The student’s knowledge of language and structure in the English IGCSE exam is tested throughout the two exams. This post is primarily focused on question 4 of paper 1. It will walk you through answering this 12 mark question and so help your student be confident in gaining top marks.
The choices a writer makes regarding language and structure are important because they are the main components of whether or not a piece of writing has the effect the author intends. If they are poorly chosen, the writing will feel flat and uninteresting.
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Language & Structure of Writing in the English IGCSE Anthology
The most important thing to know is that question 4 is based on a seen piece of writing. By this, I mean that your student has access to many extracts of writing found in the anthology, one of which will be in the exam. Question 4 is therefore a wonderful opportunity for your student to show off, because this question can be prepared in advance.
Download your Edexcel English Language IGCSE Anthology
My advice is to download the parts of the anthology which pertain to spec A. For this question, you need to go into the second section (Pearson Edexcel International GCSE in English Language (Specification A) (4EA1)). Print out all ten extracts from Part 1: Unit 1 Section A Non-fiction texts. I always print a copy for me and one for each student, but you may not need to do that if you are ok working from a digital copy. I prefer paper and I like to have my own copy so I can demonstrate to my student exactly what it means to highlight and annotate each extract.
Your student needs to become familiar with each extract to ensure they are ready for the language and structure part of the English IGCSE exam. I spend one session going over each piece of writing with my student. Because they highlight and annotate their own copy, these can be used for revision closer to the exam.
Language & Structure in the English IGCSE: What You Need to Know
In order to achieve the highest of grades in the language and structure question of the English IGCSE paper, your student needs to be able to do the following:
- Understand the content of the text (reading comprehension)
- The choices the writer has made in order to achieve the effects they are aiming for (language features and techniques)
- The obvious (and any hidden) meanings behind the authors choices (why these choices were made)
- The overall effect of these choices and how they work (analysis of the choices)
As you can see, the depth of the answer increases as you make your way down the list. Students may understand what they are reading but unless they are able to analyse the text, they will be unable to achieve high marks. For each point the student makes, they need to work their way through the list above in order to show an in-depth knowledge and analysis of the writer’s choices.
Do not worry! I am going to walk you through everything your student needs to do!
Language and Structure Analysis
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Let’s focus on language analysis first. Language analysis is exactly what it sounds like: what language (ie words) does the writer choose and for what purpose? Good writers (and hopefully Pearson has chosen extracts from good writers!) layer their writing. By this I mean that there is the obvious reason why they choose a certain word or phrase, and then there is a deeper, perhaps more hidden meaning. It is these layers which add depth and interest to writing and it is these layers that need to be extracted and analysed by the student.
Language Analysis: Useful Terms and Definitions
Emotive Language
Emotive language tends to use strong, vivid words and phrases and is used to evoke a strong emotional response from the reader. In doing so, the writer emphasises some aspect of the situation. Perhaps the reader will feel anger, sympathy, sorrow, thankfulness, love… emotive language gives direction to the reader, helping them to be able to feel empathetic towards the characters or situation being described.
Imperatives
Imperatives are command verbs which require an action or cessation of action. They tend to be staccato in nature rather than descriptive and flowery. Imperatives can change the speed of the narration, communicating urgency (sit down)
Comparative Adjectives
As the name suggests, comparative adjectives compare two things and may be used to demonstrate a change. They draw distinctions between to similar objects, increasing the reader’s understanding of the objects. Usually a suffix of -er is added to the adjective (slow, slower), unless a superlative adjective is needed…
Superlative Adjectives
I kind of think of these as super adjectives. Superlatives compare more than two things and tend to denote the extreme ends of the spectrum of the adjective in question. Here the suffix is -est. This illustrates the writer’s point of view regarding the relative importance of the thing or progression (or lack-there-of) (slow, slower, slowest).
Colloquial Language
Colloquial language is informal language. I always understood this to mean language that is used in general conversation, which feels comfy and familiar. It’s kinda chatty language <——– an example of colloquial language! It tends to be more flowery and casual, building a sense of familiarity and togetherness. Sometimes an author will use colloquial language which is not that familiar to them but respects the vernacular of the character. This gives their writing more authenticity, making it realistic to the framework of the story. For example, colloquial language of someone in Northern Ireland would be very different from the colloquial language of the Cornish or the Dales.
And Remember…
When reading a piece of writing, a student needs to keep his eye out for examples of the above language choices. He should choose examples that he is able to expound on comfortably and confidently. The main goal is to consider why the writer chose particular language. Consider things such as explicit/implied meanings of the words used; how those words create emotions or feelings and what type of emotions do they elicit; what do the words add to the story in terms of character/story background, growth and depth; do the chosen words and phrases make the text more relatable or distant?
The goal is to go through the four language analysis guidance statements typed in red above for each point that is made. The goal should always be for the student to show their understanding of the layers of meaning, why the writer made the choices he did and how those choices contributed to the overall success of the writing.
Literary Techniques: Useful Terms and Definitions
I love teaching literary techniques! I do it from very early on. The children get a little blue book divided out into all the main literary techniques. They read or I read aloud and any really interesting examples of the techniques get written into their book. By the time they reach their teens they are super confident and have a huge bank of examples. This helps them then to recognise the techniques in their reading going forward.
Remember, language and structure in the English IGCSE exam is ALL about analysis not simply listing all the examples the student can find with a few short quotes. It is important the student chooses specific techniques they are confident about analysing. There will always be multiple choices a student can make regarding the literary techniques. He needs to make sure he chooses wisely. The chosen techniques need to support the analysis of the text rather than using them in isolation. The student should always look to answer the question of what the writer intended when they chose that particular word/phrase/technique.
Simile
Think in terms of similar to or like. A simile compares two different things using something abstract they have in common. They are easy to pick up on because they contain ‘like’ or ‘as’ to highlight that similarity. Example: she blushed as red as a tomato.
Metaphor
These are quite easy to muddle with a simile. Just remember simile always uses ‘like’ or ‘as’. A metaphor has a similar effect as a simile. However, instead of using ‘like’ or ‘as’ to compare two things, it declares they are the same. In this way, metaphors tend to be more direct and therefore more powerful, creating a stronger picture in the reader’s mind eye.
I love metaphorical language! Here are some examples of the different types of metaphors your child might find in the extracts and their uses:
- Simple metaphor: He is my rock. Well known, used in everyday language.
- Creative metaphor: Her eyes were pools of endless sorrow. Offer fresh perspective/new.
- Extended metaphor: “All the world’s a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages” (Shakespeare). Whole paragraph/ piece of writing dedicated to the metaphor.
- Mixed metaphor: The company was a well-oiled machine that hit the ground running. Two or more dissimilar metaphors for comedic or confusion purposes!
- Dead metaphors: The heart of the matter. Excessively used metaphors.
- Visual metaphor: A dove represents peace. Represent abstract ideas and concepts.
- Implied metaphor: The silence was deafening. Suggested rather than explicitly stated.
- Synthetic metaphor: The spices danced on my tongue. Used to compare one sense to another (here, because the spices are usually tasted but instead they are being felt on the tongue).
Imagery
These are what I would call vivid adjectives and strong verbs. These engage the reader’s senses by painting detailed picture. For example: sun-kissed waves; ferocious waves; waves pounding against the cliffs and plunging back into the sea. The picture is painted in such a way that the reader can engage their senses and imagine they actually feel/hear/taste/touch/see that which is being described.
Alliteration
A favourite of my Charlotte’s when she was younger, alliteration uses the repetition of consonants, usually at the beginning of words. For example: The waves were really sloshing, slurping and slobbering with their salty lips. Alliteration offers the reader an auditory rhythmic pulse to the narration. This emphasises the importance of this part of the writing making it memorable and appealing, eliciting some sort of response from the reader.
Personification
This is the attribution of human characteristics and qualities to inanimate objects, animals or abstract concepts. If you look to the example above in alliteration, you’ll see the writer also snuck in a sneaky personification ‘salty lips’ when describing the waves. Other examples: the waves winked in the sunlight. I’m not sure why all my examples are to do with waves but hey ho! Personification engages the reader by offering a human characteristic to an inanimate object. This encourages relational empathy, adding depth and creating a more immersive experience for the reader.
Onomatopoeia
A favourite of Abigail’s, an onomatopoeia is a word that sounds like the thing it is. It phonetically resembles the sound that it makes. Examples of onomatopoeia words are pop, crackle, bang, sizzle, crash, roar, rumble…I could go on. They are great fun and fairly easy to find! Onomatopoeia creates particularly vivid imagery, as well as adding a sense of sound to the reading. This can help transport the reader into the writing. It can add excitement, action and humour.
Repetition
It basically does what it says on the tin: it is the repetition of words, phrases or sounds to emphasise, establish a rhythm or reinforce ideas. A powerful example is Churchill’s speech during World War 2: We shall not flag nor fail. We shall go on to the end, we shall fight in France and on the seas and oceans. We shall fight with growing confidence and growing strength in the air, we shall defend our island whatever the cost may be; we shall fight on beaches, landing grounds, in fields, in streets and on the hills.
Rule of Three
This is really another form of repetition, but done three times. It is usually three adjectives or phrases used to describe something. An example: So various, so beautiful, so new. The rule of three aids understanding, memory and interest. It emphasises, adds nuance and emotional layers and increases the persuasiveness of writing.
Juxtaposition
This is a means of highlighting the differences between two contrasting ideas, images or concepts by placing them side by side. For example: ‘When the ocean rises, the seashore disappears‘ and ‘All’s fair in love and war’ (Shakespeare). Juxtaposition highlights the differences between to contrasting things. It may encourage nuanced and critical thinking, adding layers and hinting at a link between two seemingly unrelated things.
Short Staccato Sentences
Staccato sentences are simple and easy to understand sentences. Their beauty lies not in their complexity but in their repetition. They are written back to back for emphasis, clarity, or to increase pace for drama or excitement. Example: Get out of my way! Quick! Now!
Symbolism
Symbolism is the use of symbols to represent ideas or qualities. For example: The wild landscape of the moors symbolizes the tempestuous passions of the characters and the changeability of people. The effects of symbolism include creating more emotional depth by creating a bond with the reader. They add a visual element to express complex themes or character traits, leaving a lasting impression on the reader.
Hyperbole
Hyperbole is an exaggeration that should not be taken literally. For example: I was dying of laughter. Using hyperbole emphasises something within the story, such as enhancing the characteristics of someone or something, drawing attention to it. It can evoke strong feelings and is useful in conveying over-the-top feeling. Hyperbole can also be used to communicate a poignant point or for comedic value.
Anaphora
Anaphora is the repetition of a word or phrase at the beginning of successive clauses. For example: In every cry of every Man, In every infant’s cry of fear, In every voice, In every ban. Using anaphora creates rhythm, making the writing easier to read and more memorable. It can also emphasis ideas, evoke emotion, link ideas and is a creative way to write a list!
Listing
A number of connected items or ideas written down one after the other to emphasise a particular quality.
Zooming In or Out
The narrowing or widening of the narrative focus.
Climax
The most intense point in the development of the narrative.
Structural Features: Things to Consider
Another consideration when learning how to answer the question pertaining to the Language and Structure in the English IGCSE are the structural choices the writer makes. But what does this actually mean? If you think of the scaffolding around a building. The scaffolding is the structure, the nuts and bolts holding the scaffolding together are the words, phrases and literary devices. The scaffolding has a beginning, middle and end. The view point changes as one climbs it due to pacing, time and perspective shifts as well changes in the view point. The same is true for a piece of writing. Whilst these terms are useful to know, it is more important for the student in the exam to demonstrate their understanding of what the intended effects of any structural choices.
To put it in a nutshell, the student needs to answer the questions of who, what, when, where and how of the text.
Remember: For the highest marks the student needs to use the correct terminology for each structural technique and then analyse its use. They need to show their understanding of this techniques, examine and analyse the effect of it and back it up with short quotes from the passage.
Structural Techniques: Useful Terms and Definitions
Narrative Voice
The narrative voice is also known as the point of view. It can be 1st, 2nd or 3rd person. A strong narrative voice is crucial as it affects how the reader relates to the characters, events and shapes storytelling decisions such as the pace and level of detail. However, it can also convey cultural and social contexts which increases the understanding of the stories theme. First person narration offers an intimate connection with the character’s thoughts, feelings and motivations. Third person is more omniscient and therefore offers a far broader perspective of multiple characters. Whatever the choice, the narrative voice should be consistent otherwise the reader may become confused.
Tense
This can be past, present or future, although it could be more than one if there are flashbacks or flash-forwards.
Openings
The opening of any writing helps in setting the mood, describing the setting, introducing the characters and establishing the narration.
Endings
The ending usually brings a sense of closure to the text. Often there is resolution of a problem, wrapping up any loose ends and answering any questions the body of the text put forward. It may give insight into a character’s development. Very occasionally, often when there is a second part to come, it ends the story on a cliffhanger.
Links Between the Beginning and the Ending
This describes the narrative link between the beginning of the text and the end of the text.
Linear Narrative
Linear Narrative refers to a chronological narrative structure where events are arranged in the order of time and is the simplest to follow.
Non-Linear Narrative
Non-linear narrative refers to a more complex and challenging narrative structure which may feature flashbacks, flash-forwards or alternate timelines. The events are therefore in a non-sequential order, requiring the reader to pay attention in order to understand what is happening.
Cyclical Structure
A cyclical structure occurs when the ending of the prose mirrors or echoes its starting point, emphasising themes or a character’s development. It offers a sense of closure and regenerative circularity.
Exposition
This is the introduction of background information on characters, events or settings and so helps to anchor the reader.
Foreshadowing
Foreshadowing is an advance hint as to something which will occur later on in the story. The clues are subtle and rely on the reader to notice and interpret them correctly. Foreshadowing adds depth and complexity to the narrative, and it creates a nuanced narrative which if picked up on by the reader helps to create a sense of anticipation and suspense for the reader.
Sentence Forms
It is useful to know the names of the different sentence forms for talking about language and structure in the English IGCSE, so I’ve included them below. Any that aren’t familiar to your student you can look up, but most are self-explanatory:
- Declarative
- Interrogative
- Imperative
- Exclamative
- Simple
- Compound
- Complex
- Impact/fragment
At last, this brings me to the conclusion of this (much longer than anticipated) post on all the things your student needs to know before answering question four and other questions focusing on the language and structure in the English IGCSE exams. Fortunately, a lot of this is repeated again for other questions under the Spec A of the English Language IGCSE. Oh, and I have created a print out so you can have all the information to hand.
Language and Structure in the English IGCSE Printout
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