’d” and Macbeth immediately
surrenders. Macbeth was beheaded to fulfil the last of the prophecies and Macduff becomes
rightfully king.
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After learning about the death of his wife, a speech emerges. However, Macbeth’s speech is
not at all about the death of Lady Macbeth, but himself using it as an opportunity to excuse all
of his selfish misdeeds.
‘She should have died hereafter;
There would have been a time for such a word’
These sentences depict Macbeth’s soul to us, cold and heartless. The words ‘hereafter’ and ‘a’
have enormous impacts on both sentences as they tell us what Macbeth is really feeling with
regard to his wife’s death. ‘Hereafter’ conveys that Macbeth has neither the time nor the
emotion to grieve for his wife at that moment; he’s so numb with his actions that he feels there
should have been another point for his wife’s death. The word ‘a’ implies that Macbeth feels
that mourning is pointless. Lady Macbeth’s death would have happened anyway. If you
compare him to Macduff’s emotions of devastation and despair, when his wife died, we see that
Macbeth is dead emotionally.
‘To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;’
The repetition of ‘and to-morrow’ symbolises the recurrence and slow pace of Macbeth’s life, all
of his days merging into one as he deals with the same deep depression again and again. It is
evident that Macbeth loathes his life and the continuous time that is tedious for him certainly
evolves in this verse. The inevitability of the same tomorrow numbs him also. ‘Creeps’ is a
strong word used to its full potential with double meaning, giving a deep insight into Macbeth’s
emotional state. Personifying time, Macbeth makes time out to be almost cruel and sluggish.
However, Macbeth could have chosen this particular word due to his paranoia after killing the
king. He is always expecting something to happen behind his back and constantly looking over
his shoulder. ‘Petty pace’ are both linked by alliteration which forces you to almost spit the
phrase out. By this, you imagine that Macbeth is very frustrated and irritated that death is not
coming towards him at a rapid enough speed. The word ‘petty’ really proves this as it portrays
insignificance. The last sentence of this verse suggests Macbeth’s new outlook on life and its
purpose. The word ‘syllable’ refers to part of a word therefore informing us that life is a script
written by fate and according to Macbeth, every person each has their own individual role. By
saying ‘Recorded time’, Macbeth is expressing that the length of our life is recorded in a script;
when we come to the last word of our role, we die. This view goes against all religious beliefs
and he is no longer in touch with God after the sins he has committed.
Throughout this verse, the hyphens between ‘to’ and ‘morrow’ and the many commas included
lengthen the pace and force you to read in mechanical tone, perceiving the tedious ambience of
Macbeth’s life. Ironically attempting to take control of his life, Macbeth discovered existence
itself revolves around fate and nothing can divert that.
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‘And all our yesterdays have lighted fools
The way to dusty death.’
Macbeth suddenly realises before saying these lines that we humans live in the shadows of life
and are only enlightened when we are about to die. Macbeth refers to humans as ‘fools’
showing that he no longer has any respect for mankind. We are oblivious to life’s true purpose.
The alliteration, ‘dusty death’, links time and death as for everyday we live, somebody dies.
Macbeth is going against religious beliefs as God and heaven are now lost to him. He obviously
regrets everything he has done and feeling there is no escape, Macbeth is forced to accept that
people know he murdered King Duncan. However, Macbeth is far from suicidal even though his
sins constantly linger on his conscience. He is exhausted with life yet his pride won’t allow him
to surrender, his sins slowly gnawing away at him.
‘Out, out brief candle!’
In my opinion, this is a superb metaphor and a very effective phrase in the speech. This can
also be seen in a religious light as the candle is associated with the light of life. Macbeth is
impatient for his life to end, commanding for the light of his personal candle or in other words,
his life, to cease. The word ‘brief’ implies the short wick of the candle, resembling the short
period of life. In my opinion Shakespeare chose the candle to symbolise life as a candle has an
inevitable end and also, the fragile flame can be wiped out prematurely at any moment. This
then makes us question what Macbeth is really referring to in this sentence. Is he talking about
the sudden death of his wife, yearning for death to come quickly to him or even life in general
ending?
‘Life’s but a walking shadow,’
Once again Macbeth refers to our lives as in the shadows of life expressing that life is an
illusion of reality. Shadows also symbolise depression and unhappiness reflecting Macbeth’s
emotions.
‘A poor player,
That struts and frets his hour upon the stage,
And then is heard no more.’
This expression connects to Macbeth’s pervious thoughts, that our life is a script and we play
the roles. The ‘player’ is the actor who is described here as weak and the words ‘struts’ and
‘frets’ imply the physical actions of the actor on stage. However, these all relate to how we act
in our life but emotion wise. Macbeth is telling us that the emotions that the ‘poor player’ is
showing are false. Macbeth depicts the point again that life is very short by saying ‘his hour on
stage’ which is a huge comparison to the time of life. The last sentence sums up that however
much we fuss with life we end up dead and are not given another thought thereafter. You can
tell that the role Macbeth has been forced to play in life; he isn’t happy with and is therefore
extremely cynical of life.
‘It is a tale
Told by an idiot’
The word ‘tale’ tells us that life is a story therefore fiction; we have created our everyday
activities. The word ‘idiot’ is everyone that is a part and has participated in this fiction world as
Macbeth now feels that we should just wait for death to approach us. This thought once again
goes against religious beliefs. This makes us wonder if Macbeth is closer to the truth about the
way in which we live than we actually consider.
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‘Full of sound and fury,
Signifying nothing.’
The words ‘sound’ and ‘fury’ link back to the high and low emotions of life and the roles we play.
In this speech Macbeth focuses on the physical movement of everyone. This tells us again that
Macbeth believes nobody can feel real emotions inside therefore our outside movements don’t
matter at all; we live our lives for nothing. Externalism is a very religious matter. This is deeply
depressing as the word ‘nothing’ is the word the speech closes on, just like the script of life.
Macbeth takes “to-morrow, and to-morrow, and to-morrow” as an opportunity to excuse all of
his merciless actions throughout his life so far. The once great warrior is now empty and
callous; Macbeth has lost all faith and belief especially in God as he looks upon life as
pointless.
Christina Rossetti’s ‘Song’ also deals with love, death and existence as does Macbeth. Written
in the late eighteen forties when she was barely eighteen, this poem is a true, deeply religious
reflection of her beliefs about life and death. The simplicity of ‘Song’ implies the simplicity she
longed for when death eventually reached her. A tribute to her loved ones, Rossetti guides
them through the mourning process in the way she intended it to be.
‘When I am dead, my dearest,
Sing no sad songs for me;
Plant thou no roses at my head,
Nor shady cypress tree:’
The opening lines of ‘Song’ reveal that Rossetti is dedicating her writing to the most important
people in her life and creates the ambience immediately. Rossetti is very blunt and direct about
the topic of death and this is startling for her audience. She continues by instructing her
‘dearest’ on her final requests after her death in the next three lines. ‘Sing no sad songs’
clarifies her longing to be reminisced in a positive light as she does not want to make her death
a mourning occasion. Throughout this poem, Rossetti uses symbols related to her religion
which expresses her principles. Not wanting commotion regarding her death, she commands
‘Plant thou no roses at my head, Nor shady cypress tree’. This suggests that Rossetti wants to
disappear after she dies, nothing marking her existence or reminding her loved ones of her.
The rose being a symbol of love, Rossetti looks upon death as a sacrifice of love therefore
ordering no roses to be planted at her grave. The cypress tree however, is an emblem of bodily
death and spiritual immortality also representing Rossetti’s deep religious beliefs that death is a
superior place. It is obvious to us that Christina Rossetti wants to be forgotten after her time is
up. She asks for no traditional cypress tree to be given to her emphasising that she does not
want her deathbed to be visited, neither protected. During this period, it was usually men who
composed pining poems as a tribute to their lost loved ones so when Rossetti wrote ‘Song’ it
contradicted what was normally accepted. A woman to write about death in the eighteenth
century was unexpected as is Rossetti’s theological imagination throughout this poem.
‘Be the grass green above me
With showers and dewdrops wet;
And if thou wilt, remember,
And if thou wilt, forget.’
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Rossetti yearns to be devoured by nature when she dies, completely forgotten. Only wanting
‘green grass’ above her reinforces that she wants nothing indicating her life. She then says
‘With showers and dewdrops wet;’ which implies that Rossetti believes only nature is wet;
teardrops are the misery of life. The last two lines of this verse are emphasised by the repetition
and ambivalence. Rossetti seems careless now if her loved ones mourn for her as she knows
that she will be going to a better place. The plainness of these two lines reflects her carefree
mood as to what happens after she is gone.
‘I shall not see the shadows,
I shall not feel the rain;
I shall not hear the nightingale
Sing on, as if in pain;’
The second verse contradicts the first verse as it focuses on herself, not her loved ones. The
first four lines of this verse all begin with ‘I shall not’, negative repetition that emphasises her
pessimistic attitude to life. The images of life that she chooses are all sinister and dreary, such
as ‘shadows’ and ‘rain’, and being able to not see them once she is dead is a positive thing. In
my opinion it is apparent that life will not be missed by Christina Rossetti. The next two lines are
yet again negative but show what life truly means to Rossetti. A ‘nightingale’ symbolizes the
holy joy of righteousness which connects life, death and love. The bitter sweetness of the
nightingales singing links back to the roses and the cypress tree. Christina Rossetti believes
that death is the end of all tactile senses so have nothing connecting her with life she sees as a
pleasant thing. Her religion states that her spirit will go on to meet God; her greater love than
her ‘dearest’ and this is certainly a major event for her.
‘And dreaming through the twilight
That doth not rise nor set,
Haply I may remember,
And haply may forget.’
The final lines of ‘Song’ are very positive. ‘Dreaming through the twilight’ is a very pretty image
and tells us this is what Rossetti imagines herself in a dream state after she dies. Rossetti
cannot be sure of death and this expression portrays that she has convinced herself about what
death holds for her. The next line shows that unlike life, death is unchanging and this appeals to
Rossetti. The last two lines of the poem are emphasized as repetition and sudden change of
attitude from the beginning is surprising to the reader. They are similar to the last two lines of
the first verse as Rossetti once again appears as carefree about remembering life once she has
gone. These two lines once again contradict what she has recently been saying like ‘remember’
and ‘forget’ contradict each other. This reveals her ambiguity yet it is clear that death means no
pain or loss for Rossetti, just peace, which is what she truly yearns for.
Death is a powerful subject and Christina Rossetti is certainly morbid about it. She compares
earthly love to spiritual love and both of these represent life and death in my opinion. For her,
life is no contest as death, spiritual immortality and love conquers every time. Rossetti
describes her patient wait to die, depreciating the meaning of life, and her cynicism is evident in
‘Song’; God is her only true love. The simplicity of ‘Song’ makes it complicated, a shock for
every reader.
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When you read both pieces of literature, it is evident that how you live your life has a direct
impact upon how you anticipate death. Macbeth’s speech was provoked by the death of his
wife, a direct response, and he defends the reasons for his cold, heartless emotions. If her
death had been at any other time, Macbeth’s reactions wouldn’t be such a consequence of his
actions and therefore, the speech is less of a tribute to his wife. Unlike Macbeth, Rossetti writes
as instruction, addressing her poem to her ‘dearest’ and speaks of her requests when she
imagines her own death. This leads to her contemplating love, only discovering that love is no
comparison to spiritual love for her. It is ironic, however, that Macbeth doesn’t once consider
love in his speech yet his greatest love has just died and this exposes and portrays his
heartless soul. In both poems, ‘Shadows’ are mentioned and we feel that Macbeth and Rossetti
haven’t really fulfilled their lives.
In ‘Song’, Rossetti influences us into believing that death is the ultimate way forward, life being
mere preparation. Her strong religious views as she attempts to influence us are unmistakable
as her love for God is a different degree than her love for her husband. Macbeth however, is
more bitter about death than Rossetti as he states that life is insignificant as are we, life is
pointless. Although these views are similar in some ways, Macbeth is not as enthusiastic about
life as Rossetti yet both poets are impatient for their lives to cease.
The themes of both poems are very similar when contemplating love, life and death. However,
the ways in which both poets approach and express their feelings contradict one other.
Macbeth explains that neither life nor death, interest him anymore yet death negates life for him
as it is the end of his suffering and therefore its only attraction. Rossetti on the other hand
glorifies death, the path to a better place and spiritual immortality. Although she isn’t entirely
certain herself what it means to die, she knows that the spiritual love death holds for her will be
somewhat better than the earthly love she is capable of now. Both poets however, view life as
insignificant and false. Rossetti believes that the love in life is false, only true love after death
really matters yet Macbeth sees life as being false overall. We are all actors who are just
pretending.
Macbeth’s frustration and resentment is almost palpable in “to-morrow, and to-morrow, and tomorrow” and this is due to the language he uses. He scorns at any biblical terms and
depreciates the meaning of life. Negative throughout, the many alliterations, metaphors and
complex rhyme scheme depict his irritation and uncertainty over life and death. Macbeth’s
cynicism is now scornful, a consequence of his heartless actions. Love, however, is not in issue
for him unlike Rossetti. Even though the subject of Rossetti’s poem is negative, she remains
positive and comes across almost as carefree. Her simple and plain language shows no anger
or regret yet her use of symbolism is very morbid. She deals with the miserable things in life
such as ‘shadows’ and ‘rain’ with a content attitude therefore making ‘Song’ quite complex.
Macbeth’s consequences are all self-inflicted therefore making him bitter, guilty and resentful
towards the world he lives in. He shows no concern for his lost love. Macbeth’s extended
metaphor throughout his speech emphasises time and tells us that we are false in life,
insignificant and when death reaches us it is the end of your performance, we will not be
remembered. Conversely, Rossetti’s indifference expresses her anticipation for death due to
her great love for God. She as well shows no real burden for her loved one and her lighthearted attitude towards death is startling. Rossetti is dominated by her religious idolization and
zeal.
The biggest difference however in Macbeth’s speech revolves around the power of fate and the
fact that it destroyed his life, yet Rossetti doesn’t consider fate at all.
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Both poems provide a greater understanding of how all consuming life and death can be,
culminating in the finality of death. No-one is sure what will happen once they die yet Rossetti
purports to be. Macbeth however, doesn’t care as he is almost accustomed to death having
been the cause of so many.
I found both poems disconcerting leaving me to contemplate the point of life itself, and to really
think about death. However, as opposed to the sinister view of death in Macbeth I prefer to see
it in the same light as ‘Song’ as the simplicity in which it deals with such a complex and often
personal issue, in my opinion, truly epitomizes the true meanings of life, love and death.
This essay and the response below were written before the changes were made to the specification.
They, therefore, do not quite fulfil the requirements regarding consideration of the whole text and
reference to more than one poem.
The student begins by putting the chosen scene into context. She then goes on to look at the speech
‘She should have died hereafter…’ making close reference to the text and investigating among other
things the differences between Macbeth learning about the death of his wife and McDuff’s reaction
when he hears about the murder of Lady McDuff and his family. The language of the speech is closely
and thoughtfully analysed before the student goes on to look at the Rossetti poem. The relationship
between the two texts is considered in a linking paragraph before the student investigates the detail of
the poem. While doing so, she implies links between the texts which she develops in the final section of
the essay. Aspects of theme and style are considered in this final section. This is good Band 5 piece of
work with originality in the analysis and interpretation. References are carefully chosen and
commentary is cogent and thoughtful.
“Song” by Christina Rossetti and “Macbeth” by William Shakespeare
The play Macbeth was written by William Shakespeare in 1606. It questions the fact whether
life is worth living or not. The play was set in Scotland. It is a tale about a man called Macbeth.
He was the Thane of Glamis who went to battle for his king.
After the battle he had his fate told to him by three witches. He was told he would become the
thane of Cawdor and that someday he would be king. When he got back to his home in
Dunsinane, he is crowned Thane of Cawdor.
So desperate for his fate to become reality he murders the king and frames his guards for the
murder so he becomes crowned king. Then towards the end of the play he gets paranoid that
everyone is going to find out he killed the king.
The English army along with Macduff then attack his castle in Dunsinane. Just before this battle
commences he hears that his wife is dead. This is where his famous speech that I will be
analysing is spoken.
The first two lines “She should of died hereafter, there would have been a time for such a word”
To me this seems as if Macbeth’s past has now caught up with him as if he has realised that he
took fate into his own hands and by killing the king and making his fate become reality too soon
karma has caught him because now everybody knows he killed the king and that now the
English army along with Macduff are on their way to kill him.
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But I also believe that Macbeth blames his wife for the mess he in and that’s why he doesn’t
really react to the death as if it’s her own fault. The line “There would have been a time for such
a word” means to me that his wife has died at a really bad time and at this time he does not
have any time to care about the fact that his wife is dead. He is more worried about the fact he
is about to die.
The idea is linked to the next two lines I think this because of the repetition of “to-morrow” gives
me the idea as if the repetition means that all the rest of his days and then by the line “this petty
pace” it’s as if all his days are dragging. Its almost as if he knows he is going to die.
“To the last syllable of recorded time” to me this suggests Shakespeare is comparing life to a
stage as if everyone in life has a part and a script. He compares mankind’s life to candles and
the next line “And all our yesterdays have lighted fools the way to dusty death” I feel means that
for all the days that we have lived and enjoyed that someone has died and has no more of the
days left to enjoy and is walking down the road to dusty death.
“Out, out brief candle!” gives me the idea that because Macbeth is the king he can give orders
and so thinks he can bring about his own death linking back to the idea that he knows he is
going to die. It is almost as if he does not want to have to fight this battle so that he can die
peacefully.
“Life’s but a walking shadow” suggests that we are all living in the shadows and that life is
pointless and without meaning.
The next line “A poor player that struts and frets his hour upon the stage” makes me feel that
we are all poor players that have to live in this play that is life and that we are all poor because
it’s a waste of time. “And then is heard no more” Then after we have performed this act of life
we are no more heard of because we are buried six feet under and that because we are dead
nobody thinks of us because they are too busy performing their acts in life which are equally
pointless.
“It is a tale told by an idiot” is still comparing life to a stage because the tale that is life is told by
idiots- the actors. The reason that we are idiots is because we waste our time and that life is
pointless. “Full of sound and fury” shows that life is full of sound and fury showing that life is fast
and noisy and that we all get aggressive. Also we all hear different sounds all the time but then
the next line “Signifying nothing” shows me that all this noise and aggression means nothing
because once you die you hear no more of this. While you’re acting this play of life you will
experience these feelings but there’s no point worrying about them because the play will be
over before you know it and it was all meaningless anyway.
Also the aggression links back to Macbeth because his aggression leads him to become higher
up in life. Then he turns into this monster who only cares about himself and is not bothered
about the suffering of others. Also the sound that Shakespeare writes about could be linking
back to the sounds that Macbeth hears in his sleep when he killed the king and it’s as if the
scream of his wife’s death echoes through the stage as it would his life.
Overall my view on the speech is that it is written so that his feeling for his wife’s death are
within the first two lines but then all the rest of the lines are about himself and how pointless life
is. This shows that throughout the play Macbeth turns into a selfish fiend who only cares about
himself.
The questions about life and death are asked by many poets “Macbeth” and “Song” both ask
these questions and both look at it in different ways.
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The poem “Song” was written by Rossetti in the late eighteen forties. I think that there is links in
this poem to Macbeth’s speech. The poem acts like a tribute that she has written for herself.
About her own life and what she wants when she dies almost as if its part of a will.
Within the opening lines of the poem, Rossetti writes about her own death and that she does
not want her loved one to be upset about it. She does not want any roses at the head of her
coffin and that she doesn’t want a cypress tree as the cypress tree symbolises sadness. Her
spirit will live on. The next line “sing no sad songs for me” makes me feel as if she doesn’t want
a funeral and she wants her loved one not to be sad and moan for her. She just wants him to
carry on with life and maybe even find new love. Then the next line “Be the green grass above
me” links with the last two lines about the fact that Rossetti doesn’t want to be remembered
because the roses symbolize love but all she wants above her is grass as if she doesn’t want to
be remembered. This would make sense because she doesn’t want to be buried which means
she wouldn’t have a grave or grave stone all that would be above her would be grass and that
no one would know where she has been buried. With the line “showers and dew drops wet”
these symbolize sadness. It’s as if this is the way she looks at life as if there’s nothing
complicated about it. I get a strong feeling that she thinks that the topic of death is not
complicated as if everyone should not even worry about death. It gives me the feeling that the
showers that Rossetti is symbolizing are the tears of her loved one crying and that because she
is underground so the tears would soak through the grass to her so she could feel part of her
loved one again. With the next line “And if thou wilt, remember, and if thou wilt, forget” Rossetti
does not talk about the sun at all in her poem. It’s as if life is not worth living or remembering
she’s viewing it as a negative experience and therefore uses “I shall not” three times. She uses
emphasis on the nightingale which is symbolic of love and death. She cannot feel pain or love
anymore she feels that when you die it is the end of all your senses and feelings of yourself and
the people around you.
She is saying that if you don’t enjoy life while you have got it you will have nothing to remember
but also that when you die people will forget you easier because they have no memories with
you so that also when you die there’s nothing to forget. With the repetition of “I shall not” it
basically means that it is the end of everything that once you die everyone forgets about you
and that your soul will live on but in the shadows and with “I shall not see the shadows” she
won’t see the shadows because she is one everyone else will see her but they won’t remember
her. “Dreaming through the twilight” Twilight being a fairy dream world where everything is
perfect and that people would remember her in this twilight but because they have forgotten
about her.
They dream through the twilight and end up dreaming about the pointless life they live in.
“happily I may remember” suggests the person may remember Rossetti and that the memories
will be happy and warm. “Happily may forget” suggests that the person can easily forget about
her because a more happy thought has taken over their memory.
Within these texts there are similarities and differences in the next few paragraphs I will analyse
these in turn.
In Macbeth’s speech death is the end of life but to Rossetti it is the beginning. It’s as if to
Macbeth death is the end of life and love but to Rossetti it’s only the end of love as she believes
in the afterlife. Macbeth doesn’t feel love or fear. He is a heartless man but Rossetti feels her
own death. Macbeth cannot feel anything anymore. He is just a man with a heart of stone but
Rossetti has so much feeling that she can feel her own death and what it is going to be like.
Macbeth is so heartless that he has no feeling for religion but with Rossetti she is all about
religion and her beliefs are strong. But within both texts they don’t seem to care about their
loved ones and they both believe that life is a preparation for death to leave behind what you
can for your family and to prepare for heaven or hell.
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Also Rossetti believes that life only begins when you’re in heaven as if life is all about hard work
sweat and slavery but life begins properly in heaven where you can relax and enjoy your life in
heaven. But the biggest similarity in both poems is the belief that life and love are pointless.
You live you life loving but don’t get any love back- that people take you for granted and when
you’re gone they don’t really care about you.
Over all I preferred Macbeth’s speech over Rossetti’s poem because within Macbeth there
seems to be more feeling than Rossetti’s song. Macbeth uses stronger language which makes
the speech stronger overall. I enjoyed writing more about Macbeth than Rossetti because within
Macbeth you can see the changes between the sentences as he talks about the death of his
wife but then moves on to the death he is about to experience but in “Song” all you see is the
tribute for herself and it’s as if all she cares about is herself when she is dead and for her lover
to not care about her.
This student is attempting the same task as the previous candidate. Again there is a generalised
introduction which puts the chosen speech into context. The commentary shows that the student can
understand and demonstrate how meaning is conveyed, though deep investigation of the language is
less secure. There is, however, a clear engagement with the text and a reasonable understanding shown.
He deals with the Rossetti poem in the same way with a reasonable commentary which tends mostly to
consider surface details within the poem. The final section links the two pieces of literature together and
offers a personal opinion. Despite the occasional weaknesses in his communication skills, this in to Band
4. The essay has a good structure, offers personal responses with some attention to the detail of the
texts. The ideas are conveyed fairly clearly and evidence is carefully selected.
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Different Cultures Prose
Of Mice and Men: In a letter, John Steinbeck wrote of Curley’s wife: ‘She’s a nice girl
and not a floozy.’ Discuss and explain your own impression of Curley’s wife.
John Steinbeck portrays Curley’s wife as being a floozy but also a nice girl. She is a natural
flirt as throughout the novel she continues to talk to all the other men, but when she dies, we
see her as an innocent young girl. I am writing this essay to discuss my views and whether I
agree with John Steinbeck when he says she is a nice girl.
Curley’s wife gives off the impression she is a floozy throughout the novel. Her body
language is deliberately provocative when she leans against a pole in the barn. ‘So her body
was thrown forward.’ Knowing her beautiful womanly figure, and being the only woman on
the farm, this suggestive posture reveals her need to be noticed and admired by the men.
She talks very confidently and flirtatiously to George and Lennie even though they have just
arrived and she doesn’t know them. ‘“If he ain’t, I guess I better look some place else" she
said playfully.’ This suggests her boredom in marriage and that she just wants company and
fun. She talks playfully as a young teenager would and obviously cares more about throwing
herself towards people and enjoying male company than she does spending time with her
husband. Candy’s opinion of her is very prejudiced as he says to George and Lennie, ‘I
think Curley’s married... a tart.’ This is prejudiced as just because he has got that impression
of her, he may be very wrong and other people should be left to judge for themselves,
although Candy warns them away from her right from the beginning. She has a disrespectful
attitude towards Crooks, George and Lennie. `You bindle bums think you’re so damn good',
‘talking to a bunch of bindle stiffs, a nigger an' a dum-dum and a lousy ol' sheep' shows even
though she is younger, she has no respect and thinks herself a lot better than them. She
likes to create attention for herself as she clearly feels she isn’t noticed.
She uses the fact she is a vulnerable female against Crooks and is very racist towards him.
‘Well you keep your trap shut then, Nigger. I could get you strung up on a tree so easy it ain’t
even funny.’ This is a definite threat to Crooks. This shows that the social attitudes at the
time were extremely racist and she chooses him because he is the most weak. She was
going to accuse him of sexual assault and his black skin she knew would add to the
problem. This gives her some status as being the only woman, with an unpopular husband
making her an outcast on the farm. Nobody will want to converse with her because they fear
her husband, and because they would automatically tar her with the same brush as they had
him, which is to be extremely unreasonable and disrespectful, not to mention rude and very
unfriendly.
When Lennie and George arrive at the ranch, Curley’s wife claims to be looking for her
husband Curley. But she clearly isn’t just there for that. ‘You’re the new fella’s that just come,
ain’t ya?’ She immediately moves from finding her husband to acquainting herself with them.
When Slim arrives and tells her Curley had gone into the house, she leaves in a hurry as
though she thought they knew her intentions weren’t actually to find Curley.
Throughout the novel, there are also indications she is a victim rather than a floozy. You
learn that she dreamt of being in films but it was never going to become reality.
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She showed she had always been used by men as none of them ever intended to put her in
films. ‘an’ a guy tol’ me he could put me in pichers.’ Although she was very naive in believing
it, it leaves her bitter in her marriage knowing that this was once on offer for her because she
was trapped with no contact with the outside world of wider opportunities. She confesses to
Lennie that she isn’t happy and still plans to fulfil her dreams in the future. ‘I coulda made
somethin' of myseIf... maybe I will yet'. She confesses that her marriage to Curley isn’t
based on love or even lust; it was arranged when she was just in a temper with her mother
and on the rebound. ‘I married Curley. Met him out to the Riverside Dance that same night.'
she thought she’d have more freedom, to fulfil_her dreams, but it did not worked out like
that. She craves some sort of affection and attention and has clearly kept her feelings hidden
away for a long time before her confession to Lennie. ‘I don’t like Curley. He ain’t a nice
fella.’ She jumps at the chance to be able to express herself to somebody, somebody who
would listen. She obviously is in despair as by now she has lost hope of her dream. She is
lonely and never receives any of the love and affection she needs and like any young girl
would want. ‘Think I don’t like to talk to somebody ever once in a while? Think I like to stick
in that house alla time?’ She always just wants some company and never understands just
why nobody would speak with her. She is young, and probably never meant to appear ‘a
tramp' or ‘a tart', she simply has nothing to do and nobody to talk to. She can put two and
two together. She realises her husband has no respect for her. ‘Think I don’t know where
they all went? Even Curley. I know where they all went.' On the Saturday night, Curley had
gone to a brothel with some of the other men who worked on the ranch. Just his absence
alone gives us the impression that their marriage lacks love and intimacy. This makes you
sympathise with her more, as she is young, beautiful and full of life and her husband still
chooses other women over her which surely must make her feel unworthy and insecure.
Another part of the novel which makes you sympathise with Curley’s wife is when she dies.
‘The meanness and the planning and the discontent and the ache for attention were all gone
from her face.’ This shows that after all the stress and things life had placed on her, she has
finally relaxed and is at ease. ‘She was very pretty and simple, and her face was sweet and
young.’ This again reminds you of how young she was and how she had so much
unhappiness in such a short time. Her beauty ruined her in a way, as that was the main
cause of her disappointment with acting and also why she ended up marrying Curley. ‘Now
her rouged cheeks and her reddened lips made her seem alive.’ This shows and reminds
you of the importance of makeup to her as even at her death she looks the same. Last off all
‘the curls, tiny little sausages,’ make her seem so young, like a child which automatically
again makes you feel sorry for her, and guilty in a way for thinking she was just a floozy in
the beginning.
Finally, throughout the novel, she is simply known as ‘Curley’s Wife'. This shows a huge lack
of respect for her as nobody once throughout called her by her own name. It was as though
her identity had been taken away, and she has no right to stand up as a person with rights
and an opinion. This also makes me feel very sorry for her as she is neglected and
overlooked a lot of the time. Curley’s wife is definitely not a straight forward character.
Throughout the novel, you see different sides of her which means you can interpret her in
different ways, a floozy and a nice girl. She shows many characteristics of being both and it
is very difficult to determine just which one she is inside.
I think John Steinbeck made her seem a very realistic character for the time and place when
it was set. The novel is set in the 1930’s when people had less social compassion than we
do now.
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It shows how women had no choices and few opportunities which still happens now. He
made her seem very naive, which she was and that she was only seen for her beauty, not
for herself. He uses a lot of dialect to show her strong accent and where she came from as
she isn’t well spoken and says a lot of things in slang. It could also pick up on her family
background as it shows how just like the men, she is not well educated. Examples of this
dialect are, ‘awright, cover ‘im up if ya wanta,’ ‘an’ a guy tol’ me he could put me in pitchers,’
which all give you a precise indication of how she speaks.
I think that John Steinbeck was successful in his aim to present Curley’s wife as a ‘nice girl'
rather than a ‘fIoozy’ as without a doubt by the end of the novel I thought she was a nice girl.
When she died, he showed her being sweet and innocent in death and her natural beauty
was allowed to shine through. It highlighted the fact that it was her negative life experiences
that made her act in the way she did. This made me sympathise with her and truly feel sorry
for her as you finally realise that she is in fact not a ‘floozy’ just a young girl trying to follow
some sort of dream.
This student is able to make close textual reference and she comments on the language of the novel
in a thoughtful and mature fashion. She investigates the central aspect of her task with care and she
remains focused throughout the essay. Appropriate reference is made to the social and historical
background to the novel where it is necessary to do so to explain situations. The student is able to
comment maturely on relationships and characters, attitudes and motives. She handles the text with
confidence although the structure of the essay could be better. Band 5 nonetheless.
Atticus Finch and Bob Ewell both live in Maycomb. Both are white men, both are parents
and both are widowers. This is where the similarity ends. Discuss.
Atticus Finch and Bob Ewell are both important characters in the book. Atticus represents the
good and upper class, whilst Bob Ewell represents the bad and the dirty people of the town.
Atticus is a widower and a single parent who has two children while Bob Ewell is also a single
parent who has many more children. We don’t meet all of Ewell’s children. We only hear about
Mayella and Burris who are at the centre of two unpleasant incidents. Atticus is well respected,
whilst Ewell doesn’t earn himself any respect because of his dishonest and trashy ways. The
only people who respect Ewell are equally prejudiced people.
In the book, the way the two men treat their own children could not be more different. Atticus
treats his children with great respect and he expects his children to be responsible, whilst Ewell
neglects his children terribly. An example of Atticus raising his children with respect is when
Scout says ‘Atticus has said it was the polite thing to talk to people about what they were
interested in, not about what you were interested in.’ That shows he taught them to put other
people before you put yourself. He wants his children to grow up the way he did and be positive
and well respected by others.
Bob Ewell on the other hand did not teach this respect and this is shown in the way he has an
incestuous relationship with his daughter. We find this out when Tom Robinson says that
Mayella says ‘what her papa do to her don’t count.’ To do what Ewell did to his daughter is
extremely disgusting and repulsive. Mayella is childish and does not know that if her parent
rapes her it is as bad if not worse than anyone else doing it.
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Atticus has had a good education and is very intelligent. Ewell on the other hand is not very
intelligent at all. Atticus is a lawyer and the one that has to defend Tom Robinson who has been
taken to court by Ewell. Atticus believes that Tom is innocent and the only reason he has been
taken to court is because of his skin colour. This is because at the time in the southern states of
America white people thought that they were above black people. Atticus though doesn’t
believe this and wants to stick up for what is right which shows he has morals and strong
beliefs. Ewell is lazy and when he had a job he lost it in a matter of days. ‘He was the only man
I ever heard of who was fired from the WPA for laziness.’ As he does not have a job he lives off
the state and what he can find on the town dump which is near his home. Atticus is never
ashamed of fighting for black people. Atticus is always around and has lots of respect from the
black community as we see when they stand as he leaves the court house at the end of the
trial.
Although Atticus is well respected by everybody, when he defends Tom Robinson people start
to think differently about him. Atticus does not care about what people think about him because
he knows he is doing the right thing. Nobody has much respect for Ewell but they think they
cannot be seen taking the side of a black man against a white man. The white man, however
unpleasant he is, must be right. An example of Ewell’s trashy ways is when he spits at Atticus
on the post office corner and told him ‘he would get him if it took the rest of his life’. This shows
that when Ewell sets out to do something he will try his hardest to get it done even if it takes the
rest of his life. This is very similar to Atticus but for very different reasons. Atticus works for
good and Ewell works for bad things.
Atticus abides by the law throughout the story. But at the end Atticus does not tell anybody that
Boo Radley killed Ewell. He just says that Ewell fell onto the knife. The reason that Atticus
doesn’t tell the police that Boo killed Ewell is because Boo saved his children’s lives. Atticus is
strong in his principles and believes that letting Boo off is for the greater good. This is because
not only is Boo mentally disabled but he is also so childlike that he is unaware how serious his
crime is and in essence he is innocent. Ewell was totally different. He knows that he is wrong in
raping his daughter and accusing Tom of the crime but he does not admit to it. He lies to the
court as Atticus proves.
In conclusion Atticus is well educated, polite, responsible and law abiding, whilst Ewell is the
opposite of these things. Both Atticus and Ewell are outsiders in the community. The one
protects a black man which was regarded as an unforgiveable thing while the bother lives on
the very edge of society and is disliked as an idle workshy and dishonest wastrel. Throughout
the novel Atticus is shown to the reader to portray light while Ewell is shown to be the dark one.
Atticus is upright and brave whilst Ewell is shown to be a coward, taking out his anger against
Atticus by trying to kill his children. They are very different characters.
This essay is well rooted in text and the student has a clear idea of the distinction between the two men.
She gives examples to support her points. However, the points she makes, while being correct, are fairly
simple and there are issues she does not cover to any great extent. She has made reference to the
cultural and historical situation in a sensible way without burdening the essay with a mass of unnecessary
information. These aspects are touched on when necessary for an understanding of the text. In terms of
the criteria for assessment, the student: can select and evaluate textual details; can probe the text fairly
confidently; can make a personal and critical response referring to specific aspects of structure; can
convey her ideas clearly and appropriately; has a clear grasp of the social/cultural and historical context;
making it into Band 4.
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Choose four characters who are lonely in the book Of Mice and Men. Look at how their
lives are affected by the age they lived in 1930’s America.
My first character I am going to talk about is Candy. Candy shows his loneliness when he was
going to leave the share of his money to the guys that used to work with him on the ranch. This
is shown when he says ‘I’ll make a will and leave my share to you guys in case I kick off
because I have no relatives or nothing.’ Candy was an old swamper with no family to leave his
money to. That is why he wanted to leave his money to George and Lennie. In the 1930s old
people were not safe as there was no social security that people could rely on.
My second character is going to be Lennie. This character shows that he was very lonely as
when he killed Curley’s wife all he was talking and thinking about was the rabbit. I know this
when it says ‘Aunt Clara was gone and from out of Lennie’s head came a gigantic rabbit. It said
scornfully, you crazy bastard.’ When some kills they wouldn’t be thinking of rabbits and Aunt
Clara past away a few years before.
My third character is Curley’s wife. She is a very lonely woman as she is the only female on the
ranch so she has no-one to talk to as her husband Curley was always out getting drunk and
she was left alone. In the novel she is only known as Curley’s wife. She is never given a name.
Curley didn’t want her to talk to anyone otherwise he gets mad. ‘How’d you like not to talk to
anybody?’ This quotation comes from the scene where Curley’s wife is telling Lennie about her
dream before he kills her.
Crooks is the only black man on the ranch. He says to Lennie ‘because I’m black they say I
stink, well I tell you all stink to me.’ This shows Crooks is not accepted by anyone else. He
couldn’t go into a room to have a game with other workers. He only had his own room and is
not sharing with anyone because he is the only black man on the ranch.
The task is suitably simple for the ability of the student. However, she does not develop the points made
and some are peripheral to the theme of loneliness (for example in relation to Candy). The social situation
in the 1930s is not investigated in relation to the text. She makes ‘some attempt to respond to a text’ and
shows a ‘response to significant characters’. Just into Band 2.
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GCSE English Language
Reading: Extended text
Task: Some critics say that Portia’s character develops and changes from the time
she first appears to the end of the play. Others believe she stays the same
throughout. What do you think?
In The Merchant of Venice, Shakespeare presents Belmont as a fairytale world which
contrasts with Venice - a busy seaport which is successful and known for the trade and
politics within the city centre. Belmont is where the "fair" Portia lives, a daughter “richly left,”
after her father died. At the start of the play, Shakespeare presents Portia as just “wondrous"
beauty. However, Portia has more to her character than simply a reputation as a "rich fair
lady." She is a clever, independent woman, who takes many surprising decision for a lady of
her time. In 17th century Europe, women had no role in politics, law or business. Although,
she appears be controlled by a man, she subtly uses her intelligence and opportunities so
she can make her own decisions.
At the beginning of the play, Portia is “curbed by the will of a dead father.” She is trapped by
this “lottery” of the caskets, which she must loyally obey and dislikes the idea not being able
to “choose” her husband. This shows she is a very a strong-minded and at the same time a
dutiful daughter for complying with her father’s instructions. A contemporary audience would
recognise this quality in her. Portia appears to be both well-educated and highly intelligent,
as she and Nerissa mock her suitors. She says the young baron of England “hath neither
Latin, French nor Italian,” and she would hate being suited to an uneducated man.
Shakespeare uses prose when she is mocking her suitors to suit the undignified tone of her
speech. However, an audience would also see her mocking as humorous.
In Shakespeare’s time, it was conventional for daughters to have arranged marriages.
However, for a decisive character like Portia, she is angered and frustrated by the pointless
requests. Her father may have used the casket trial to protect her best interests which he
could not oversee, but Portia does not see his “inspirations.” However, Nerissa reminds her
that her father was a “virtuous” man. Shakespeare seems to want to present Portia in a
difficult situation that will test her character, rather than a woman being punished.
When Morocco goes to make his “choice,” Portia is courteous, politely telling him that he is
“as fair” as any other suitor. She tells him, before he chooses, that if he chooses correctly
then, “I am yours withal," to show she would be a dutiful wife. Although, at the end of the
scene, after Morocco leaves, Portia makes the disparaging comment, "let all of his
complexion choose me so.” To a modern-day audience, this could be interpreted as racist
and offensive. A contemporary audience could have understood that she did not intend this
to be heard by Morocco and would sympathise with the fact that she is “hedged” by her
father’s will.
While Bassanio makes his decision about the caskets, Portia has requested that there be
music playing. Music is a symbol of love and harmony in Belmont, unlike Venice, where
relationships are ruled by hatred and conflict. Within the music, there are clues for Bassanio
to choose the correct casket. The words in the song rhyme with lead, “bred/head/nourishéd.”
It is obvious as she wants him to choose the right casket.
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After Bassanio correctly chooses, Portia tells him, “myself, and what is mine, to you and
yours.” Again under the control of a man, she can briefly experience happiness and perhaps
some independence, unlike her feeling of being "curbed” by her father. However, Portia is
appearing to Bassanio as a dutiful wife, by telling him that she is an “unlessoned girl,
unschooled," even though she is highly intelligent and educated. Shakespeare uses
dramatic irony because the audience has seen another side to her so they would see her
having fun at Bassanio’s expense.
Later on in the play, she shows that she is capable of conducting a complex law case. After
the letter arrives from Antonio, she quickly takes control and demands that Bassanio marries
her and “then away to Venice.” To cover her true intentions of following him to Venice, she
tells Bassanio that she and Nerissa “will live as maids and widows.” She is again showing
her ability of being able to think and act quickly with a problem. Shakespeare has prepared
the audience to see that Portia has the right qualities to take decisive action; she is
intelligent and pragmatic. It is not so much that her character changes, rather she is
presented with an opportunity to test her skills.
After Bassanio goes back to Venice, Portia decides to intervene at the trial. She tells
Nerissa, "we’ll see our husband before they think of us.” She is once again showing her
intelligence and independence with this decision and by the way she mocks men. Portia
talks of men as "bragging Jacks," who she can fool by telling “quaint lies” and taking “a
manly stride." Her deception gives an insight into her educated mind. Shakespeare, again,
uses prose when she is mocking to be relevant to the style of her language.
During the trial scene, Portia is dominant from the start. She uses all her knowledge of law
and this case in the trial. Portia tries to persuade Shylock to show mercy to Antonio. She
tells him, “mercy is above this sceptred sway,” and “it is an attribute to God himself”. Her
speech on the Christian virtue of mercy would have been well received and understood by
Shakespeare’s audiences. Shakespeare uses heavenly imagery in Portia’s speech, “as the
gentle rain from heaven,” to signal to his audience that Christian values must prevail after
Shylock refuses to give mercy and take the money. Portia leads him to believe he may
“claim a pound of flesh.” Shakespeare develops the tension in this scene, as Antonio
prepares to die, until Portia says, “tarry a little.” The timing of this imperative verb puts the
outcome of the trial in Portia’s control. The tone of the scene changes and Portia’s wisdom
saves Antonio. She has known all along about this loophole in Shylock’s bond.
Portia tests Bassanio’s loyalty and love by choosing the offered gift of the ring. She tells him,
“I’ll take this ring from you,” as she wants to know how easily he would give it up, after she
swore he must never “part from, lose, or give away.” After Bassanio said during the trial that
he would “sacrifice them all,” for Antonio, the ring test is assessing, who he is most devoted
to- Antonio or herself- and how significant Bassanio feels the rings are in their relationship or
whether they are just a “trifle.” Shakespeare has used dramatic irony, in the scene, which,
makes it more comical. Portia is having fun at Bassanio’s expense but with a warning. Even
though Portia “faithfully” gave herself to Bassanio, she has proved with her decisions and
actions, that she will always be capable of having a degree of independence and control, in
her life. Her intelligence reflects the unacknowledged intelligence of women of her time when
women were not allowed to have any part in trade, politics or law. Therefore, Shakespeare
makes Portia’s wisdom and behaviour relate to Queen Elizabeth I because, at the time, she
was seen as a powerful and influential woman, just as Portia is portrayed in the play.
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The student makes a number of claims about Portia’s character in this essay and supports them with
good clear textual evidence. She carefully builds up her argument that Portia is, from the start of the
play, an intelligent and educated woman who bends the rules relating to her father’s casket test and
manipulates Bassanio both in his choice and at the end of the play. She makes a good case for
seeing Portia as a stronger and more intelligent person than her new lord. Quotations are well
embedded in her text and she does make some effort to analyse Shakespeare’s language. She
remains focused on task throughout the essay and uses her knowledge of the historical situation
subtly. A solid Band 5 response.
Task: One of King Henry V’s most impressive skills is his command of rhetoric. With
close reference to two of his important speeches, show how he uses powerful
language to influence and persuade others.
In Henry’s first speech he reacts to the insulting gift of a ton of tennis balls that the Dauphin
has sent him. Henry acts and replies calmly, formally and graciously to the French
ambassador by saying
“We are glad the Dauphin is so pleasant with us.” Henry’s reaction is neither insulting nor
angry, but very controlled. Henry also gives thanks to the ambassador and the Dauphin for
the ton of tennis balls and the trouble it took to get the message and gift to Henry.
After Henry thanks the ambassador he starts to begin speaking in metaphoric language by
saying “We will in France, by Gods grace, play a set, shall strike his father’s crown into the
hazard." Henry now threatens the Dauphin and the ambassador by using the tennis
metaphor. "Tell him he hath made a match with such a wrangler that all the courts of France
will be disturbed with chases".
At this point Shakespeare has made Henry react powerfully, angrily and fiercely towards the
Dauphin’s message and gift. Henry begins to reply to the arrogance of the Dauphin believing
he is still just a wild youth but in fact he is not; he has matured and has become a very noble
and powerful king. The king replies by saying "And we understand him well, how he comes
o’er us with our wilder days, Not measuring what use we but made of them."
This makes Henry seem smart and clever and very thoughtful of what he is saying. He does
not want to offend but to slightly annoy.
The next sentence Henry speaks in metaphoric language again by saying "But tell the
Dauphin I will keep my state, be like a King and show my sail of greatness." This implies that
he will make him feel like fool and humiliated in front of his peers. This also puts a picture of
a great ship in your head. Now Henry has turned to threatening again by saying, " When I do
rouse my throne in France, But I will rise there with so full glory that I will dazzle all the eyes
of France."
He implies he is like the sun beating down on the eyes of France ready to attack them at any
time. Henry shows he is not afraid, but willing and determined to get what he believes is
rightfully his. Henry wants to show he is unstoppable at this point and that he will get exactly
what he wants.
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In the next sentence, Henry tells the Dauphin that the tennis balls he has given him he will
turn into weapons against him and France. “Yea strike the Dauphin blind to look on us, And
tell the Pleasant Prince this mock of his hath turned his balls into gun-stones". Henry also
becomes calm again during this section but this makes him seem more powerful and mature
because he has not let anger and frustration take his mind and he has controlled what he is
saying to great effect.
Henry uses repetition to get his point across which shows him being smart and resourceful.
"Shall this his mock out their dear husbands, mock mothers from their sons, mock castles
down and some are yet ungotten or unborn.”
This makes Henry seem courageous and powerful yet again as if he wants to show him
gaining more power as he comes to the end of his speech. Henry is turning the Dauphin’s
joke against him. Again he returns back to his religious side in the next section trying to
make him seem holy and righteous. " That shall have cause to curse the Dauphin’s scorn
but this lies all in the will of God”
Henry acts as if anything he does in France will be supported by God, as he believes more
people will either fear or join him in his mission to claim the throne of France. At the end of
his speech he becomes calm and quiet, as he believes he has got his point across. “His jest
will savour but a shallow wit
When thousands weep more than did laugh at it.”
At this point he also threatens the fact that the joke the Dauphin is playing will only make a
few laugh but will bring death to many. Also there is a rhyming couplet, which makes Henry
look powerful, smart, and definitely showing his great rhetoric skill.
The second speech in which Henry shows his brilliant powers of rhetoric to persuade and
influence others occurs just before the decisive final battle. His men are demoralised and
fearful but Henry is able to change things completely around. It is an outstanding piece of
improvisation prompted by Westmoreland’s wish that they had more men in the English
army.
Henry reacts to Westmoreland’s words in an angry and tense way by saying
" What’s he that wishes so? My cousin Westmoreland, No, my fair cousin."
This shows Henry is an understanding character who does not want to dampen any more
spirits but to lift them instead. Henry now begins to acknowledge the fact that they could die
to his men but in a fearless way, by saying “If we are marked to die we are enough to do our
country loss." Henry is saying they are doomed to die, they don’t need any more men.
However, Henry now begins to change the argument as the more they could live the better
by saying "The fewer the men, the greater share of honour," the fewer of them there are the
more honour and glory they will receive.
Henry uses a clever psychological ploy as he seems to be allowing people to go home. This
shows his understanding of human nature and he uses words like fellowship and he would
not die in that man’s company, to make his men want to stay. Henry now moves to a very
famous phrase, and he says this part calmly to show his care towards his soldiers, "We few,
we happy few, we band of brothers’. Henry now comes to the end of his speech before his
battle.
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You could call this his battle cry. He shouts to his men “That fought with us on Saint
Crispian’s Day". This makes his men gain morale and want to fight for him. So even to the
end he is using rhetoric as a way to inspire his men to fight by his side to the end or in this
case victory.
The student’s task is a little narrow and it does not allow him fully to cover the requirements of this
section of the controlled assessment folder. He should have been given the opportunity to range more
widely over the text, perhaps looking at the way Henry speaks to Catherine in addition to the two
speeches considered here. Having said this, the student makes a good effort to look closely at
language and he tracks through the speeches with some assurance. Towards the lower end of Band
4.
Who is to blame for the death of Mercutio?
In this essay, I am going to look at Shakespeare’s Romeo and Juliet and decide who was to
blame for the death of Mercutio.
When we meet Romeo, he is a loving character who does not like fighting. But he falls in love
with Juliet who he meets at the Capulet party. Juliet is a Capulet which is bad for Romeo
because he is a Montague and they don’t get on well together. If Juliet’s father finds out she will
be very badly punished so they keep their love from Juliet’s side of the family.
We meet Tybalt, Juliet’s cousin who is aggressive and violent. He killed Mercutio, a loyal friend
to Romeo. That is why Romeo kills Tybalt even though he is Romeo’s lover’s cousin. She still
loved Romeo, even though he killed her cousin. Juliet was angry at the fact that Mercutio, the
love of her life’s best friend, had been stabbed to death by Tybalt who is now dead as well.
When Tybalt and Mercutio meet, Tybalt is determined to fight but he wants to fight Romeo
because he gatecrashed his party. Romeo doesn’t want to fight because he has just married
Juliet. It is Tybalt who starts it but Mercutio wants to fight as well. When Tybalt kills Mercutio,
Romeo thinks he has to get his own back. Mercutio is killed by accident because Romeo tried
to come between the two men.
I think Tybalt is to blame for Mercutio’s death because he killed him but Romeo is also a bit to
blame because he wouldn’t fight Tybalt and so Mercutio fought him himself. But Tybalt is not a
nice man and he deserved to die because he was always making trouble. Mercutio was silly too
because he was always up for a fight and he pushed Tybalt. They are all a bit stupid really.
The work is brief and while there is an adequate grasp of some of the plot, the student makes few
comments about the way in which the characters’ personalities shape the way the plot develops. Instead
he makes assertions. The Band 2 criteria are mostly fulfilled. He can: make some attempt to respond to
a text; can identify some aspects of content, characters and situation; show a response to significant
relationships and main events.
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GCSE English Literature
Shakespeare/poetry linked text
See GCSE English above. In the GCSE English Literature folder, this work is marked out of 40
rather than 20.
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Writing controlled assessment exemplars
GCSE English
First person
"What do you think you’re doing?” Mum asked.
"Doing my art homework. What does it look like?" I snapped.
"Not on my antique table, you’re not."
"But mum, I need to get this done,” I moaned.
"Oh and you’re going to pay for a new one when you get paint stains all over it‘?"
What kind of a question was that? Of course I wasn’t going to be able to pay for it. I would
have to sell my organs if I was even going to get close to affording a new table like this. I just
stood there, scowling.
“Exactly," mum said smugly. "I didn’t think so. Pack up your things and find somewhere else
to do your art work."
But where else was I going to do my work? There was nowhere. My parents were interior
designers and with it they had more money than sense. The house looked more like a show
room. Each room had a colour scheme to create a "mood" and give it "character," as my
mum had once told me, after I had questioned the décor. Although, that still didn’t explain to
me why it had to be so boring. All rooms had a neutral colour on the walls with antique,
coloured furnishing all designed along with the colour plan.
The living room walls for instance, were painted a matt beige shade with mid-brown leather
sofas. A couple of two-seaters were placed against the two walls, while a reclining armchair
sat in front of the window. Placed neatly in these seats were real, animal skin cushions
making the sofas look unwelcoming. However, the cushions were only for show and not to
be used or touched too often- not that I would want to use one. On the remaining wall a
carved, marble mantle piece dominated the room, polished to perfection and above it a giant
mirror, which apparently "expanded" the room. A huge plasma T.V with cinema sound
system occupied the far comer and apart from the few professional family portraits, which I
hated, the rest of the walls were fashionably bare. The floor was covered with a cream
carpet and in the centre sat a brown, buffalo fur rug. On top of this rug stood the wooden,
antique table from which I had been banished. Packing up my equipment, I headed up to my
bedroom. My room wasn’t like the rest of the house; it had character. It was a small room,
which I liked, and nothing matched. Everything was tacky and clashing greens, pinks, blues
and yellows, coated my walls, as it was the only room my parents didn’t have control over.
All that populated my room were my three-chest of drawers and dressing table along one
wall and opposite was where my dinky, single bed lay. At the foot of it was my wardrobe.
Taking a couple of strides over my untidy floor, covered in clothes and junk, I reached my
dressing table.
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Pushing the clutter away and setting down my canvas artwork, which was far too big to fit on
my small table, I got to work. By the time I had finished, it was late. Slipping into bed, my
thoughts twigged on the date of the next day. Friday 19th July - my 16th birthday. With this
delight resting in my mind, I drifted off to sleep.
I rushed downstairs early next morning to find my presents stacked, with my fry up breakfast,
already waiting on the dining room table. My parents followed me in, chorusing "Happy
Birthday." No sooner had they finished singing, their smiles faded to guilty looks. I looked up
at them from my breakfast.
"Poppet, I know it’s your l6th, but. . .," my dad started, glancing at mum for assistance.
I knew what was coming.
This was when they announced that there was this really important business meeting they
had to attend, so they wouldn’t be there that night and therefore I couldn’t have my party. I
shrugged it off.
This wasn’t the first time I had been let down by them. My parents weren’t the sort to ever
come to things like my school plays or fetes and I couldn’t remember the last time they had
been there for a birthday party. Work always came first. However, I thought they may have
made more of an effort for my l6th birthday; I was wrong.
As soon as I got into school, I explained the bad news to Jessica, my best friend.
"Well, that’s perfect," Jessica gleamed with excitement. She noticed my look of confusion
and went on to explain her happiness. "You say they’re not coming back until tomorrow,
yeah?" I nodded in reply. "Then you can have a house party. Come on, don’t let them spoil
your l6th and anyway you have the biggest house. You could have loads of people.”
Although I would get into masses of trouble if my parents ever found out, it was my 16th
birthday. Why shouldn’t I have a party? It was they who had spoiled everything by going to
some work thing; they should be here for my birthday. Anyway they wouldn’t be back until
tomorrow evening — that would give me enough time to tidy the house and make sure all
the evidence had been cleared. They would never know.
“Yeah okay," I agreed, "Why not?"
The party had started and news had spread. Not only had majority, of my year arrived, but
extra guests from other years had turned up too -— most of whom I did not know.
Deafening music, pumping from the surround sound, filled the crammed rooms downstairs.
People were chatting, dancing and drinking, making the neatly decorated rooms turn into my
parents’ nightmare.
The living room was the worst. The once glinting mantle piece was covered in sticky, spilt
drinks, whilst the carpet had crunched snacks, trodden into it. The sofas, with their cushions,
were trashed as they were covered in empty cups and crisp debris. Ring marks remained
where every cup had been placed on the antique table. It now wouldn’t have mattered about
paint stains and for some reason, I felt a thriving buzz for the mess and disorganisation; a
contrast from the normal perfection.
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I turned to head out of the chaos and there stood my nightmare.
Mum stormed over to me.
She growled.
"And what do you think you’re doing?”
The narrative is well shaped with effective plot and characterisation. The vocabulary is varied and wellsuited to purpose. Dialogue is used effectively and, while the conclusion is a little predictable, the story is
engaging and interests the reader. Detail is carefully selected with the contrasting of the minimalist and
perfect décor and the student’s bedroom and the aftermath of the party. The SSPS aspects are sound
with a variety of sentence types and accurate punctuation and spelling. Into Band 4.
I really wanted to see him, but not like this. My mother had told me that he was bad, but I didn’t
expect him to be this bad.
As soon as the door’s opened, that sickly, horrible smell hit me and stuck to me like glue. There
were health and awareness posters everywhere you looked and I began to taste the lifeless
food making its way from the kitchen.
As I walked down the corridor there were so many emotions rushing up inside of me and I
expect that my mother’s hand was almost numb as I’d been squeezing it so hard.
When we got to the room, I didn’t recognise him at all. I couldn’t believe my eyes. That was my
Bampa ... my Bampa.
The room wasn’t great; the walls were a pale green and salmon colour; the curtains were also
green with a dull pattern on them, but he had the room to himself which was a bit better, more
private. I could see pink flowers in a vase, a bottle of blackcurrent squash upon the table and a
bundle of red grapes, his favourite.
He lay there in his classic blue and white checked pyjamas covered in a soft blue blanket. His
hair was rough and messed up, not neat and tidy as usual. His skin was pale and he looked so
fragile. He had so many tubes in and around him that he was hard to look at.
As soon as he saw my mother and me, his face lit up. I gave him a hug, just a little one and he
smelt just the same, like peppermint. He then began to speak; his voice was so croaky and
weak that I could barely understand what he was saying.
He soon became thirsty, so my grandmother had to help him by using a cotten swab. That
pushed a few buttons inside of me, but I knew I had to keep it together for him.
After a while he started telling jokes and making everyone laugh and underneath all of the
tubes and the croaky voice I could still see that he was just the same silly, loving grandfather on
the inside, he just looked different on the outside.
This story is not overlong but conveys the experience of visiting a sick grandfather in hospital in a most
telling and engaging fashion. The work is carefully structured and the choice of detail appropriate. The
vocabulary is not particularly ambitious but it is well suited to the honesty of the experience and the
student skilfully draws us into the scene. Technically, the work is sound with very few blemishes. Band 3.
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‘Get up’!!! my mum shouted ‘Get up’!!! I woke looked at my clock, it was only half past one in
the morning.
‘YOUR NAN AND GRANDAD IS HERE TO PICK YOU UP’!!
So I got up, got changed, went down stairs and it was time to go, I waved good bye to my mum
and set off.
My trip had begun.
I couldnt get to sleep in the car because I was exited, I’d never been to Irland before, it wasent
long and we were in Fishguard.
We saw loads of ships as we were waiting to get on the ferry. When we eventfully got on the
ferry we looked around and went to the top deck outside it was freezing so we had to go back
in.
We arrived in Ireland about six oclock in the morning.
The first town we arrived at was Waterford, we stoped the car, got out and walked around, we
saw loads of shops.
After we looked around we went back to the car and drove off to the seaside and tried to catch
up with some sleep.
After we went to sleep we went and found a hotel, it was getting dark, so we emptyed the boot
and we settled in and went to sleep.
The next morning we got our things together and set off to Woodtown house, it is said to be the
most haunted house in Ireland. There was a chambre where there is sepossed to be a ghost.
The gude said the room had been shut off so the gost doesn’t leave the room.
So after we visited the haunted house we went to the light house that was neer by. In reception
before go in, there was a modal of Woodtown house and a little cinema showing in side the
house.
We paid at reception for a tour guide round the house, the guide said that there used to be
monk’s living there, In there was a massive fire place, table and chairs and the top was a
massive light bulb.
On the way back we stopped at this place where there was a stone, you hang upside down and
kiss it for good luck, it was called the Blarney Stone.
After that we had to catch a ferry home the next morning, we went back to the hotel and the
next morning we caught the ferry home.
My trip was most enjoyable.
The student does describe a trip with some clarity but he has made little attempt to shape the narrative to
engage and interesting the reader. The vocabulary is basic and the narrative relies on a strict
chronological structure. More important aspects are not highlighted and we learn very little about his
feelings and his relationship with his grandparents. The SSPS aspect is weak with comma splicing
common and spelling inaccurate. Band 1 for both Content and Organisation and SSPS.
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Third Person
The Unlikely Hero
‘Hero’ was a word Tom despised. It conjured up images of shiny, plastic action figures sugarcoating the masses with pretty versions of half-truths. It left an unusual special feeling and the
only thing Tom knew about feeling special was that it was just setting you up for a greater fall
when reality returned. Even casting his mind back to his childhood, he couldn’t remember a
time magic belonged in his heart. Life wasn’t rose-tinted; it was gritty like sand that nestled
between layers of clothes.
Slamming the front door against another day, he quickly shed all evidence that marked the
double life he led. At school, he was fairly popular. Cynicism and wit had always been the drugs
that kept him going through each day and that had translated well in his move to high school.
Somehow, he had garnered people’s respect. Somehow, he’d even lost himself to that
daydream until someone- offhandedly, casually- had named him as his hero.
Head shaking in disbelief, Tom stepped out, now dressed in nondescript jeans and t-shirt. If
only people could see their ‘hero’ now, pulling ready made meals and frozen vegetables from
the freezer. Respect meant nothing in Tom’s reality.
With the exception of the gurgling pipes, the house was silent. The peeling wallpaper and
cracked walls pinned Tom down and made him want to scream. The house needed major
repairs but there was nothing he could do but make the best of it. He was, after all, still just a
child.
Tiredness setting in, Tom began to daydream. Unlike his peers, he didn’t dream about the
latest video game or hottest gadget. His reveries consisted of wishes for a different life, a
normal life. How he yearned to be staring, blank-faced into the blue hue of the computer screen
or arguing with his parent’s for the sake of sheer selfishness.
He tried to tell himself he didn’t need any of that but a traitorous thick feeling clogging up the
back of his throat and stinging eyes revealed him to be a liar. Sighing, he wiped his eyes. Selfpity didn’t get the dinner cooked.
‘Thomas, baby, is that you?’
Turning his back on the oven, Tom faced the frail ghost of the person he once knew. A smile
found its way onto his face as he chatted to her. The cheerful tone he had adopted was out of
place in this broken home and he hated it. Placing his arms gently around his mother, he held
her as her racking cough took over before beginning the delicate operation of leading her back
to her chair.
His friends would never understand. They wouldn’t know responsibility even if it were explained
to them. Each day, Tom raced home, shedding his life like a scaly skin. He would give up his
own life to look after his mother for the rest of hers. Pity would parade as empathy and Tom
would never be able to escape if people knew. No, Tom decided, people could have their false
heroes and romantic dreams because reality was something they could never face.
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This is very assured third person writing. The student has created and developed a convincing persona in
the character of Tom and he develops the material in a completely convincing fashion. The narrative is
not overlong but fulfils the A grade criteria in terms of the vocabulary, pace and the overall structure. The
story engages and holds the interest of the reader and is technically perfect. Selection of detail is a
particular strength and there is a wide variety of sentence structures. It is easily worthy of mid-Band 4.
“Is your rage putting you in danger?” Ria read. These words echoed in her mind, if only she had
read this article a month ago, everything would be so different. Her tragic experience would
never have happened. Last month, on an exciting trip with her mates, a time to relax and not
think about the other stresses in her life, she never thought it could turn into the holiday from
hell.
Zack was the boy of her dreams; he had blond hair as bright as the sun, blue eyes, that type of
blue where you could just get lost in them. From the first moment she saw him she knew
something would happen between the two of them. They had so much in common: loved the
same type of music, both enjoyed playing sports, they were just perfect for each other; it was
fate that they met! Zack was just the perfect boy for Ria.......A great holiday romance, just
beginning.
A big group of them would meet at the beach during the day; Ria and her friends, and Zack and
his group would lay on the beach and sunbath or go and do some water sports; this was the
holiday of a lifetime. At the end of the day, the girls would go and get ready and they would all
meet up at ‘Le Rumba’ – the bar they had deemed theirs for the time being. There Ria and
Zack would see no one else in the world, when she was in his arms, she felt nothing else
mattered; although she had only known him a couple of days, she trusted him and lusted after
him when he wasn’t there. Although Ria always had the feeling that she was being watched,
she shared her concern with Zack, but he told her she was being silly. But she still had a
strange feeling in the back of her mind.
Before Ria knew it, the end of the holiday had sprung upon them, they had been having such a
good time together they had never thought about the fact that, the two of them were going to go
their separate ways. It was a scary thought but Ria thought she would make the best of the
night and not to let it get in their way. The girls dressed up in their best clothes and did their
make up, determined to make it the best end to a brilliant holiday. Ria thought tonight was
going to be excellent, something she would never forget..........but for all the wrong reasons.
Ria and the girls got down ‘Le Rumba’ at about eight o’clock, just for when everyone else was
going to meet. Zack and Ria greeted with a hug and kiss,
“Alright babe, how are you?” Zack had asked; being in his arms just felt right. “Yeh, I’m good
thanks, lets get the drinks in” Ria had replied. After two rounds of drinks, Ria had noticed
someone staring at her: Matt; he had been quiet and reserved but now she realised he has
always made a special effort to talk and make her happy. But she just smiled nervously,
brushed off his looks and carried on chatting to Zack.
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When Ria thought about going home it brought tears to her eyes, she didn’t want to leave the
paradise that she and the others had created, Ria wanted to stay forever. The beach was like a
lost island in the middle of the sea, water as clear as crystals and sparked every time the bright
sun skimmed the surface. And the sand was as soft as silk, just to walk along it felt like
heaven; but not only the beach was perfect the nights were beyond words, the nights were
fabulous, the bars and clubs lit up the darkness of the strip, nothing could ruin it. She would
spend the night surrounded by the best people in the world and in the arms of the boy she
loved. Ria had people around her who she cared for, not only the new people, she had made
friends with, but she had Morgan, her best friend, they had been friend for years, what more
could she want? But she knew this fairytale had to end at one point.
Ria decided to give her parents a ring, just to confirm with them her flight times, the time she
would leave the fantasy island. Ria knew her and Zack would see each other after the holiday,
they had each others numbers and knew where they lived, but it just wouldn’t be the same, she
didn’t want to leave.
After the phone call, walking back towards the bar, looking out for that gorgeous face waiting for
her to come back, she saw that face but he certainly wasn’t looking out for Ria, he was too busy
kissing her best mate, Morgan. Ria was confused. What was going on? She was enraged. How
could they do this? Ria was uncontrollable with anger; she had never felt so hurt before. She
stormed over and without even thinking, slapped Morgan. She pulled Zack over to the side of
the bar to find out what was going on. He claimed it was all just a big mistake, it hadn’t meant
anything.
Ria was furious; how could they have done this to her? She knew it was only a holiday
romance but she did feel a lot for him, and Morgan knew that. She wanted to go home; this had
completely ruined the holiday. What had she done to deserve this?
Ria was livid, she didn’t know what else to do but cry, but she wasn’t going to let anyone else
see. She just walked away heading back towards the hotel........or so she thought.
It was late, pitch black, the stillness of the street was ominous, and something didn’t feel right,
as if somebody was watching her, the same feeling from before but a lot stronger.
Ria carried on walking, not knowing where she was going, the adrenaline just taking her,
hoping soon she would recognise her surroundings. Her heels were the only noise breaking the
eerie silence of the night. Ria was all dressed with no where to go; she wanted someone with
her something certainly didn’t feel right.
The black of the night was mystifying. Ria’s paradise didn’t seem the same, no longer was it
inviting and colourful but black, dull and so awful. Why was there no one there with her; of all
her mates she had with her and all the people she had met.
Suddenly it wasn’t only her heels splitting the silence; another set of footsteps were fast
approaching. Ria was wary of turning around, hoping it was one of her friends, scared that it
wasn’t. She knew she had to look otherwise she would panic. Ria slowly turned around and
with a gasp of breath, she saw Matt. Why wasn’t she pleased to see him? Surely he was going
to help her?
“Are you ok?” he asked leeringly, “I saw what happened back there”
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“Yes, I’m fine” Ria knew he would tell in her voice that is wasn’t, she felt uncomfortable with the
situation she was in
“Do you want to come back to my hotel?” Matt asked. “You look like you’ve been crying?”
“No I’m ok thanks” Ria snapped back and with this she started to walk away, back towards the
bar, being with Zack wouldn’t be as bad as this.
“Where are you going?” Matt shouted, grabbing her arm.
“LET GO OF ME” Ria screamed
Before Ria knew it his hand was over her mouth, her voice was paralysed, and she couldn’t call
for help, what was Matt doing? He carried her round the corner, where he released her.
“How about we have our own little party here, Hun?”
“No thanks, I’ve got to get back, I only told Zack I was going for a little walk to cool down”
A blatant lie but she was hoping Matt wouldn’t know this.
She was feeling very uncomfortable about what was going on.
“Stay for a bit!” Matt ordered, he pushed her to sit down on the wall. Ria was quiet. She didn’t
know what to do or say. Her whole body was still. She thought any movement would anger him
anymore.
“Come on babe, I know you like me, I saw the looks and the smiles” Matt said.
“I...I...was just trying to be friendly” Ria stuttered, a friendly smile had got her into this.
“Don’t you want to be with me then?” Matt questioned.
“I’m with Zack” she replied, she didn’t know whether she was anymore but she didn’t want to
look available.
“I saw you two arguing, you aren’t together anymore, so you and me can get together.” And
with that, he pinched her backside.
“Get off me!”
“O you know you like it, don’t tease me.” He tried to kiss her and as she pulled away, he
grabbed her so she couldn’t.
What was going on? She wasn’t kissing back so how could he enjoy it, and she was trying to
imagine how nice it would be to be in Zack’s arms again, why had she ruined it?
Ria was petrified, if he could force her to kiss him, what else could he do, she felt helpless.
Ria’s mind didn’t seem to be in her body, she wouldn’t accept this normally, and with that
thought Matt’s hands had risen up to her chest, unbuttoning her top. Someone help here!
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And before she knew it....
“GETOFF HER!” a familiar voice, but whose; she opened her eyes to see Zack, standing over
the knocked out Matt on the floor.
“ZACK!” Ria screamed, she fell into his arms and cried.
And now sitting here reading the magazine article, her rage did put her in danger, she had been
such a fool and got herself in a situation she couldn’t get out off, if Zack hadn’t been there that
evening, who knows what could have happened. But it was unquestionably a holiday that she
will never forget.
This student organises her third person narrative quite carefully and the content retains the reader’s
interest. The situation is quite well established in the opening paragraphs and characterisation is
developed. The central relationship is quite convincing and the narrative has some pace. Details are
generally well chosen and appropriate. Technically it is fairly accurate with a reasonable range of
vocabulary. Direct speech is well-handled and sounds authentic although the punctuation is sometimes
faulty. Characteristic of Band 3.
One night Mark was driving in the misty darkness up to the cemetry with four of his friends
called Jake, Stacey, and Jodie and jarred, it was Halloween they were going up the hill to the
cemetry when the wheel went bang. And the girls screamed loudly. Jake when out to see what
it was. It was the whell with a knife sliced in it.
The girls were scared. Mark and the boys said Lets go for a walk in the cemetery. The girls said
I will if you keep close to me Jake and Mark said yes we will so they went in to the mist. They
were walking up the top of the cemetery and Jarred said Look at that dead man up there.
Stacey screamed saying wise up. Then Jarred said look the dead man is in the corner of the
cemetery. Jodie said no he isn’t and slapped Jarred.
Stacey was on her hands and knees crying saying to me don’t let go of me . Mark said OK.
Every time Jarred tried to scare them they didn’t believe him so they was walking one time and
Jarred saw a light but they said stop lying but 5 mins later Stacey saw it then they all saw it. It
was a dead man with a flashlight. So they all started running then they stopped to see where
the man was but he wasn’t behind them. So they kept walking then we saw him again.
So they ran to the gate and kept going till they saw something and they ran again until they saw
a caravan and they all ran there and knocked on the door. No one answered so they walked in
and Mark used the phone to ask his mother to come and collect them. The phone was cut off
and they saw the shadow of the man. They ran out and hit him on the head. It was Marks father
walking the dogs out looking for them.
Mark phoned the ambulance because he was knocked out he woke back up and said don’t
phone an ambulance. So Mark phoned them and said don’t bother coming he’s OK now.
Marks’s father was shouting at him for nicking a car and for popping the wheel then Jake and
Jarrod was laughing Marks father said I don’t know why you are laughing for because I am
telling your parent and the girls and he said yeah.
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Mark went home and his mother was shouting at him. And saying you are grounded for two
weeks and you are paying for the wheel. And you are going to clean the car and clean the
house up for two weeks. Aftre he was grounded Mark phoned the boys and they said they was
grounded to and he phoned the girls and they said they was grounded and not allowed to
bother with Mark.
This student tells a basic narrative with a clear development and outcome. He is able to structure the
story with a simple chronology but there is little development of character or atmosphere. The range of
vocabulary is very limited and the work is flawed with many errors both in punctuation and agreement. It
is paragraphed but lacks direct speech punctuation. His choice of topic and approach is limiting though
he does not descend into totally unrealistic content as happens frequently when students are tempted to
stray into cemeteries. Band 1.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 53
GCSE English Language
Descriptive
A School lunch hall
Condensation slides its way down the window, leaving behind it a ribbon of smooth, murky
darkness. The sheer suffocating heat and humidity inside suggests the number of drenched
bodies seeking refuge from the relentless onslaught of rain. In one corner, a single teacher
loses the battle to restrain a group of shouting children and is swamped in a wave of
uniformed bodies. Buzzing with anticipation, their instincts triggered by the promise of food,
the mass of children charges past him into the canteen. Dragging back some small measure
of control, he finally manages to stem the flow and continues to thin out the crowd at a
steadier pace with many jealous glances towards the table where several of his fellow
teachers lounge, indulging in a few sweet, children-free minutes.
As the room fills, the shouts, yells and vague discussion coming from the hoard of tatty
teenagers rise to a pitch and volume that could shame a football crowd. Wanting to live up to
their reputation, the children continue their barrage of sound, undeterred by the half—
hearted efforts of their teachers. Finally, however, as the initial rush of eager bodies reduces,
the disruption falls to a minimum and the children split off into groups.
At the centre of one such gathering sits a rather plain girl putting up with the unwanted
attention of several of her social superiors. She is clearly used to this type of bullying, and
she continues her meal in silence. Finally bored with watching their comments bounce off
the girl without effect, the group turn their attention to a table surrounded by an invisible
force field apparently coming from its dozen or so occupants. This group seems to reject any
lesser being that attempts to come within three feet of their sacred ground. This creates a
ring of admirers who look up to the mixture of reputation and charisma within.
Those teenagers within this bubble of admiration seem to have no intention of letting any
others into the group. Enough gold and fake diamonds to replicate the entire crown jewels
covers the same uniforms that seem to repel any similar attempt by any other pupil. One
particular girl, smiling with all the dazzling intensity of a chat show host, is obviously a new
addition to the group. Ecstatic at her place in this most sacred of circles, she looks down
from the mount Olympus of the dinner hall at the insignificant drones beneath her,
attempting to display some of the haughty dignity of the established members of the gang.
As the initial lure of the dinner hall lessens, several of the hardier students decide to brave
the weather outside and leave the overcrowded, damp stuffiness to those willing to endure it
for its relative comfort and the knowledge that hours spent on hair will not have been in vain.
Suddenly a loud clang echoes around the hall bringing most of the children out of their
relaxed stupor. For once the whole student body is united in hilarity, all eagerly scanning the
three-hundred or more people for the guilty party.
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The culprit (a minute, year seven boy) stands next to the offending pile of broken china and,
as several of the older students begin to whoop, proceeds to flush a deep red as he prays
for an escape from the blinding spotlight. Unfortunately, the hole in the ground fails to appear
for him as it has failed so many others in similar situations and he is left at the mercy of
hundreds of delighted teenagers.
Finally, the yells subside, quelled by steely glances from several of the teachers, and they
are replaced by the ominous tinny chime of the bell, forcing all the children out into the
merciless rain.
This student confidently fulfils the requirements of the descriptive task. The individual scenes are well
observed and the whole piece is structured around a sensible time frame. SSPS aspects are handled
with assurance and the vocabulary is extensive. Into Band 4.
Funfair description
We waved our rectangular tickets towards the turquoise blue sky as if we were boasting that
paradise was just a few steps away. A clown-like smile widened onto my face as I handed the
ticket to the large man with eyes like a hawk. He was on a lookout to find those who tried to
sneak in the amazing park without a ticket. The temptation of getting inside the theme park was
getting unbearable. I stood in between the turntile being sandwiched by the two metal bars that
were covered in sweaty fingerprints. Wow, I thought just one more step and six hours of pure
exhiliration.
My eyes were glued to what was infront of me. I wanted to treasure the scenery as it seemed
colourful and amusing. My friends squeezed past me as they enjoyed the amazing scenery too.
A moist and sweaty hand clenched mine to take me to the glorious, adventourous play that
moaned for my attention. Pushing and shoving we managed to find a space at the front. To my
right I saw children with the biggest grins as they waited for the show to start. To my left I saw
the same. Teenagers were moaning to their parents about going on the new ride ‘the Karrizma’.
Finally the show had begun and a funny tune began to play automaticly made my body sway. A
loud and energetic voice nearly made my ears bleed because it seemed as if the person had
the mic in his mouth. A man dressed as mickey mouse was the cause. Sighing with
dissapointment, me and my friends headed to the back.
Walking around we dripped sweat from our fore-heads while the sun refused to give us a break.
The grass on the ground tickled my feet as if it were a paintbrush painting a picture. The
sounds that surrounded me seemed to be a mixture of emotions. Teenagers on rollercoasters,
babies and toddlers winging and whining for disney balloons. Parents sighing and rolling their
eyes scolding their children.
A rollacoaster grabbed our attention because of its finest and most daring feature and we
rushed to get in line. The snake-like line grew longer as we joined. The ride was called ‘Rita’
and was a fan of speed and a heart pounding one too. It had to be worth it.
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At last it was our turn and we hurried for the front four seats before anyone else could. We
grinned at our slyness. The metal pole in front sat there waiting to be used for support. A
women in a black cotton t-shirt and trousers checked we were safe and secure. I felt like a
prisoner for a moment because the staff came to check we could not escape twice.
In front I saw a traffic signal. It remained red until the bored-looking man in a booth turned a key
that functioned the ride. My eyes were in contact with the traffic signal. My heart pounded so
hard I thought it was going to pop through my t-shirt and into my hands. We were off, in so
much speed I could not help that my face was being pushed away by the wind. I was as stiff as
a statue. Tears started to appear in my eyes and I could not keep a straight face. In seconds
the ride had come to an end. I sighed with relief. Getting out I noticed a toddler crying, it was
frightened and in shock because of the ride. Sniggering and laughing my friends said that the
ride had been good.
Next we shifted to the ‘Hook a duck’. The smiling yellow ducks stared at me as keys to the
unlock the prizes. My temptation of having a go grew as I saw the tremendous, soft and furry
bears being won. A plump lady forced me to try and I gave in. I grabbed a hook and nervously
my hands started to sweat as supportive people crowded around me and cheered for me. I
went for the small green that screamed ‘Big Prize’ at me but it was too hard. I kept trying and
did hook it but unfortunaltly it got unhooked again. I hooked a pink duck which means I would
only get a small prize. I recieved a little rabbit keychain which brought a frown to my face again.
My tummy mumbled an irritating sound that commanded me to feed it. I headed over to the
candy stall and my eyes immidieatly appreciate the presentation of all the sweets. The sweet
and sugary aroma pleased my nose and I was sure it was going to please my mouth too.
Candy of all sorts, striped candy, bonbons, liquorish, strawberry wheels, candy floss and more.
I wanted the cloudlike candyfloss. It tickeld my face when I tried to eat it and fizzed on my
tongue while it dizzolved.
The face painting tent was nearby. Luckily there were not many people in the tent. I was
welcomed by the comforting grin of a tall and sophisticated young woman. She offered me a
thin book of facepaints and my eyes scanned for the right one. I chose a unique design which
looked nice. It was an exotic colour that included glitter. My face shone and twinkled in the light.
I thanked the lady and started to run to the ride ‘Apco’. While I did, my whole face started to
burn.
The student chooses to write her descriptive piece in the first person which is perfectly acceptable
although closer focus sometimes comes from assuming the third person. The work is a little narrative
driven but there are plenty of details to give the work life and energy. Technically, it is reasonably good
with mostly accurate punctuation and appropriate paragraphing. Spelling is generally accurate and there
is some attempt to use ambitious vocabulary although it is not always appropriate. Band 3.
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Describe a funfair
As you swagger in to the queue the rides glistening lights are lugging you in. It was a mind
twisting maze full of people screaming with an energy rush. The aroma of food is heavenly the
succulent fish and tangy chips make people drool In the far distant the smell of wet rotting
decay surrounds you like a blanket of sick. You squat down on the ride, waiting to go and then
bang! You’re of like a speeding rocket. The wind pulls you back on to the seat. Suddenly you
feel that you are standing on a light bulb you march along people shoving you out of the way
like a yoyo. The trauma of the anticipation worried the passengers as their life was taken away.
As you wonder by, people shout in all directions. Every were rides big, small, long tight they had
everything; different pictures dotted where the eye could see. The wind surrounds you it feel
like ice of the cold air is freezing you to the bone. As the light goes the fair is the light source as
far as the eye can see but everything has to end children running to there car with big teddies
falling sleep as they are getting in the car as u look back at the fair boom it if gone.
The vocabulary is ambitious but many errors intrude and there are occasions when sense is uncertain.
Spelling is weak and the lack of full stops causes problems. The description is also rather short. Band 1.
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Narrative
The Fugitive
It’s such a cold night. The air is still and freezing and the streetlight provides no warmth, simply
a harsh pool of sterile light. Underneath the light she’s huddled, sucking as much heat as she
can out of her only cigarette. Her hands shake as she brings it up to her pale lips, takes one last
drag, and flicks it away. The cold extinguishes the glowing spark at once, and all that is left is
the smoke, spiralling up past the light to mix with the night air. It starts to rain. Slowly at first, but
gradually getting heavier. Eventually, she pads out of the light and down the street to where a
derelict warehouse sits. She’ll be dry there if not any warmer. Her eyes dart about between the
dark, tangled locks of hair that covers most of her face. She’s looking for something, though
she looks terrified of finding it. A man passes her in the street, giving her a brief smile before
donning a pair of sunglasses. She gives it no further thought as the rain turns to hail, which
stings as it collides with her head and neck. But just as she reaches the shelter of the
warehouse, a thought crashes over her.
She knows that man. The man who wears sunglasses at night, who is always impeccable in a
shirt and dinner jacket. She knows him all too well. Then she becomes aware of other things.
The way the hail suddenly stops, and the soft click as a safety catch is removed from a gun.
The warehouse is dark but she darts inside, feeling a relief at losing herself in the darkness. Her
relief, however, is short lived. A shot screams out from a gun and the splintering of wood and a
blossoming of pain tells her she’s been clipped by a bullet. She runs on into the darkness,
melting away, just as a dozen black clad men and women move into the building, guns in hand,
Their eyes are empty, merciless and they pad through the building without a sound, more
shadow than human.
It’s a while before she is found. She’s on the crumbling roof, right on the edge. Below there is
nothing, simply a deep abyss. She turns to face him as soon as he appears, her face hidden in
shadow. Trees that were mere seeds when the warehouse was being built have swelled and
grown to become giants. She holds a smooth leafless branch on one hand, as much for comfort
as support. He smiles quizzically, waiting for her to speak. Finally, the words come.
“I’m tired,” she whispers. “I’m so tired. Tired of running, tired of living.” She pauses for a
moment, letting her words twist and flow across the void between them. Only the white of his
shirt is visible in the dark, and he looks like a ghost. She takes a shuddering breath and her
voice grows in strength. More people appear on the roof as she speaks, waiting, listening. Their
guns hang by their sides, almost but not quite forgotten.
“I didn’t do that. You know that, I know that. You just needed to wash the blood off your hands
and transfer it to mine.” Her voice takes on a resolute tone, as if something has been decided,
and she brushes her hair out of her face, showing them a young girl. The clouds have drifted
away and the moonlight bleaches everything into shades of white and black. She looks like a
ghost.
“I can’t do this anymore. You’ll always be there, a few steps behind me. You’re my shadow and
you’ll never be gone. You’ll haunt me ‘til the day I die if you must.” She closes her eyes for a
moment and when she opens them all traces of angst, fear and panic have gone. She’s
beautiful in the moonlight, a beautiful ghost. Already dead.
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“I always loved the winter,” She whispers cryptically. “It’s when all the beautiful things die, or
sleep. But they’re always back. Always.” She pauses, turning her gaze down into the black. It’s
lit up for a second by the moonlight and she realises, at last, that this is the end. Not just the
end of the hiding, the pain and the terror. It’s the end of the beautiful things too, the end of days
on the beach and nights under the stars. Her arm is raw where the bullet has clipped it and
blood runs down her arm, dripping and pooling on the floor. “But I’m not like the flowers,” she
murmurs, her eyes on the blood, “and I won’t come back.” Leaving the men and women
standing on the roof, she jumps. She misses the trees and falls down and down. The moon has
gone in again and it’s like she’s going to fall forever, into a pool of ebony.
When the morning sun finds her body, she looks asleep, her lips slightly parted and her eyes
closed. Beside her broken form is a tiny, exquisite flower, petals open to the winter sun.
The student writes with assurance, carefully selecting appropriate details and establishing mood and
situation very effectively. The content and characterisation are convincing and although the background is
not investigated or explained there is sufficient information to allow the reader to fill in the details.
Sentence are varied and vocabulary choices ambitious and mature. The pace is good and the tension
well established. The reader is engaged and involved in the writing. Technically the work is perfect. This
writing deserves a mid-Band 4 mark.
A day in the Life of a Nobody
There was a loud banging, booming knock on my bedroom door. It was him. I couldn’t stand it
any longer. Paul my mother’s boyfriend I mean. He was a horrible, old moany man, he made
my life a living nightmare. One day it got to the point were I couldn’t take it no more, I had to
move out.
I stayed at friend’s houses for a bit but I was invading their personal space and I could tell they
didn’t want my company for much longer. I searched and searched everywhere for a place to
stay but there was nothing around. So here I am today living my life in the working streets of
London.
I never thought it would get this bad but it has. My usual day is waking up at the crack of dawn
either by the beautiful, soft sound of the little black birds or the hard knock across the arm off
the big, visous police men telling me “Please move along you can’t stay here”. They will stay
until I collect my belongings, well the little unworthless things that I have and escort me down
the street to the next grimy, dirty black doorway. They are all the same- wet, smelly, stinking
doorways and thats where I spend my day. Most of the day I would sit there begging, just trying
to get a few pence off passing people heading to their hectic lives. “Please, Please have you
got just a little spare change”, I whine all day. People barely even looked or gazed at me, and
the ones that did I could tell you now, if looks could kill, I’d be a goner.
Sometime’s nice, kind hearted will walk past and slip me a few pence in a small dirty coffee
cup. As soon as I have enough money to buy just a small hot coffee to warm me up and a little
peace of cake I walk to the nearest cafe. I never go straight in though. I stare right into the back
of the cafe to see who’s there.
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After a while I make my entrance. As I walk in, posh, well paied people sit there and look down
their noes at me. Sometimes I feel so small and unwanted. I take a seat right at the back of the
cafe out of the way of everybody. A little old lady with big, square, shiney glasses came up to
me to take my order. “What can I get you dear”, she said with a caring voice. She sounded so
sweet and caring she nearly broke a smile on my face, which is something I don’t do much no
more.
I reached deep down into the pocket of my washed out dirty jeans. I opened my hand and
threw all the money I own on the clear, square coffee table in front of me. “What could I buy out
of that please missis?” I asked not much louder than a mouse. She looked at the few pence I
left on the table and thought hard. “Well you only have enough for a small coffee I’m afraid but
I’m sure I’ll be able to sneak you a bit of cake”, she replied, so nicely. My heart melted. She was
one of the kindist most generous people I had met for a long time.
The coffee and cake was in front of me within five short minutes. The coffee looked so tasty
with steam runing of it I didn’t want to drink it. The cake looked so appertising with big juice
currents all over it. It didn’t take me long until I demolished it. I payed the little old lady and
thanked her very kindly and walked back out into my life on London streets.
The day was drawing on and people would begin to make their way to their nice, cosy houses
or places where they lived. This time usually I make my way into central park to try and sneak
into the public toilets for a quick wash and a sneaky toilet. Living on the streets you don’t get to
wash much. The horrible smell of your own body odour is revolting. The toilet keeper doesn’t
like me using the toilets, he always looks at me as if I‘m non-human. I hide first behind a tall,
old, oaktree to see if the keeper is watching. If it is a nice day he falls asleep in his chair with the
hot sun shining down on him. I run up to the entrance to have a sneaky look to see if anybody’s
there. Then I run into a free cubicle to do my business. If I’m lucky there sometimes are little
scraps of soap left so I can have a wash. Sometimes I would manage to get out of there before
the moany old man caught me but when I don’t he comes in screaming. “I’ve told you once my
girl no using my toilets”. I swear people these days don’t have no care for anyone.
I then have the evening left. I have nothing to do and no where to go. I sit on the park bench
and remember how lovely my house used to be and the gorgious smell of the currys and all the
different foods my mother used to eat. Sometimes I wish I’d never left home but I know I
couldn’t have lived with that horrible, vile man for much longer. So here I am lying on the park
bench for the night just thinking about what I’m going to do with my boring old day tomorrow.
The student tells the story of being homeless in a clear and direct way including her thoughts and
feelings. The details sound authentic and the structure is sound. Vocabulary is fairly limited but
appropriate for her task. The situation is set up in a fairly realistic way and the characterisation is a little
developed. Technically, the work is fairly sound though there are errors in punctuation and spelling. This
is Band 3 writing. The reader’s interest is maintained and paragraphs are used to structure the writing.
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A man was just looking around juke it was a normal day. Waiting in this well to do bedroom
suited and booted in hid Gucci suit. He just knew it wouldn’t be long now, when his time would
come...
As he was just sitting around in this room. In this room it is a very spacious in the living area, a
king size bed, a dressing table with a lamp on the side. Going back down to the door, there is
the bathroom with a shower, bath and two sinks with a massive mirror. In front of the sinks.
He was laying down on the bed listening to his music; however he wasn’t chilling out because
every 5 minuets he would be up and down looking out of the window, like he was waiting for
someone important.
He goes over to the window trying to look out for something, however instead he starts to look
around where his hotel is situated. Right in front of him where all the lights on the street making
his room light up. It was quiet busy where this hotel was, for the time of night it was, all the
designer shops where still open. He whispered to himself “I won’t to go out there, but I’m not
allowed out of this room”. He kept on seeing shadows shining on his clothes reflecting all the
lights from outside.
As he is looking out, he looks out of his window and stares at this lamp post and he sees a
figure of a woman who looks like someone who knows. Considering it is during the night, he is
surprised to see her out at this time of night and plus it is quite cold, however she is wearing a
skirt, with a vest top on and no coat.
The woman that is standing outside under the lamp is not just by herself now. As he looked out
the window now he sees all the people just standing under the lamp, however it looks like they
are all staring at his hotel window as he is getting more and more scared, knowing that they are
after him because of what he has done.
Slowly he gets back up and he sees them walking towards the hotel. He grabbed hid coat and
headed towards the door, without the suitcase that he had in the first place, he left that laying
on the bed and then went and done a runner. Not only from these people, but now from the
hotel reception manager because he hadn’t paid for being in this room for 5 days glancing up
and down the corridor to see why anyone was around it was empty. Quietly he shut the door
and quickly made his way to the service stairs – he wanted to avoid the front entrance and the
reception desk. He got away from the reception from going through the back fire exit as he
goes out there he bumps into one of the boys that were standing underneath the lamp post,
however he was very lucky because something distracts the boys attention and he makes a run
for it.
The story has some structure though it is not totally convincing or involving. The content seems
unresolved and in part unexplained. There is a large number of technical errors. Punctuation is insecure
and tenses confused. Most sentences are accurate and there is a range of sentence structures.
Paragraphs are used effectively. The vocabulary is fairly limited. This is good Band 2 work.
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Controlled assessment (Spoken Language)
Overview
GCSE English:
CONTROLLED ASSESSMENT
June/Nov
Unit 4: Speaking and Listening
Speaking and Listening: Communicating and adapting language; interacting and
responding; creating and sustaining roles. This assessment (marked out of 40) is not
included in the final subject award.
GCSE English Language:
CONTROLLED ASSESSMENT 10%
Unit 4: Spoken language
June/Nov
(20 Raw Marks; 20 UMS)
Using language: Speaking and Listening (Communicating and adapting language;
interacting and responding; creating and sustaining roles). This assessment (marked out of
40) is not included in the final subject award.
Studying spoken language: Variations, choices, change in spoken language (10%)
Speaking and Listening (GCSE English and English Language)
Overview
The Speaking and Listening unit is common to English and English Language.
There are three areas which must be covered.
 Communicating and adapting language – presenting ideas and information. This will
involve assessment on an individual presentation.
 Interacting and responding – participation in discussion. This will be as part of a pair
or group.
 Creating and sustaining roles – presenting a character or a role. This could be
improvised or based on a scripted piece. It could involve characters from a text.
These are very similar to the Individual extended contribution, Group discussion and
interaction and Drama focused activity in the existing specification, but the ‘triplets’ are no
longer a feature of the assessment criteria.
Two of the tasks must be of a functional nature using real-life situations.
Each task will be awarded a mark out of 40, using the assessment criteria for Unit 4. A ‘best
fit’ assessment should be made to locate the appropriate band and then the mark within the
band. The three marks will then be totalled and divided by three to give the final mark. It is
hoped that there will be a number of opportunities for candidates to attempt tasks in order to
achieve the best outcome.
Records must be kept of tasks used, which should be developed by the centre to suit their
circumstances.
It will be required that an outline of the activities used in the centre is submitted to the
advisory moderator by the end of November each year.
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Examples of tasks
These are ‘graduated’ in terms of moving from readily accessible to candidates working
within Band 2, to extending those candidates achieving Band 6.
Communicating and adapting language
 Explain to your class/group how to play a particular game or how to make an object.
 Tracks of my Years. Select a number of music tracks and explain why they are
important to you. They may have links to specific events or memories. And/or select
some objects or possessions which have importance and explain why they are
significant.
 Imagine you are a Holiday Rep for your local area. Present a speech persuading
your audience to visit some of the local attractions. You can decide on your target
audience (people from Europe, elderly visitors, family groups etc.)
 Persuade your peers to take up an extra-curricular activity of your choice. This could
be an activity based in or out of school/college.
 Act as a guide at an open evening/day at your school/college. Your target audience
is parents of prospective pupils.
 Room 101 – present your three or four items to be consigned to oblivion. This could
be done as in the television version, using a presenter to interact with your choices.
Try to use personal ideas, humour and anecdotes as well as persuasive techniques.
 Seven Deadly Sins. Make your case for what you believe to be the deadliest sin.
Interacting and responding
These tasks give a choice of both functional and literary based material.
 Discussion on matters of local news or current issues.
 Variations on a ‘balloon’ debate: items to salvage from a sinking ship to help when
marooned on an island; creating a fantasy football team; allocating money for local
improvements from a choice of projects; ‘Top Gear’ style leader board of crime; top
ten (or fewer, perhaps) great Britons of all time.
 Discussion of unseen poetry (useful as preparation for examination).
 Planning a school event – perhaps a ‘prom’, a concert using local bands, a visit from
a past pupil who has become successful. Discussion would be focused on logistics
as well as how to promote the event.
 Does the sentence fit the crime? Discussion of examples of punishments meted out
by local magistrates, for example.
 Dragon’s Den – creating a new invention or product and how it should be presented.
 Discussion of different interpretations of a character in one of the texts studied.
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Creating and sustaining roles
These tasks also give a choice of both functional and literary based material.
 Save my dog. Take on the role of a dog owner whose dog needs treatment. There
is only a limited amount of treatment available so a strong case must be made.
Roles are outlined (for example, a blind person, a lone pensioner, a young person
who has had the dog for many years, etc.)
 You arrive home very late to meet an angry parent/guardian. Enact the scene.
 An exclusion meeting – adopt the roles of Head Teacher, Governor, parent, pupil.
 Scene based on Work Experience.
 Roles in a meeting to discuss a proposed local event such as a music festival, or
setting up a homeless shelter in the area.
 Dramatic monologue – as an object such as the letter Q, a park bench, the sole of a
left shoe, a lost toy.
 Following the group discussions on planning a school event, take on appropriate
roles to ‘sell’ the event to teachers, governors and parents.
 Speed dating – in character. Make yourself appealing. Choose from characters in
texts, such as Lennie, Iago, Scrooge.
 Hot seating a character from one of the texts.
 In role (based, for example, on war poetry) present your experiences.
 Following the discussion of the great Britons of all time, select one and present them
in role.
These are just a selection of possible tasks, but give a flavour of the type of approach which
should enable candidates to engage with this area of assessment.
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 65
Studying Spoken Language (GCSE English Language)
Overview
In GCSE English Language there is a requirement for the assessment of the study of spoken
language. This assessment, which is part of Unit 4, Spoken Language makes up 10% of the
GCSE English Language specification.
Reflection on spoken language is something that has always happened in the GCSE English
classroom. For example, it is unlikely that teachers will assess students’ speaking and
listening skills without firstly discussing with the class the aspects which make
communication in this medium distinctive and effective, and afterwards considering with
students their performance in the assessed activity. We hope that the language study
requirement will enable teachers to build on this well-established good practice, as well as
on similar work completed during earlier key stages.
In addition, we must stress that we are not expecting – or indeed wanting – students to be
able to use complicated linguistic terminology, or to approach the work in an abstract
theoretical way. In fact, it is a requirement that all tasks are based on evidence, i.e. actual
examples of spoken language in use.
Types of evidence
As stated above, each tasks set must be based on one example (or in some cases more
than one) of spoken language in use. This evidence could take one of three forms:



A taped / digital / website recording of speech. The advantage of this is that no
transcription is required. However, as the assessment must be completed in school
under controlled conditions, the use of headphones will be vital.
A written record of speech. The conventions of transcription are fairly straightforward;
details are given later in this section. However, it must be stressed that the quality of the
transcription is not one of the assessment focuses, and so therefore it is perfectly
possible to make a transcription adequate for our purposes without following them. The
advantages of using a written record are clear: it is easy for students to range back and
forth within the text, and they can make notes on the text itself. However, it will of course
be necessary to make a taped recording before making any form of transcription.
Notes made when listening to speech. These might take the form of, for example, a list
of dialect feature noted in conversation, perhaps presented in the form of a table.
Simple recollection of speech without any form of recording, transcription or notes would not
usually be appropriate, because this might encourage vagueness and an approach not
sufficiently analytical.
The evidence may be produced by the student himself or herself or provided by the teacher.
It may take the form of a transcription or recording generally available or specific to the
centre.
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Spontaneous or scripted speech?
The task set must be primarily based on spontaneous speech, as scripted speech often has
much in common with certain types of writing, and thus does not contain the elements which
make speech distinctive. That is not to say that scripted speech does not have a role to play
in the language study. A teacher could, for example, ask students to compare a
spontaneous conversation with dialogue from a television soap opera, and thus to identify
how scripted differs from real speech. Alternatively students could compare a politician
speaking “off the cuff” to one delivering a prepared speech. The basic rule is, therefore, that
at least one of the pieces of evidence should contain spontaneous speech. There is no
need to use more than one piece of evidence, but sometimes comparison of two texts will
allow students to highlight features more easily.
It must also be stressed that there is a difference between a fully scripted speech (for
example, Obama’s inaugural address) and a formal talk using, for example, cue cards as
prompts. The first would not be suitable as evidence on its own, the second would.
We hope that teachers will use this opportunity to choose material which reflects their
students’ interests and abilities.
What length should the evidence be?
We are aiming for assignments of about 800-1000 words. Simply put, therefore, the
evidence on which the assignment is based should give the potential to produce work of this
length. In many cases an A4 side of transcription, or just a few minutes of recording, should
serve this purpose. If it appears that a longer piece of evidence is required, teachers should
consider whether more focused evidence cannot be found, as dealing with a very long
sample might make the task unduly challenging.
Task- setting
Generic tasks will be published on the secure website in April preceding the year in which
the controlled assessment is completed. Teachers will be allowed to modify and adapt these
tasks to suit the interests and abilities of their students.
As in other areas of the subject, tasks can broadly be divided into two categories: those
which ask “What?” and those which ask “How?”. “What?” questions (e.g. “What dialect
features do you notice in this conversation?”) would usually be thought to be better suited to
students not aiming for the higher bands. “How?” questions (e.g. “How does the way
children talk to teachers differ from the way they talk to their friends in these two extracts?”)
might be considered more challenging, and thus more suitable for the more able. That said,
as in reading assignments, a question combining “What?” and “How?” elements, might be
the best approach for mixed ability teaching, with students naturally focusing on the aspect
to which they are best suited.
When setting tasks, teachers must consider carefully individual students’ abilities. There is
no necessity for all students in a class to complete the same task.
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Further examples of tasks are given here:
1.
How spoken language is used in different contexts.
Generic task:
Candidates reflect and comment critically on their own and others’ uses of language
in some of the following situations:



In the workplace
On television
In the classroom
Problem solving (giving directions, explaining a procedure, making decisions)
Examples of specific tasks
2.

Through recording and transcribing classroom interaction or by close observation
and note-making, show how the teacher uses questioning skills in the classroom.

Using two transcripts or recordings, compare how the language used in an
extract of dialogue from EastEnders differs from a spontaneous conversation
between two friends.

Through recording of a Speaking and Listening activity, discuss how the speaker
attempts to persuade classmates to support a particular charity.
How spoken language is adapted to different listeners.
Generic task:
Candidates explore how their own and others’ uses of language is adapted in the
contexts of wider language use and variation. The following situations would provide
appropriate contexts:




Responding to older or younger listeners
Responding to people in authority
Talking to peers and family
Responding to strangers
Examples of specific tasks:

In everyday life we adapt our spoken language to meet the expectations of other
people. We adapt our speech to suit friends, older family members and younger
brothers, sisters or cousins. Through recorded conversations and/or through
close observation and note-making show how you adapt and change your
vocabulary and voice depending on the listener. Choose two or more different
listeners to show the range of your ways of speaking.

Using two transcripts or recordings, compare how the language used by a
student in conversation with friends differs from that used when talking to a
teacher.

What features in the transcript show you that the speaker is talking to someone
s/e has not met before? (a less challenging task perhaps)
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3.
The effects of choices in the use of standard and non-standard forms of spoken
language.
Generic task:

Candidates demonstrate their understanding of the reasons for and effects of
these choices, and how they may vary over time and place.
Examples of specific tasks:

In some situations we know that it is important to speak as correctly as possible.
In other situations we take a more relaxed attitude. Sometimes we go out of our
way to speak in a non-standard way. This can be by using a local regional
dialect, a youth dialect, or the speech of a specific group. Record yourself and/or
collect examples and contrast the non-standard speech with the equivalent
standard forms (e.g. your dialect with standard English forms).

What dialect features have you noted in your research amongst friends and
family? What are their standard English equivalents? (a less challenging task
perhaps)
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Differentiating tasks
Tasks can be differentiated in a number of ways.
1.
By task. Candidates are required to complete a single controlled assessment
component/ unit in the study of spoken language. Each controlled assessment
component/unit may contain more than one task. More able candidates could have an
extra task so that they look at the language use of more than one participant i.e. teacher
and pupils in the classroom.
2.
By range. More able candidates could look at a greater range of sample speech. e.g.
two or three interactions rather than one so that more general conclusions can be
drawn about speech styles whereas foundation candidates look at one specific
example.
3.
By complexity. A televised interview with Barack Obama or David Cameron will address
a specific audience in a specific context and a wider audience in a wider context. e.g.
televised in full, or sound bites selected for evening news. More able candidates would
be expected to examine how the language is chosen for both audiences (language
choice) or how the different contexts influence the choice of language (language
change).
How long should the assignment be, and how long should it take?
The aim should be about 800-1000 words. Shorter response might well be self-penalising.
Students will have up to two hours to complete the assignment under controlled conditions.
Research notes and source material may be taken into assessment session. Up to eight
hours preparation for the assignment is allowed.
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Glossary
As mentioned above, we are not expecting linguistic terminology, and certainly not jargon.
However, the following might prove useful as a list of terms students might use:
Fillers – these are words we all throw into our speech to buy thinking time. ‘OK’, ‘kinda, ‘sort of’,
‘knowharramean’, and ‘like’ are frequently used. They fill in for what would otherwise be a
pause or silence.
Turn taking – the basic structure of speech, as participants take turns to speak.
Interruption – where one speaker jumps in and seizes the topic overriding another speaker.
Can be done out of enthusiasm or indignation rather than rudeness.
Emphasis (or stress) – usually marked by underlining but bold can also be used.
Overlapping – where speakers know each other so well that they continue of complete each
other’s speech.
Accent – How you say it; the way consonants and (particularly) vowels are pronounced.
Everyone has an accent - even those who deny it! Their accent is called RP (received
pronunciation).
Dialect – Regional speech focussed on a specific geographic area. Relates to words and
phrases themselves.
Jargon – Specific technical vocabulary related to a specific task or occupation. So for teachers
it is SATS, lesson plans, SOWs, Inset, etc.
Slang – the language of specific groups. Teen slang is the most common but you also get
occupational slang which is a more relaxed version of jargon.
Context – the situation or circumstances in which speech takes place
Pauses – these can be used for a range of effects.
© WJEC CBAC Ltd.
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Useful websites
BBC Voices website – lots of recordings of people around the U.K., the Word map, and more
resources: http://www.bbc.co.uk/voices/recordings/
The main BBC website allows access to television programmes through iplayer, and through
the ‘Listen again’ facility on the radio channels: www.bbc.co.uk
Whoohoo – translates your text into Cockney, Geordie, Scouse, Yorkshire, Posh and other
varieties: http://whoohoo.co.uk/
Youtube – for speeches, instructions (how to videos), interviews http://www.youtube.com/
Videojug – a huge variety of ‘how to’ videos. Some of these are scripted but many are
impromptu and so have interesting spoken language features:
http://www.videojug.com/
GCSE Spoken Language – A series of resources to support WJEC GCSE English Language
Unit 4 'Studying spoken language'. The activities consist of video, sound files, transcripts and
interactive activities: https://hwb.wales.gov.uk /
Recording advice

Recording speech can be as simple as writing down words and phrases in a notebook, and
that method is useful for recording language variation (dialect, jargon, specialist language
and slang terms).

For recorded speech on YouTube, video jug or other pre-recorded formats then replaying
the spoken language will allow longer transcripts to be built up.

Recording speech yourself (or your students doing so) is rewarding and interesting but can
be time consuming. Recordings can be made on most mobile phones and ear pieces allow
quiet, accurate transcribing.

Recording and transcribing should be completed in the preparation time before the
controlled assessment.

Most recording devices have microphones that increase or decrease in sensitivity
depending on the level of background noise so try to record in as quiet a situation as you
can.

Conversations between groups of more than three people can be very tricky to transcribe
as overlaps and interruptions multiply. Students should practise on groups of one and two
before attempting any bigger groups should it be necessary. Classroom interaction may be
the exception to this as turn-taking is more rigidly enforced (usually). Your students might
find it interesting to observe their favourite soap operas where interruption and overlap is
banned and scripted out.

Recordings are worth hanging on to even when a transcript has been made. A transcript is
recommended as it preserves more features of speech than written prose. However much
is still lost in the process and access to the recording (with ear pieces) where possible in the
controlled assessment can enhance a student response.
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Transcribing speech
As mentioned earlier, the quality of the transcription is not an assessment issue, and a simple
written record of speech may serve the same purposes as a more formal transcription.
However, the conventions of transcription may be helpful in some circumstances, and for this
reason are explained here. These ‘rules’ are not set in stone and there is no one standard
approach.
Symbol
What the symbol
means
What the symbol tells us
(.)
Pause
Usually less than half a second long. We use
them in our speech to punctuate what we say
and to give ourselves time to think
Oh (.) right (.) ok then (.)
(2)
Pause in seconds
Check the longer pauses. Usually they mean
something is going on such as waiting for a reply
or thinking
Underlined word(s)
Emphasis
Have a close look at why these words have been
given extra emphasis
Can you get the phone?
Sorry really busy.
Overlaps – a
vertical line shows
the words said at
the same time
This can be rude – when it’s an interruption, or
just a result of talking (or wanting to answer) very
quickly
(coughs)
Other noises
Other contextual details
( )
Unidentifiable
speech
Used when you really can’t make out what was
said
T, C
Initial of speaker
In the example on this page, T for teacher, C for
child
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Some examples of transcriptions with possible tasks
Joanna – interview with Council Leader. (from interboard S and L DVD)
Hello Joanna, Please sit down. My Name is Margaret Simon and I’m deputy Leader of your
borough council. These are my committee who are going to be listening to what you’ve got to
say to us today. Okay. This is Ben and Kayleigh, Olivia and Jack.
I’m here on behalf of the Crewe Society for the Prevention of Cruelty for Animals and I’m
basically... I’ve heard that you’ve had a sum of money that will be available to a certain charity
and I’m here to tell you why I think the Crewe society should get that......
It was begun in the 1800’s and ever since it’s been devoted to promoting kindness to animals
and preventing cruelty, but since it’s still a charity it needs all the money it can get to keep it
going and keep rescuing these injured animals and the Crewe branch is based at Saintley
Grange.... and the wildlife hospital and Cattery there....... but these still need the donations to
keep them running and the money would allow them to save more animals in the Crewe area,
not just domestic animals but the wildlife too.
Because of all the new building work more animals’ habitats are being destroyed and they need
to be moved to safer areas and when the Sharington bypass was built a family of newts had to
be moved from a pond because that pond was going to get destroyed and the money would
allow new equipment to be bought for the wildlife hospital to do this, and I have a group of
volunteers willing to build a Nature Reserve on an area of waste ground that would allow
people to enjoy the wildlife and also it would be a safe place for the wildlife to be.... and the new
building would allow this to happen and millions of animals are saved each year, both the
wildlife and the domestic cos of the abandoned animals and .. also the animals that have been
hurt by litter that people have left lying around so that the nature reserve could stop the litter
and also allow the animals to live safely...... and that’s why I think they should get it........
Right, you’re obviously very passionate about this, Joanna. Do you have friends that share the
same interests as you, wanting to forward your cause?
Yes, my sister also loves animals and she would be willing to help...
Would she.... right. So you think that we should be really seriously considering our area here
for...
Yes, because of all the new building work, the wildlife really needs to be saved... cos they are in
danger from all the building ... cos building work doesn’t really take into account the wildlife that
would be hurt when it happens...
They do take some measures, but I think you’re right; we do lose a lot, don’t we? Okay.... What
knowledge have you got about the kinds of projects, how do you know that giving five thousand
pounds to this cause will improve the situation locally for us? Have you got any background
knowledge from how things have worked in other areas?
Well I know that in Northwich there is a big nature reserve that is very clean and it keeps wildlife
free and safe...... and people can walk through it and its right by the town centre and in a really
quiet area of Northwich and that’s worked really well.
And you think local people will gain from this because they too will be able to see the work
that’s gone on...
And enjoy it....
And perhaps even take up an interest in preventing further loss of our local wildlife.
Yes
Good, very good. You’ve done some hard work there and a lot of research haven’t you?
Thank you.
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Task: How does Joanna set about impressing the council leader with her speech here?
You might like to write about:
 How she adapts her speech to suit the situation
 The kinds of words (vocabulary) that Joanna chooses to impress the council leader
 The effects she intends her speech to have
Extension task: How does Margaret Simon (the Deputy Council leader) go about helping
Joanna get her ideas across?
You might like to write about:
 Her politeness and encouraging language
 How she helps Joanna to develop her ideas
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An improvised role play: The Merchant of Venice Joanna and Rhianne playing Solanio and
Salario (from interboard Speaking and Listening DVD)
J- So have you heard about Bassanio?
R- Why, what’s happened now?
J- He’s only gone and run off to get married
R- to who
J- That posh girl who lives in Belmont
R- Oh for goodness sake
J- I know, and Gratiano’s gone too
R- Why?
J- I don’t know
R- There’s no reason for him to go though
J- I know, it’s weird
R- Unless, I’ve heard he’s got a special someone
J- Really, who?
R- I don’t know, nobody knows. She could live in Belmont for all we know
J- Yes, she could
R- Have you heard about Jessica and Lorenzo?
J- No, what’s happened?
R- Run off together, taken all of shylock’s money. All of his jewels and he is so annoyed......
did you not see him, he was down the town the other day, running around, absolutely going
mental
J- I think I heard him, what was he doing?
R- He was just running around, you know what I mean...
J- Go on show me, go on show me...
R- Oh, okay then (starts running back and forth)
‘My jewels, my money, my jewels, my money! I swear I will get my daughter for this’
It was so funny, you should have seen it
J-..Antonio, got that bond?
R- I completely forgot about that...... I was going to say one of his ships has crashed
J- Crashed! Where?
R- I don’t know, the one near tr, tri
J- Tripoli?
R- Yeah, that’s the one, it’s gone. It’s crashed. He’s lost all the jewels
J- All of it?
R- All of it!
J- but his bonds due in two weeks
R- two weeks, are you joking me?
J- no....
R- We better go warn him
J- Yeah....
Task: What interests you here about the way Joanna and Rhianne adapt their
language to an informal, modern vocabulary and style? You might to write about:
 The specific language choices they make such as vocabulary.
 The effect of the dialogue and question and answer style that they use.
 How effectively you think they recreate the original story.
© WJEC CBAC Ltd.
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Joanna and Rhianne –Group Discussion on Merchant of Venice, presentation of Shylock. (from
interboard S and L DVD)
Rhianne- So we’ve got to write this essay for Miss, Shylock, victim or villain.
Joanna- I think he’s both really, cos like.... he’s a victim because of his Jewish faith and
Elizabethan audiences , I think would see him as a villain, but that was just because of the
time it was written.
R- Well, let’s look, he’s a villain because..... Well for one he wants to take a pound of
someone’s flesh, a victim really
J- Yeah you just don’t do that
R – A victim really wouldn’t do that
J- No, but then again, he is wanting revenge on everything he has had to put against him,
like the insults and it’s always been the Christians... in the play and also in reality.......
R- But surely there can’t be another excuse, he wants to basically kill Antonio, it’s not an
excuse is it really?
J- No it’s not, cos there’s no excuse for taking anothers life....
R- what about when he say’s about how he would rather have his daughter dead at his foot
then have a happy life , basically with the person she loves, surely that’s villainous?
J- It is villainous! Cos money isn’t everything
R- But I suppose if you look at it on one way.... they do... bully him in a sense.
J- Yeah
R- They spit on him, call him a cutthroat dog
J- Yeah like in that quote where it says ‘if you pick do we not bleed and if you tickle us, do
we not laugh?’ basically what he is saying he’s human and why should he be treated any
differently.
R- that is a good point... but if you look at this bit, you’ve got everyone making fun of him, but
if you see what he is saying ‘justice, find the girl, she hath the stones upon her and the
ducats he’s really annoyed about money, it’s ridiculous.
J- He should care more about his daughter
R- Definitely
J- Where a modern day audience, would see him more of a victim because of the holocaust,
Hews aren’t thought of quite to so badly and they are seen in a different light, so then
modern day audience would see the play differently when watching it.
R- Mmmm...but an Elizabethan audience with all their thoughts against Jews, they would
absolutely love all these things happening to Shylock
J- Yes they would find it funny, whereas nowadays you wouldn’t really ....even though it is
meant as comedy it would be seen differently
R- Definitely.... I think it’s a complicated one really. If you look at Shylock, he’s not really
either, he’s both put together.
J- Yeah... the villain because he’s victimised
Task: How typical is this discussion of everyday speech? You might like to think about:
 The typical features of spontaneous speech e.g. vocabulary, use of fillers.
 How Joanna and Rhianne work together to answer the question they have been set.
 How they come to an agreement and a conclusion.
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Conversation between mother and child. They have just finished re-telling the story of
Goldilocks
Child: And then she, she opened her eyes and she ran away
Mother: And where did she go?
Child: Back to her house
Mother: And what did |
Child: | And then she go to the police
5
Mother: She went to the police?
Child: Yeah
Mother: Are you sure, ha ha ha
Child: And then she went to jail
Mother: And then she went to jail|
10
Child:
|yeah
Mother:
|I think you’re fibbing (.) I think her mammy gave her a row (.) Finish your tea
darling
Child: Yeah ok
Mother: Her mammy gave her a big row probably didn’t she?
15
Child: Yeah
Mother: Why would her mammy give her a big row?
Child: I don’t know
Mother: Well what did Goldie locks do that was naughty?
Child: Went in the bear’s house
20
Mother: Yeah but she went to the woods by herself first didn’t she?
Child: Got to ask
Mother: Got to ask yes don’t go in the woods by yourself do you?
Child: Don’t just go there
Mother: No that’s dangerous, isn’t it?
25
Child: Yes it is dangerous
Task: What is interesting about the speech of the mother here? You might like to think
about her choice of language, dialect features, the use of questions, and how the mother
and child link the story to the child’s own behaviour
Extension task: What is interesting about the speech of the child?
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Inter Group GCSE English Speaking and Listening DVD transcript - improvisation
Raj: Ah Mr and Mrs Gibson(.), pleasure to meet you, please take a seat
David: Pleased to meet you
Raj: Erm I guess this is our 3.15 meeting is it? Erm, what brought you to my (.) office today?
David: (2) Ah! Well as you can probably tell (,) me and my (.) darling wife are quite concerned
Leanne: quite (2)
David: OK(.) Me and my darling wife are very concerned with this
Leanne: this is what we are concerned about (.) we are concerned about our son (.)he has
been at your school for two years now and this is the first sign of bullying we’ve come across(.)
he’s being bullied because he’s overweight (.) now (.) I’ve (.) I (.) I understand (.) we understand
that there are healthy options in this school and I want to know what you are doing about it
because I’m really erm upset that this is happening because he’s a lovely child and he wouldn’t
do anything to hurt anybody would he?
David: No he’s very nice (.)He he does have a lot of friends but I think it’s just a few people that
Raj: So this is about Jimmy Gibson is it?
Leanne: Yep
Raj: Erm First of all erm I’d like to say yeah it’s every parent erm every parent would er do what
you’re doing and I think it’s absolutely right erm we have had this kind of issue in school it’s one
of it’s rare but we do have it erm the thing is w (1) all of the nation every Head Teacher wants
what is best for the school and as a Head Teacher since I’ve tooken over the school I’ve bought
more nutritional stuff I’ve give more options to er to
er er children because I think
Leanne: Right.
Raj: we should have more options in life
Leanne: Well as you said as a Head Teacher you want what’s best for the school and as
parents we want what’s best for our son and we want to know what I want to know what you
are going to do about this bullying situation
Raj: Teachers and parents are very similar and have ri same rights nearly as parents and we
care for all our children and we w erm vegetables we actually we do lots of food workshops and
erm er sampling and everything and we’ve er
Leanne: Right. So there are healthier options
Raj: there are lots of healthier options
Leanne: So what was on offer yesterday?
Raj: yesterday we had we had
Leanne: Cause I’m sure my son didn’t eat yesterday properly because he’s afraid he’s going to
get picked on so I’d really like to know what was on offer yesterday
Raj: Actually most of the things we had yesterday was really healthy and we had erm a little
thingy erm a (2) demo as well of what food of what food is good for what and everything er
which kind of part of the body and erm I think our er one of our dinner ladies is er is ill at the
moment I think she can really explain things to you in er
Leanne: Yes, we’d really appreciate that
Task: How successful is Raj in portraying the role of the head teacher in this role play?
You might like to discuss:
 How Raj adapts his language to suit the situation.
 Raj’s language choices e.g. politeness, formality, topic control.
 Examples of Raj being successful or unsuccessful in his improvisation of a Head
Teacher’s language.
Extension task: How successful are David and Leanne in their portrayal of concerned
parents?
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 79
Sports sample 1
Athletics world championships 2009 – triple jump. As Inverdale is speaking Savigne Siddique
takes runs up and takes her jump.
John Inverdale1: into round three now Savigne Siddique2 in second place behind her team mate
Mabel Gay3 (1) and if anything’s going to get her juices flowing the fact that she’s the second
Cuban will and there was so much more attack there (2) I think she was a long way behind the
board there he4 (laughs) he’s shaking his head (2) that was very very good for the defending
world champion (1) she really did run through the board(1) you can see there (1) well short (.)
really really sharp contact(3) and that’s the key to a good triple jump (1) you delay on the
ground (.) and you’re not going to go very far (3) and she’s gonna set a target there indeed she
has fourteen metres and eighty-nine that’s a big big lead
Sports sample 2 – interview with the Stoke manager Tony Pulis after an F.A.cup game
Players have done Stoke proud – Pulis.
Pulis:You know how good a side they are I know e’s left players out today but (1) they’ve still
got good players on the pitch and erm y’know you can’t give ‘em time and space ‘n we’ve
worked very very ‘ard all week on y’know trying to condense the areas of the pitch whether we
were in their ‘alf of the pitch or our ‘alf of the pitch (.) en you know it was a great effort from the
players
Interviewer: Are you pleased that sometimes you’re labelled with the long throw (.) the second
and third goals in particular were well worked very good goals
Pulis: Yeah don’t tell anybody outside (laughs) we’re just one dimensional
Interviewer: And the (.) and the I suppose spirit of your side as well we saw a game last week
against Liverpool and again today must have pleased you
Pulis: Nah it it’s fantastic the the players have got we’ve got a really really good dressing room
and everybody works very very ‘ard (.) like I say training they’ve trained really well this week the
lads.
Task: How is the language adapted and changed here to fit the sporting context?
You might like to think about:
 How specialist vocabulary is used by all three speakers
 How the language is shaped and selected for a specific audience in both samples
 How the interview situation affects the language of Tony Pulis in sample 2
 How the interview situation affects the language of the interviewer in sample 2
Main BBC commentator
Jamaican female triple jumper, defending world champion
3 Jamaican 3 Main BBC commentator
female triple jumper
4 The Jamaican team coach
1
2
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GCSE ENGLISH/ENGLISH LANGUAGE TEACHERS' GUIDE (ENGLAND ONLY) 80
BBC Voices transcript – Glynneath – voice clip 1
http://www.bbc.co.uk/voices/recordings/group/wales-glynneath.shtml
‘English’ male voice: when I was in when I moved down from (.) down to Pembrokeshire even
the teachers used to make fun of my accent (.)(breath) and that was er the kids were just er
the kids were pretty bad but having the teachers making fun /s/ (.) er was quite bad it was
unbearable sometimes er
Female voice: He was only six when six when he moved down weren’t you]
2nd female voice: [Yeah Mm
Female voice: He basically changed although he was six and his accent would change
because /s/ Pembrokeshire (.) they call Pembrokeshire little England beyond Wales (breath) (.)
his accent would naturally have changed because he was (.) you know there’s such a [mix]
2nd female voice: [mm]
Female voice: of children (breath) but I mean he was bullied basically
Male voice: yeah and I
Female voice: ‘bout it so he just (.) he changed it to fit in
Male voice: Yeah as quickly as I could
2nd female voice:
Yeah
Male voice: I tried I (.) almost tried to put on an English /s/ put on quite an English accent /s/
Female voice: You just you just wanted to sound the same as [everybody else and er
2nd female voice: [(indistinct)
Female voice: and his headmaster was from Merthyr actually (breath) and I went to a parents’
evening and he said to me (breath)(.) please make him feel proud to be Welsh (.) it (.) the fact
was not that he’s not proud to be welsh it was that he got bullied so much that he just had to
change his accent (,) (breath) and it’s sad but that’s what happened because most people in
Pembrokeshire are from Birmingham (laughs) that’s the str (.) that’s the most accents you ever
hear in in er Pembrokeshire that’s people from Birmingham it’s er
2nd female voice: I don’t think that the Birmingham accent is a very nice accent at all my
favourite accent is a Geordie accent
Female voice: that sounds nearly welsh, doesn’t it, Geordie?
2nd female voice: (but) (yes) I like a Geordie accent and funny thing if I go on to a call centre
and there’s a Scottish (1) person on the line or a Geordie they always say could you speak
again what a lovely accent
Task: What do you learn from this transcript and recording about spoken language?
You might like to write about the following issues and ideas:
 Some of the features of spoken language in this transcript
 Some of the non-standard features of dialects
You might also like to comment on the attitudes to accents and dialects expressed.
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Exemplar responses
Exemplar and further guidance can be found on the WJEC website:
http://www.wjec.co.uk/uploads/publications/12950.pdf
External assessment (GCSE English / English Language)
Overview
GCSE English:
WRITTEN PAPER 30% (1 hour)
Unit 1: English in the daily world (reading)
June/Nov
(40 Raw Marks; 60 UMS)
Reading: non-fiction texts
WRITTEN PAPER 30% (1 hour)
Unit 2: English in the daily world (writing)
June/Nov
(40 Raw Marks; 60 UMS)
Writing: information and ideas
GCSE English Language:
WRITTEN PAPER 30% (1 hour)
Unit 1: Studying written language
June/Nov
(40 Raw Marks; 60 UMS)
Reading: non-fiction texts
WRITTEN PAPER 30% (1 hour)
Unit 2: Using written language
June/Nov
(40 Raw Marks; 60 UMS)
Writing: information and ideas
Specimen assessment materials: http://www.wjec.co.uk/uploads/publications/10091.pdf
English and English Language Units 1 and 2 are identical and interchangeable.
Unit 1 will test through structured questions the reading of two non-fiction texts from the daily
world. These may include: fact-sheets, leaflets, letters, extracts from autobiographies,
biographies, diaries, advertisements, reports, articles, and digital and multi-modal texts of
various kinds from newspapers and magazines, brochures and the internet. Visual material will
always be included in the material used.
Unit 2 will test transactional and discursive writing through two equally weighted tasks (20
marks each). Across the two tasks candidates will be offered opportunities to write for a range
of audiences and purposes, adapting style to form and real-life context in, for example, letters,
articles, leaflets, reviews, guides, speeches, etc.
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Unit 1 question types
INFORMATION RETRIEVAL (Search and find)

List reasons or details/Make a list of….

According to this text or writer, how or what or why

Explain how and/or why

What evidence does the writer use…?
IMPRESSIONS/IMAGES

What impression do you get of the writer or an organisation or people?

What image does this text create of the writer or an organisation or people?
VIEWPOINT/ATTITUDE

What are the writer’s attitudes to…

What are the writer’s opinions of…

What are the writer’s thoughts and feelings about…
INTENDED AUDIENCE

Who is this text aimed at?
ANALYSIS OF PERSUASIVE TECHNIQUE

How does the writer try to encourage or interest or argue?

How does this text try to persuade or sell or influence?
COMPARISON OF TEXTS

Compare and contrast these texts.

Using information from both texts, explain why…
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Exemplar material (Unit 1) (from GCSE English / English Language SAMs)
Specimen assessment materials: http://www.wjec.co.uk/uploads/publications/10091.pdf
Foundation Tier
A2
The way they try to persuade people is by showing there are lots of things to do for both
adults and children. It says that children will learn `while they are having fun`, so parents
would be persuaded because their children will enjoy being there. It will be good for parents as
well because they can do lots of things as well. It says that while their children are doing
things, `you can have time for yourself, either to make the most of the facilities on offer, or
to just relax in the delightful surroundings`.
A2
The website brochure tries to persuade readers that an Astley Woods holiday is good for both
children and parents because it mentions activities for both children and parents. It makes
it sound like it’s good for all children because it says “every age and interest is catered for.”
It also makes it sound like everything there is safe because it says `your children are in the
safe, dependable hands of our staff.” The brochure uses direct address to persuade the reader,
`if you are looking for more challenge...`. The brochure also uses a rhetorical question,
`Why choose an Astley Woods Action Plus holiday?`. The brochure tries to get the reader
involved by saying, `Can you remember your own family holidays as a child?`. This idea
is again used when it talks about the memories of the holiday that `will last forever`.
Phrases such as `outdoor activities for all the family`, and `you’ll want to enjoy a family
meal together` also help to persuade the reader.
A2
The website tries to persuade readers that an Astley Woods holiday is good for both children
and parents by trying to convince the parents their children will be `safe` and have `more
fun` when they go off for the different activities. They also list a range of activities that
aren’t just for children or adults but are fun for both, `from horse-riding to archery`. It is
made clear that this holiday will enable parents to let their children try new activities because
they write about `the High Tree Trek` and the `Zip Wire Challenge` which would sound
exciting to children. It says that `we have created a fantastic range of activities for
children` so they will always have different things to do and not get bored. The website also
would persuade parents who would enjoy the `the stunning forest locations` which makes it
sound a good place to stay. Also, the places you could stay in make it sound like a luxury
place, `chalets which are exclusively designed and stylishly furnished to the highest
standards`. It also tries to get a response from the readers by saying `cast your mind back
to the carefree days of childhood`. `live them again with your children`. The word `your`
involves the reader and it makes it easier for them to imagine what there is to do and what a
good time they will have. `Enjoy the breeze as you sail across the lake` will make the reader
imagine they are there.
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A3
The review writer has many thoughts about the holiday resort and it is clear that he liked the
woodland and its indoor facilities ie. DVDs and `hot-tub`. However he points out a lot of bad
things about the place such as the expense, the construction and of course, the under-staffed
restaurants. All round, he says that anyone could come to the resort for a few days but they
would most likely not return, just like he won’t.
A3
The writer thinks that Astley Woods was okay but was not really amazed by it. He enjoyed
the horse riding and the archery and he liked the villa that he and his family stayed in. He
thought it was clean and homely, although he also heard complaints about it. He
recommends people not to go to cheap activities like swimming because it can get quite
expensive.
He doesn’t like the biking where he spent half an hour to find his bike because the bikes all
look the same and it cost him £22 per bike for five days. He finds it annoying that Astley
Woods seems to be constantly under construction. He found problems such as the road
closed off and the pool was closed for two days. But at the end, he thought Astley Woods was
all right. He says it is fine to go if you are willing to pay and you have children, but he is
not sure he will go again because of the pricing and the things that he found annoying.
A3
The writer of the Astley Woods holiday review has written a long piece about his time there. It
first shows us that even though it is in `the middle of nowhere` it is actually in `glorious
woodland with lots of nature trails and plenty of wildlife to try and spot`, so he does like the
place. He thought the chalet that he stayed in was `clean and homely` but some other
visitors said their one was dirty and smelly. He also said that the supermarket was
`reasonably priced` and had all the sort of things you would want on a holiday. The
activities he enjoyed were horse-riding and archery. I spotted a lot more things that he didn’t
like than what he did. He said it is very expensive to do the activities, quad-biking was £35
an hour, and they get very busy as well. When he got a bike to rent it was expensive but it
also look the same as all the others and it took him half an hour to find it. Another thing he
found annoying was the fact that the park was always under construction. He said the
restaurants were good because they `have varied menus and plenty of choices` but the down
side was that they were expensive and some people said it was slow to get served. Even though
there were more bad points, overall he seemed to enjoy it but would only go once. `Having
done it once though, I’m not sure I’d go back`.
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A4
The accommodation
They both talk about the different types of chalets, from standard to more expensive
accommodation. The Astley Woods website makes it sound luxurious no matter if it’s the
worst or not.
The restaurants
The website exaggerates the restaurants by saying they have a `range of superb restaurants
and bistros`. All they are doing is sounding more sophisticated to make it sound posh.
Although the review says the restaurants had a range, they were way too expensive and also
under-staffed with the service. In the website page they don’t give example prices or say it’s
cheap and value for money as people will complain when they get there.
The setting
Yet again Astley Woods website are being sophisticated and using careful choice of
language, `their location, in 300 acres of unspoilt natural forest`, whereas the review says
it’s in the middle of nowhere.
A4
Accommodation
The website brochure says that they have different types of chalet, standard `Wychwood
Forest` ones but also more expensive ones with special features like `en-suite bathrooms and
saunas`. In the review it also says about both types but says the more expensive `New
Forest` ones have a DVD player and a hot tub. The website makes them all sound good but
the review says that some people complained that they had dirty marks and had a `fusty
smell`.
The restaurants
In the website brochure it is said to be a wonderful place to enjoy a meal. It says they have a
`relaxed atmosphere` and you can choose from a wide range, `you’ll be spoilt for choice`.
But the review says that the restaurant is under-staffed and it takes a long time to get
served. It also says the food is expensive, but it doesn’t say anything about prices in the
brochure.
The setting
In the brochure it makes it sound like it is a peaceful place, very tranquil. It says it is in
`delightful surroundings` and also talks about `the stunning forest locations`. The review
agrees the setting is good. It says it’s in the `middle of nowhere` but it is actually in
`glorious woodland` so it sounds a nice place.
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Higher Tier
A1
There are no closed prisons in Greenland because the Inuits’ traditional belief that “criminals should
not imprisoned” lives on. Only those who are really dangerous criminals, those who are a “danger to
society” are sent to a closed prison in Denmark. Because Greenland is one of the world’s harshest
places, and people have to go hunting, they need everyone who is available, and this has to include the
criminals. This includes drug dealers, rapists and murderers. This is an unusual system but the
society in Greenland accept this. The tradition is in Greenland to let guilty civilians lead an almost
normal life. The country sees this as an opportunity to achieve more by re-socialising people. They
“don’t not believe in punishment” says one magistrate, who thinks that locking people up for ten
years doesn’t help the person or change them. Even though some criminals don’t learn from this,
fewer than 1% of the criminals re-offend. This system makes it possible for criminals to change their
lives and return to society. It gives them another shot at life and even though it is an unusual
system, the Chief Constable of Greenland says that both “criminals and society accept it”.
A1
The reason there are no closed prisons in Greenland is because immediately on the first line, the
article states, “imprisonment has never been used in Greenland”. Also on the fourth and fifth lines it
mentions, “The traditional Inuit belief that criminals should not be imprisoned lives on”, meaning
that Greenland has no closed prisons because they don’t think it’s right. You can tell this because on
the eighth and ninth lines the article states, “but only those considered a danger to society are sent to
a closed prison in Denmark” in Greenland, criminals were also needed because when the people went
hunting, they needed everyone to help, otherwise they might not survive. It says, “living in one of the
world’s harshest habitats, these hunters needed everyone, including criminals, to ensure survival”.
A2
Lucy Jones uses the title `Land where killers are free to go hunting` to get the reader’s attention
because it sounds as though the killers are free to go and commit crimes again or to go and hunt
people. After reading, they realise that criminals are only free to go hunting reindeer. She gives
internet links so that the reader can find out more about the town’s prison and can also give their
views. She gets different people to say what they think, and this includes someone who is a criminal
and who thinks it is very hard. She gives a lot of details about the prisoners, like they are locked up
from 9.30 – 6.30 and they also have to pay for their food, which makes it interesting as you learn
what it is like for them.
A2
Lucy Jones tries to make her internet article interesting for her readers as she uses words like “Land
where killers are free to go hunting”. This makes it sound very dramatic, as if they don’t get
punished for their crimes, and it is very different from the way we treat criminals. Lucy starts off
the article with “imprisonment has never been used in Greenland”. This would make the reader want
to find out why, because crime is always a subject people are interested in and this seems a very
unusual way of dealing with crime, especially as they have murders and rapes just like we do. Lucy
has also added a video to her internet articles which makes it more interesting as readers can find out
more information about Greenland and the prisons. She makes it sound as though criminals have
an easy life because she says they can have jobs and visit their family and friends, and they can go
and buy things like TV sets and coffee machines for their cells. She has an interview with a
criminal who thinks it’s a tough system, and also with a magistrate who thinks their system works
well. She tells us facts about the prison, like there are 54 prisoners and how few prisoners re-offend.
She gives the information about the prisons in a very matter-of-fact way, even though it sounds
strange that murderers can leave the prison. Giving the details of what it’s like in prison makes it
interesting because it is very different from what it is like in England.
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A3
It is difficult for prisoners to escape or cause trouble in Florence Federal Prison because there are coils of
razor wire around the perimeter which means if anyone tried to escape they would get seriously hurt.
The prisoners also wouldn’t be allowed to cause trouble because they are all locked up in their cells all
day and only get one hour out of their cell and when they are out for that hour, they have to be in
handcuffs and leg irons. They have three guards with them and they carry prods known as `ribspreaders`. They have almost no chance of meeting up with other prisoners.
A3
The Florence Federal Prison makes it difficult for prisoners to escape or cause trouble by restricting the
prisoners to just one hour per day out of their cell. But even in this one hour you will not be free
because they have to wear handcuffs and leg-irons and they are escorted by guards armed with yardlong prods known as `rib-spreaders`. The prison is also based in the Rocky Mountains so being on a
mountain would make it hard for prisoners to stand a chance of living if they escaped as they
wouldn’t know where to go. The prison also has coils of razor wire all around it, so even getting out of
the prison would be very difficult. Inside, they can only have one phone call a month and they don’t
have any visitors and even their cells make it hard to cause trouble because the bed and other things
are made of concrete and couldn’t be smashed up.
A4
Lucy Jones and Dermot Purgavie both wrote articles about imprisonment but they had very different
views. Lucy Jones wrote about what imprisonment was like in Nuuk, Greenland, and this was not a
strict prison at all. Prisoners could easily escape but they don’t need to because they were only
restricted to their cell between the hours of 9.30pm and 6.30am. They are allowed to go into the town
and visit their friends and family. However, in Florence Federal Prison it was very strict and they
were allowed out of their cell for just one hour a day. They don’t have any luxuries like the things the
prisoners in Nuuk can have, like TV sets and coffee machines.
A4
Dermot Purgavie’s article shows how criminals are treated in a really tough way. They can’t have
any visitors and they are only allowed to have one phone call a month. There’s almost no chance of
escape because they can only get out of their cells for an hour a day, and then they have leg irons and
handcuffs on. They have to live in cells that have no comforts – even their bed is made from concrete.
It is a prison that is trying to “inspire fear and deter criminals” so it is as unpleasant as it can be.
The prisoners can’t meet or even see each other and they have steel doors everywhere to “thwart
conversation”.
In Lucy Jones’ article the way prisoners are treated at Nuuk is almost the opposite. They have loads of
freedom and it doesn’t sound like the kind of prison we know. They can go out of the prison during
the day, go into town and can even keep their jobs. Their cells sound very different from those at
Florence, because they can have TV sets and coffee machines in them. Although it sounds much
better, they do have to pay to stay there and they also have to have counselling. One prisoner said it
was hard there, but I bet he’d not been to Florence!
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For further exemplar responses please see the WJEC secure website
(www.wjecservices.co.uk)
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Acknowledgements and thanks
I am grateful to Stuart Sage, Jane Hingley, Nick Duncan, Ted Snell and Margaret Graham for
their contributions to this online resource, and to the following centres for permission to
reproduce students’ work.
Priesthorpe School, Pudsey
Bishop Challoner Catholic Collegiate School, London
Birchwood High School, Bishop Stortford
Adams Grammar School, Shropshire
Kingsmead School, Enfield
Ebbw Vale Comprehensive School
Ysgol Bro Ddyfi, Powys
Mountain Ash Comprehensive School
St Anselm’s Catholic School, Canterbury
Crowns Hill Community College, Leicester
Standish Community High School, Wigan
Greenhill School, Tenby
Pontarddulais Comprehensive School, Swansea
Penyrheol Comprehensive School, Swansea
The Hurst Community School, Hampshire
Nancy Hutt
Subject Officer
GCSE English-English Lang Teachers Guide England only
22.01.15
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