Jean: Hello, and welcome to the Bitesize English Language Exam Skills podcast. In this series, we'll be explaining the skills you need to tackle your English Language GCSE.

Carl: Whether it's getting to grips with words, using questions or offering tips for your creative writing - our aim is to put you in the best place for your English language exams.

Jean: I'm Jean Menzies, an author, ancient historian and presenter.

Carl: And I'm Carl Anka, a journalist, author and broadcaster.

Jean: In this episode, we are cracking the code of English language exam questions, learning how to understand what they're really asking, and how to shape your answers clearly and confidently.

Carl: We are going to look at key command words that you need to know - simple steps to break any question down and how to tailor your answer to what the question is asking.

Jean: You might want to make some notes as we go, so it's a good idea to grab a pen and paper.

Carl: Let's kick off by looking at command words in the exams. Now, by command words, we mean any words that give you an instruction. In day-to-day life these could be things like ‘go!’ or ‘listen!’

Jean: Absolutely, and in the exam they'll tell you what you need to do.

Carl: Different command words are really important to look out for because different command words require you to do different things in your answer. So understanding what they mean is key.

Jean: There are loads of command words, and we can't go through every single one in this episode, but let's pick two that are commonly used in exams to show what you need to think about. Let's look at ‘compare’ and ‘evaluate’.

Carl: I'll start with questions that include the command word ‘compare’. When comparing, you need to show how the texts are similar or different and then draw evidence to support what you say.

Jean: Your evidence could be things like quotes or paraphrasing from the texts, explaining the writer's use of language or commenting on their writing techniques. But don't forget, you must have evidence from both texts when comparing.

Carl: Exactly. Now let's look at questions that include the command word, ‘evaluate’. An evaluation question asks you to use evidence to make a supported judgment about how effectively a writer achieves something. When you are evaluating a piece of text, you use your evidence to show how successful or not the writer has been in achieving their aim. For example, how well they create a mood, a feeling or an impression on the reader.

Jean: To answer this kind of question, you need to do three things. First, you need to clearly express your opinion on how successful the writer is. You can use positive words like ‘effectively’, or you might criticise the writer by using words like ‘unconvincingly’ to make sure your opinion is crystal clear.

Carl: Secondly, you’ve got to remember, you can't just give an opinion with no evidence to back up your argument. This is where you use a quote or pick out specific references from the text to back up your opinion.

Jean: And finally, number three. You must explain how that quote links to your argument. Make it so that no one could possibly argue or disagree with you.

Carl: There are lots of different command words used in lots of different ways throughout the exams, and you can find out much more detail on these words on the Bitesize website. Just search ‘Bitesize how to analyse language’, and you can watch a short video on exactly this subject.

Jean: And now that you've got a handle on command words, it's time to move on to whole questions. Use your pen and paper and you can join in with us.

Carl: So, we are going to take a look at how you can break down questions into manageable steps. The first thing to do might sound obvious, but in the moment, it is very easy to forget. Okay, you ready for this tip? You ready?

The tip is - read the question, read it slowly and read it twice, and if you still haven't understood the question, read it again, and again. Don't worry about how many times it takes you to read the question. Just make sure you understand all the command words and what exactly the question is asking from you.

Jean: As you read the question, focus on the directions it is giving you and underline, highlight or circle keywords. It'll only take you a matter of seconds, but it's really important.

Carl: Keywords could be command words, but also look out for important nouns, verbs and adjectives too.

Okay, it's time for a challenge. Feel free to use a pen and paper and join in.

Carl: Jean, I'm going to read you a question and I want you to identify which keywords you would underline, highlight or circle and why. You ready?

Jean: I think so.

Carl: Okay, here's the question:

‘Compare how the two writers present their views on teenagers in their texts.’

Jean: Now you're testing me.

Right, if you've got your pen too, then underline these key words with me.

COMPARE… TWO WRITERS…THEIR VIEWS ON TEENAGERS…

As we've discussed, compare tells you that you must look at both texts and spot similarities or differences. ‘Two writers’, reminds you that there are two sources, so you need to reference both.

‘Their views on teenagers’ show the specific focus. We need to focus closely on the writer's views about teenagers. So, I don't want to drift onto other topics or themes.

Carl: Exactly, understanding the key words and the question helps you focus your answer.

Jean: And now I've got a question for you to break down, Carl.

Carl: Oh, there it is. I thought you might get me back.

Jean: Pens at the ready again. What key words would you identify here?

‘Evaluate how successfully the writer presents their perspectives on social media and young people's wellbeing.’

Carl: Okay. I would underline these words.

EVALUATE… HOW SUCCESSFULLY, THEIR PERSPECTIVES and then SOCIAL MEDIA AND YOUNG PEOPLE’S WELLBEING.

‘Evaluate’ signals evaluation - you’re being asked how effective the writer has been. ‘How successfully’ focuses on the methods and how well they are used.

After that, you need to look at the term ‘their perspectives’ because that reminds you that you’re not just considering how social media and young people’s wellbeing is being presented, but you’re also considering what the writer’s views and attitudes are about this issue.

And finally, ‘social media and young people’s wellbeing’ tells you the specific angle on that topic - so not just social media in general, but also the impact on wellbeing. That’s what I’d underline and why.

Jean: That all sounds really good to me, and if you're joining in at home too, I hope you find that useful as well.

I've got one more handy tip. When you're approaching a question, once you've underlined those keywords, before you start writing, jot down a quick plan using a few of your own keywords, the main points or ideas you want to cover. That way you've got a simple structure to gauge your answer.

Carl: I like that, Jean. It's nice and simple.

Jean: Thanks. And remember, ‘compare’ and ‘evaluate’ aren't the only command words you might see in an English language paper.

Carl: Right? Let's look at a few others quickly.

Jean: If a question says ‘discuss’, it's asking you to explore different sides or perspectives of an issue, not just one. If you see it, it’s usually in writing questions, so be sure to consider multiple angles when forming your opinion or opinions.

Carl: Good one, and the word ‘summarise’ is another common command word.

Jean: Yes, that means give the main points without going into loads of detail. Keep it short and clear.

Carl: Then there's the word ‘explain’.

Jean: Explain means, give reasons, show cause and effect, or why something is happening in the text.

Carl: So remember, these command words are directions - they show you what shape your answer needs to take.

Jean: And now that we've deciphered a few example questions and identified some more command words, it's time to think about some answers.

Let's discuss how you should tailor answers to the specific skill being tested.

Carl: Knowing which skill is being tested helps you shape your answer in the right way. So instead of writing down everything you can think of, it helps you focus on exactly what the question is looking for.

Jean: And whatever the question type, it helps to give your answer a shape.

So if we're looking at summaries, we're not looking for an in-depth analysis, you just need to outline the main points or action. For example, if the extract is about a group of friends preparing for a school trip. Your summary might simply be ‘the friends get ready to leave, they pack their things and they meet at the bus stop.’

Carl: A quick note on summaries though - often summary questions will require evidence, so make sure you read the question carefully so you know what's expected of you. You can't just sum up stuff really, really quickly without any evidence.

Jean: Very good point. And then if we look at a question about language, these might test your analysis of words and phrases and what impact they have.

This includes figures of speech, like similes ‘as cold as ice’ for example, or metaphors like describing a city as ‘a concrete jungle’. So look at the words in the text, and most importantly, think about the effect or effects they have.

Carl: Exactly.

Jean: We hope that gives you an insight into how to tailor your answers to the question being asked. And Carl and I have a couple more things to ask you before we wrap things up.

Carl: Okay. One each. You can go first, Jean.

Jean: Okay. Tell me one command word and what it means.

Carl: Okay. How about the word evaluate? An evaluation question asks you to make a judgment about how successfully the writer achieves a particular effect or purpose using evidence to support your view.

Jean: And drum roll. That is the correct answer.

Carl: Okay. This is my question to you. How should you read the question in the exam?

Jean: It's the way that is easy to forget, but very important to remember.

Read it slowly and read it twice.

Carl: In fact, sometimes read it three times or even four times, or even five times. Read it as many times as you need for it to make sense.

Jean: One hundred percent.

Carl: All right then, that was fun. I hope you all joined in too. Thank you for listening to the Bitesize English Language Exam Skills podcast.

Jean: Remember to fine tune your English language exam skills, you can find the rest of this podcast series on BBC Sounds.

Jean: Hello, and welcome to the Bitesize English Language Exam Skills podcast. If you need techniques to tackle your upcoming GCSE exams and boost your confidence, we're here to help.

Carl: My name is Carl Anka and I'm a journalist, broadcaster and author.

Jean: And I'm Jean Menzies, an ancient historian, author and presenter.

Carl: And in this episode, we are doing one of my very favorite things in the world. We are going to show you how to analyse language.

Jean: Woo! And by language we mean the words and phrases that writers use to give meaning and cause a reaction in the reader.

Carl: We're going to look at common mistakes to avoid, to show you a clear way to analyse language, what to look for and how to approach it. We're going to show you how to export some sentence starters to help you kick off your answer. And we're going to share with you how to explain your ideas confidently.

Jean: Before we start, remember, if you want to hear all the episodes in the Bitesize English Language Exam Skills podcast, make sure to download the BBC Sounds app.

Carl: Now you may want to make some notes, so now is a good time to grab a pen and paper. No seriously right now. Quick, pen and paper, go.

Jean: Let's start by thinking about the common mistakes we can avoid when answering questions about analysing language. We've got three to tell you about, so you might want to make a note. The first of these pitfalls is just spotting the technique without analysing why it's being used.

Carl: That's right. If you just say the writer uses a metaphor or there's a simile, it's not enough on its own. You have to explain what the impact of that metaphor or simile is on the reader. Ask yourself, why has the writer used this language technique?

Jean: Exactly. The second mistake to avoid is just retelling the story instead of analysing the words or phrases in it. In your analysis, you need to say how the writer uses the language, not just what is happening. Focus on the words, techniques and choices and how those create meaning. Don't simply repeat what is happening in the extract.

Carl: And the next mistake to avoid making is overgeneralising. Try not to make vague comments like ‘this makes the reader want to read on’, or ‘the writer uses this for effect’ because these could pretty much apply to any text.

Jean: That's it. Three common mistakes to avoid when answering questions about analysing language.

Carl: Okay then, now we've covered the things that we don't want you to do, let's look at some of the things we do want you to do. Here's a step-by-step structure for analysing the language that a writer chooses to use.

Jean: A simple way to do this is to look at three things - ‘what’, ‘how’ and ‘why’.

Carl: Let's start with ‘what’. When you are reading a text, ask yourself what the writer is doing and I don't just mean what the writer is writing. Focus on what words the writer is using to create an effect or meaning.

Jean: What tone is the writer creating? Is it tense, angry, funny, excited or sad? What does the text show us about the character or characters, their personality or attitude? What are we being shown about the events in the extract?

Carl: Once you've worked out what the writer is doing, we also want to know how the writer is trying to do that. So think, how are they using words, how are the words that they're selecting impacting on the mood or hinting at a deeper meaning.

Jean: For example, instead of using the word ‘walked’, the writer might say, ‘a character skipped, marched or crept along the street’. How do each of these specific word choices hint at a deeper meaning?

Carl: As well as word choice, how is the writer using language techniques like metaphors, similes or personification?

Jean: A useful question to ask yourself is, what picture does this create in my mind? See, when I think of someone skipping, they're happy. Right?

Carl: Unless they've done something particularly evil and then it's like, ooh, you are really happy you've done a bad thing.

Jean: They're still happy though, even if they're evil happy.

Carl: Good point. Very, very good point. Finally, always ask yourself why? Why has the writer chosen these words and these techniques?

Jean: Drawing from our example where a character skipped, marched or crept along a street, notice how each one of those words brings their own connotations or implied meaning to the sentence. ‘Skipped’ might be happy, ‘marched’ might be…

Carl: determined.

Jean: Ooh, I like that, and ‘crept’ could be suspicious…

Carl: …and sneaky or sly. So why does a writer do this? Because the choice of the words creates an effect on the reader. Think why the writer is trying to make you think or feel a certain way about the character or an event.

Jean: Likewise, the use of a language technique such as personification, like ‘the silence pressed against him’ creates a more vivid picture for the reader about the unbearable silence. This helps you understand what the writer wants you to feel. When you explain the ‘why’ you're showing that you understand the writer's purpose, not just spotting a technique.

Carl: For this series, we've teamed up with the National Theatre because their actors spend a lot of time working with scripts. So they know what they're doing when it comes to analysing a writer's language and intentions.

Nina: Hi, I am Nina Cassells. I'm an actor. I'm currently working at the National Theatre. I've also worked at The Globe, at The Bridge and at Bristol Old Vic. So when I get a new scene, what helps me understand the character is looking at the stage directions because you can be given a lot of information through that. For instance, one of the scenes in Ballet Shoes, she enters into a room and despite her best efforts, can't help but be awed. For me, that says a lot about what she's trying to hide. She's really impressed by this room that she's walking into. But Pauline, as a character, doesn't like showing people that she's impressed. She always wants to be in control, and that gave me a lot about how to play Pauline as a character.

Jean: Thanks so much to Nina Cassells. Some really great insight into how actors at the National Theatre analyse language.

Carl: So, to sum up on how to analyse language, ask yourself, what is the writer showing us in a text, then look at how do they show this to us and why have they made this choice or choices?

Jean: You can find more information on analysing fiction and non-fiction texts on the BBC Bitesize website. Now we're going to explore high impact sentence starters and vocabulary, as well as practising when to use them effectively.

Carl: When you are writing about a text in your exam, the words you use at the start of your sentence can make a big difference. They signal your analysis is really considered and specific. You want to sound confident, thoughtful and not like you're just repeating the same thing over and over and over again. The way you start a sentence is much like how you make a first impression when you meet someone. ‘Hello!’

Jean: Let's be honest, if every sentence starts with ‘the writer shows’, it gets repetitive, overgeneralised and a bit boring. So you need to mix it up a bit. You can use sentence starters such as these - ‘This could imply…’

Carl: ‘It makes the reader feel…’

Jean: ‘This creates a sense of…’

Carl: Okay, it's your turn now. Let's imagine that we want to say the writer is showing us something. I want you to get pen and paper and have a go at noting down a few different ways of saying ‘the writer shows’. This way we can make the sentence opener more specific. Now, while you're doing that, Jean and I are going to do the same. 15 seconds on the clock. Let's go. Time's up. Okay. Let's see what we've come up with. Jean, what you got?

Jean: Okay. ‘The writer highlights…’

Carl: How about this? ‘This sentence emphasises…’

Jean: Brilliant. ‘What about this phrase reveals…’

Carl: How about ‘The writer presents…’

Jean: Oh, well, only if I can suggest ‘This word demonstrates…’

Carl: Ooh, good one. How about ‘This sentence inspires…’

Jean: Brilliant. Those are some really good options, and I'm positive you thought of some effective ones too, listeners.

Carl: And don't forget, the writer may not always be showing. Sometimes maybe they're contradicting or even mocking. Essentially, try to be as specific as possible when you state what the writer is doing. I would also suggest if you're having trouble using the same sentence over and over and over again. Read back what you've written and see if you'd use the same phrase two or three times. It might be time to try something else in another sentence.

Jean: Very good advice. To put this all into practice, let's take a short sentence from writer Kate Atkinson about a house fire that began with an iron left unattended: ‘Downstairs the abandoned, forgotten iron was demonstrating its faults.’ What high impact sentence starter could you use to analyse the language in that phrase, Carl?

Carl: Instead of ‘the writer shows’, you could start with something like ‘the writer has hinted at the hazardous situation that has unfolded’, and then quote that sentence. Also, that's just a really good sentence.

Jean: Well, that's also an excellent sentence for analysing it.

Carl: Thanks.

Jean: Actually, in episode two of our English Literature exam skill series, we take a look at how to embed quotes. It's essentially the same skill whether you're sitting in your English literature or your English language exam. You can find the episode on BBC Sounds.

Carl: Perfect! So, Jean, what techniques used by the writer in our quote about the iron, can you pick out and explore with some good sentence starters?

Jean: You could try something along the lines of, ‘the adjectives ‘abandoned’ and ‘forgotten’, personify this object as having negative feelings about its current situation. Furthermore, the verb demonstrating implies that this object itself is able to showcase its flaws like a person.’

Carl: Ooh, that's nice. Furthermore, that's a good sentence start-off for developing your ideas.

Jean: Thanks, and if you wanted to contrast ideas, you could use ‘on the one hand’ and ‘on the other hand’. For example: ‘On the one hand, the adjective ‘forgotten’ suggests loneliness and neglect. On the other hand, the verb ‘demonstrating’ implies that the object still has some power or purpose as if it can reveal its own story.’ Back to you, Carl. Why is the writer doing this?

Carl: That's a real good question, Jean. Remember, we always need to think about the ‘why’ – why the writer has made those choices and what effect they want to create for the reader. You could start your sentences like this - ‘The writer may have chosen to…’ or ‘This suggests that the writer wanted to…’ Thirdly you could try this one - ‘By describing it this way, the writer aims to…’ So an example here could be something like - ‘The writer may have chosen this to make the reader feel uneasy, as though the everyday object has turned against its owner. This personification makes the iron seem alive and menacing.’

Jean: Amazing.

Carl: So to recap, when you are analysing, make sure you use strong sentence starters. Okay? Make sure you choose specific and thoughtful language to analyse what the writer is doing too. So we've looked at what to avoid and shared some handy tools to help you tackle language analysis with confidence. Thank you for tuning into the Bitesize English Language Exam Skills podcast.

Jean: And remember, you can find the rest of this podcast series right now on BBC Sounds.

Carl: Hello and welcome to the Bitesize English Language Exam Skills podcast. If you want some tips and support to feel more confident in your GCSE exams, we are here to help.

Jean: Whether we're breaking down how to analyse language, or helping you to write with confidence, we are here to share practical tools you can use to boost your performance in the exam.

Carl: My name is Carl Anka. I'm a journalist, author and broadcaster.

Jean: And I'm Jean Menzies, an author, ancient historian and presenter.

Carl: And in this episode, we are going to be exploring how writers use structure.

So to start, why do we need to think about structure?

Jean: When we read a text, we often focus on the language a writer uses, but it's not just about words themselves, there's also the structure - the way the writer organises the ideas and the story.

Carl: Right, because how the text is organised and laid out alters and moulds the text too.

Jean: So, in this episode, we'll break down what structure is, how writers use it to shape meaning, and how to write about structure in an exam.

Carl: Okay, listener, it’s time for you to grab a pen and paper because we're going to be taking some notes. Are you ready? Let's get into it.

Jean: First up, let's look at what structure is in a text.

Carl: One way to explain structure is, if a text or a story tells us ‘what’ happens, the structure of it tells us ‘when’ and ‘how’ the events are organised and eventually revealed.

Jean: And it's worth saying here, when we talk about structure, we mean both the big picture narrative structure, like how a text or story is organised overall, and the sentence level structure, like whether a writer uses long flowing sentences or short ones.

Carl: Exactly, Jean. In the exam, you are going to be working with extracts from texts so looking at both levels is really useful.

Jean: The order and way in which events are revealed have a significant effect on how you, the reader, understand the characters and events and how you respond to the storytelling or the building of an argument.

Carl: Precisely. Start by thinking about the order in which events happen.

Some texts start at the beginning and move in chronological order, meaning the events are described in the order that they happened. That choice will create specific effects and consequences because it'll form how the reader experiences the story.

Jean: We can also look at how some writers start in the middle of the action, often called ‘in medias res’.

This can pull the reader straight into the moment before any background information is given. For example, in Romeo and Juliet, scenes often open during arguments or high tension, which helps create pace and urgency right from the first line.

Carl: Other stories jump around in time. These are called a non-linear narrative, and they can use flashbacks to show events from the past or even flash forwards to reveal possible events in the future.

These are secretly some of my favourite stories.

Jean: Oh, I love a non-linear narrative. Very compelling, and you sort of feel like you're piecing it all together like a puzzle.

Carl: Yes, they’re so much fun.

Jean: Charles Dickens uses this to great effect in A Christmas Carol. The flashbacks and flash forwards give us insight into the character of Scrooge. They allow us to see how his current actions may affect his future.

Carl: Now, just a quick note here to say that don't worry if you're not studying any of the texts that we're going to mention in this episode. We are just using them as examples to practice your analysis skills. Remember, it's about the analysis skills here, not about the text specifically.

Jean: If you are studying Romeo and Juliet or A Christmas Carol, you can find out more by searching GCSE Bitesize Romeo and Juliet or A Christmas Carol on the Bitesize website or the BBC Sounds app.

Now, let's investigate how to spot structural shifts and the effects they create. And the first thing to understand is what is a structural shift?

Carl: Now, a structural shift is when the writer changes how they present ideas, settings or emotions. These shifts are deliberate and they guide the reader's response. You'll usually spot them from paragraph to paragraph. Or even within a single sentence.

Jean: Some of the most common structural shifts we might see are shifts in focus, shifts in tone or mood, and shifts in setting.

A focus shift could be from a whole crowd to one individual within it, drawing the reader's attention straight to that person.

Carl: Then there are structural shifts in tone or mood. The writing might start out light and cheerful, and then suddenly become tense, angry or fearful.

Jean: For example, George Orwell's dark novel 1984, is full of structural shifts like this. It's set in a world where the government watches everything you do and even controls what you think. A scene can begin with an ordinary calm tone, and then the terrifying ‘Thought Police’ appear and the whole mood shifts into tension and fear.

Carl: And finally, a shift in setting. This could be moving from a grand house to a cramped flat or from a battlefield to a peaceful home.

Jean: So, how do you spot structural shifts? Paragraph breaks can be a clue. They often mark a new idea, a change of scene or a switch in focus.

Carl: You can also look for words and phrases that signal time passing. Think of things like ‘several hours later’.

Jean: And sometimes it’s in the sentence structure. Long flowing sentences suddenly followed by short, punchy ones.

Carl: So we've been talking to you on this podcast as your hosts so far, but I also think we can share some practical advice as two authors as well.

Jean: All of this, um, conversation we're having makes me wonder about your own writing, Carl. When you're planning, do you ever structure a scene around a turning point or reveal?

Carl: Oh, yeah, all the time. If you are writing a crime story or a mystery, then you very often have the ‘before the crime’ or the ‘after the crime’. So, a good example of this is if you do any story about like a bank robbery, you have how the story is structured before they break into the bank, and then there's the story of how they get out of the bank after they've got it.

And you can't just repeat the same thing over and over again. So sometimes it can be really fun to set up problems that a character doesn't even realise is a problem, but it's something they've walked into themself. So that can be quite hard to do. So very often when I'm planning, I will plan the middle bit or the change before I write the beginning or the end.

I'll just write that middle section of the story first. Once I tried writing a story that had loads of different perspectives, but I wanted to have a scene where they all were in, they'd all eventually meet up once in the same room.

And I wrote that scene first because I knew if I wrote everything else, I wouldn't actually get to the most important scene in the book until maybe three or four months and everything will change. But I thought if I just wrote that first, that'd be really, really important. So sometimes I at least sketch out how I want something to end at the very, very least, and then I'll go back and write the beginning.

Jean: Because so often a story doesn't fully emerge in your head, does it? You envision this moment, you envision two characters meeting or a climax, and you feel attached to that. When I was writing recently about two characters, I thought a lot about how their relationship would develop, and where it was going, and that big climactic moment for them as characters, was really easy, and it was the first thing I pictured, but then you had to build out from that and think, but how would that start? Why did they get there? How did they get there? And to what end?

Carl: Mm-hmm. I hope that was useful to hear us chat a little bit more as authors about how we use structure in our own writing.

Now, while you might not be thinking about writing your own novel just yet, although one day I hope you do write a novel, the same idea also applies to your English exams.

When you analyse structure, you are really looking at how the writer directs your attention or your emotions. Now, that can be through a shift in a scene or any sort of structural choice made by the writer.

Jean: You can find more information on analysing text structure by searching language and structure on Bitesize.

Carl: So, you can definitely talk about analysing structure, now, let's look at a simple method to help you write effectively about structure in your exam.

Let's keep these three words in mind: Shift, focus, and reveal. When you analyse a piece of text, read it through and notice the shift. How it moves from one idea to the next. Does it begin in a room full of people and then switch to the inner voice of one person in the room? Does it shift from short, repetitive sentences to lengthy and descriptive ones?

Jean: Once you've spotted a shift, think about what the writer wants you to focus on at different points. Is it a particular person in this story? Is it a different time or period in the story, or has the action become faster or the atmosphere more tense?

Carl: Thirdly, consider what does the writer choose to reveal or possibly what does the writer choose not to reveal. A sudden revelation or framing the action from a different character's perspective could alter the reader's understanding of the story. In the same way, purposely not revealing information could mean the text ends on a cliffhanger.

Jean: Rather than a cliffhanger in this case, let's end with a very quick quiz. Are you up for answering some structure questions, Carl?

Carl: Absolutely. You can join in too, listener.

Jean: First one, what is structure in a text?

Carl: Structure is how a writer organises ideas, events and shifts in order to guide the reader's response.

Jean: Exactly. Now, what does ‘in medias res’ mean?

Carl: It means starting the story in the middle of the action.

Jean: Correct. Third question. Flashbacks are an example of what type of structural technique?

Carl: Flashbacks are an example of a shift, specifically a shift in time.

Jean: You got it. And last but not least, why might a writer end a paragraph on a cliffhanger?

Carl: Because… they want to create suspense. You see what I did there? And make the reader want to continue.

Jean: You got it. Nice work and nice example.

Carl: Thank you Jean, and thank you, listener. I hope you have some tools now to analyse structure in texts in your GCSE exam. And thank you again for listening to the Bitesize English Language Exam Skills podcast.

Jean: Remember, you can find the rest of this podcast series right now on BBC Sounds.

Carl: Hello and welcome to the Bitesize English Language Exam Skills podcast.

Jean: Whether you're looking for the low down on language or want to write beautiful sentences in your answers, we are here to give you lots of useful tools for your GCSE exams.

Carl: My name is Carl Anka. I'm a journalist, author and broadcaster.

Jean: And I'm Jean Menzies, an author, ancient historian and presenter.

Carl: And in this episode we have some top tips for your creative writing and how to persuade with power.

Jean: We'll show you how to write an opening line that hooks the reader

Carl: how to plan your ideas quickly, under a time limit

Jean: and how to use punctuation and sentence forms for real impact.

Carl: You might want to make some notes while you're listening, so it’s well worth grabbing a pen and paper. Are you ready? Let's crack on with some creative writing.

Jean: Whether you're writing a story or trying to persuade the reader, your opening line has to hook them.

Carl: So here are three simple ideas to help you write your first line. The first two are great for creative writing, and the third works really well for persuasive writing, too.

Jean: One, decide what you want to convey in that opening. Is it character, atmosphere, action or a point of view? Do you want to throw them straight into the action?
For example, “the door was locked, there was nowhere left to run”.

Carl: Or do you want to introduce a character immediately? For example, ‘I'm a secret spy and today is the weirdest day of my life’.

Jean: Can't possibly imagine what might be about to happen there.

Carl: Two, think about the language you want to use, description, specific vocabulary or you can use things like sensory language. Now, when I use sensory language, I mean touch, taste, smell, sight and sound. These can all make the opening line more vivid and build a picture.
For example, ‘The scream pierced the night air’. The verb ‘pierced’, carries tension and creates a fearful mood.

Jean: And three, reveal your purpose early. That's especially useful in persuasive writing. And it might be a statistic, a challenge or a rhetorical question.
For example, ‘98% of teenagers say they don't get enough sleep’. A statistic like that instantly focuses your argument.

Carl: Those three choices, what you specifically want to reveal in your opening, language and purpose help you hook the reader straight away.

Jean: And actors know this too because a first line can shape how they approach the whole performance.

Carl: For this series, we've teamed up with the National Theatre. Actors spend a lot of time exploring scripts, so they are experts in thinking about language and structure, and in this case, we're talking about opening lines.

Nina: Hi, my name's Nina Cassells. I am an actor. I'm currently working at the National Theatre. I've also worked at the Globe and the Bridge Theatre.

One of my favourite lines from a book is The Testaments by Margaret Atwood. It starts with ‘Only dead people are allowed to have statues, but I have been given one while still alive, already I am petrified’.

I think that is such a brilliant opening line because it sets the tone for the whole book, whilst also giving the reader so many questions. Why has she been given this statue? Why is she living in a world where people need to die to be honoured? And it immediately makes you want to read more and gather more details about this person.

Jean: Thank you so much Nina Cassells.

Carl: You can search ‘how to improve your creative writing Bitesize’ to watch a short video on more creative writing techniques.

Jean: In this next part we're looking at how you can structure your creative writing under a time limit. When you're in an exam, it is important to set aside a few minutes to plan because you can't dive straight in without thinking.

Carl: Spending a few minutes planning your structure can give you something to refer to during your writing and help it flow. You can find more about how to plan a strong essay answer on the Bitesize English Literature Exam Skills podcast on BBC Sounds.
Now for creative writing, it can really help to plan a simple story arc before you begin.

Jean: You may have also heard this described as a story mountain. It's the same idea. Your story rises, peaks and then falls.

Carl: So, at the start of the arc, your opening, you establish the character and the setting.

Jean: Then you introduce a problem or obstacle. That's what drives your story forward and increases tension.

Carl: Next comes the climax. That's the moment where the problem reaches its most dramatic point.

Jean: After the climax, there has to be some kind of change. Maybe your main character realises something or a relationship shifts,

Carl: and then we finally come to the resolution, the ending that shows the outcome of the change.

Jean: If you keep that simple story arc in your head - opening, problem, climax, change, resolution - it can really help you structure your creative writing clearly in the time pressure of the exam.

Carl: And one last tip, keep your story simple. Too many characters or too much plot can make it very tricky to manage within the time that you've got in your exam.

Jean: A persuasive text can take the form of an article, letter, review or speech. Whichever it is, it should include an introduction, main section and conclusion or summary. The introduction is where you set out your argument.

Carl: Then the main body of what you write is a series of paragraphs where you develop your arguments.

Jean: Then your summary or conclusion is your last chance to convince the reader and leave them with something memorable.

Carl: Again, remember this top tip, if you spend a few minutes preparing your structure, the actual writing part will be much easier.

Jean: All we need to do now is think about how you can make your writing really shine, which brings us on to sentence structure.Okay. So, Carl, we discussed how to write an opening line that hooks the reader.

Carl: Yes, we have.

Jean: We've discussed how to plan your ideas quickly under a time limit.

Carl: Yep.

Jean: So now we're going to look at how you can use sentence structure, bold word choices and effective punctuation to create effects for your reader.

Carl: Excellent. Let's start with varying your sentence structure. Using a mix of short and longer sentences creates rhythm and keeps your writing engaging.

Jean: Exactly. Short sentences can increase tension or drama and one-word sentences add impact.

Carl: Whilst longer complex sentences can build atmosphere or reveal emotion.
Try combining different sentence types to control the pace and flow of your story.

Jean: And also look at the structure of your writing as a whole. You can use punctuation, not just for accuracy, but for effect. Semicolons can link two ideas that are closely connected. Colons can introduce related material, like an explanation or a reveal.

Carl: And yes, you can use exclamation marks to show strong emotion like excitement or surprise, but don't overuse. Save exclamation marks for moments that really need impact.

Jean: Thanks, Carl.

Next, in your creative writing toolkit is the language you use. The words you use and how you use them, create an atmosphere.
For example, if you're writing about something being scary, you could use ‘terrifying’, ‘creepy’ or ‘unnerving’.

Instead of ‘worried’, try ‘anxious’, ‘uneasy’ or ‘on edge’, and rather than ‘loud’, you might say ‘deafening’, ‘thunderous’ or ‘ear splitting’.

Carl: I love those examples, Jean. You could also bring your writing to life with figurative language. Things like similes, metaphors and personification.

Jean: A simile compares one thing to another to sharpen the image. For example, ‘the silence hung like a thick fog’.

Carl: A metaphor describes something as if it is something else to create a strong impression. For example, ‘Her confidence was a wildfire spreading fast’.

Jean: And personification gives human qualities to something non-human. For example, ‘The wind hammered the windows demanding to be let in’.

Carl: That's a great example, Jean,

Jean: Right! It's time for a challenge, and feel free to make notes and join in. Let's take a couple of sentences on a simple subject and make them as captivating as possible for a reader. Try this one. Carl, tell us about a stormy night while varying your sentence structure.

Carl: Okay, I'm going to give this my best shot.

‘As the rain lashed the streets outside and the wind rattled the roof tiles. She made her way cautiously up the dimly lit staircase. Thunder clapped over the house. Darkness’.

Jean: Oh, now I want to know what happens next. Those changes in sentence structure and rhythm really build attention. You've got long descriptive sentences that set the scene and create suspense.

And then that short final sentence, ‘Darkness’, delivers a sudden shock for the reader and me.
It's a great example of how varying your sentence length can create drama and keep the audience on edge. As we already know, the character is on a dimly lit staircase and now suddenly it's totally dark as well.

Carl: And here's a challenge for you, Jean. Give me a strong opening to a magazine article about everyday things that we can do to help the environment.

Jean: Okay, let me see what I can do. ‘Did you shower today? Did you recycle your rubbish? Small decisions can make a big difference’.

Carl: Ooh, that's powerful stuff. Using rhetorical questions here.

That's a persuasive technique that can make the reader stop and think about their actions. Then the short statement, ‘small decisions can make a big difference’, gives a clear, memorable message that motivates the reader to take responsibility. The fact that you said small things can have a big outcome is very clever.

Jean: Thank you. Thank you.

Carl: Right then, listener, I hope you have some tools now to help your creative writing and persuasive prose in your GCSE. Thank you for listening to the Bitesize English Language Exam Skills podcast.

Jean: Remember, you can find the rest of the series right now on BBC Sounds.