IGCSE

English Language (Specification A)

Teacher’s guide

Edexcel IGCSE in English Language (Specification A) (4EA0)

First examination 2011
Issue 2
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Acknowledgements
This guide has been produced by Edexcel on the basis of consultation with teachers, examiners,
consultants and other interested parties. Edexcel would like to thank all those who contributed
their time and expertise to its development.

References to third-party material made in this document are made in good faith. Edexcel does
not endorse, approve or accept responsibility for the content of materials, which may be subject
to change, or any opinions expressed therein. (Material may include textbooks, journals,
magazines and other publications and websites.)

Authorised by Roger Beard

Prepared by Lucy Stewart
All the material in this publication is copyright
© Edexcel Limited 2010
Introduction
The Edexcel International General Certificate of Secondary Education (IGCSE) in English
Language (Specification A) is designed for schools and colleges. It is part of a suite of IGCSE
qualifications offered by Edexcel.

About this guide

This guide is for teachers who are delivering or planning to deliver the Edexcel IGCSE in
English Language (Specification A) qualification. The guide supports you in delivering the
course content and explains how to raise the achievement of your students; it should be looked
at in conjunction with the following publications:
• the IGCSE English Language (Specification A) (4EA0) specification
• the IGCSE English Language (Specification A) (4EA0) sample assessment materials
(SAMs) (which includes the mark schemes)
• the Edexcel Anthology for IGCSE English Language (Specification A) and IGCSE English
Literature (available on our website).
This guide:
• expands on the information about course requirements within the specification
• explains assessment procedures
• suggests teaching approaches to some of the anthology pieces
• provides examples of course planning.
Contents
Why choose this qualification? 1
Support from Edexcel 2

Section A: Qualification content 3

Introduction 3
Information for Edexcel centres 4
Information for centres starting the Edexcel IGCSE for the first time 6

Section B: Assessment 7
Assessment overview 7
Assessment Objectives and weightings 9
Assessment summary 11
Examination questions 13
Using the mark scheme 22

Section C: Planning and teaching 23

Course planner 23
Teaching ideas 29
Section A of the anthology 29
Section B of the anthology 35
Coursework 43
Resources 56
Why choose this qualification?
The Edexcel IGCSE English Language (Specification A) qualification enables students to:
• develop their understanding of the spoken word and the capacity to participate effectively in
a variety of speaking and listening activities
• develop the ability to read, understand and respond to material from a variety of sources,
and to recognise and appreciate themes and attitudes and the ways in which writers achieve
their effects
• develop the ability to construct and convey meaning in written language, matching style to
audience and purpose.
Key features and benefits of the qualification
• A free anthology of reading material available to download at the beginning of the course
contains a range of reading material.
• The anthology contents and the examination questions are designed with the needs of an
international entry in mind.
• A wide range of reading and writing tasks.
• Two routes for assessment: 100% examination, or 70% examination and 30% coursework
(Edexcel-approved teaching institutions only).
• Assessment opportunity in January and June examination series.
• Coursework option includes assessment of speaking and listening.
• Gives progression to AS and Advanced GCE in English Language, English Literature or
English Literature and Language, or equivalent qualifications.
Visit www.edexcel.com/igcse2009 for more information about this IGCSE and related resources.

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Issue 2 – January 2010 © Edexcel Limited 2010
Support from Edexcel
We are dedicated to giving you exceptional customer service. Details of our main support
services are given below. They will all help you to keep up to date with IGCSE 2009.

Website
Our dedicated microsite www.edexcel.com/igcse2009 is where you will find the resources and
information you need to successfully deliver IGCSE qualifications. To stay ahead of all the
latest developments visit the microsite and sign up for our email alerts.

Ask Edexcel
Ask Edexcel is our free, comprehensive online enquiry service. Use Ask Edexcel to get the
answer to your queries about the administration of all Edexcel qualifications. To ask a question
please go to www.edexcel.com/ask and fill out the online form.

Ask the Expert

This free service puts teachers in direct contact with over 200 senior examiners, moderators and
external verifiers who will respond to subject-specific queries about IGCSE 2009 and other
Edexcel qualifications.
You can contact our experts via email or by completing our online form. Visit
www.edexcel.com/asktheexpert for contact details.

Regional offices
If you have any queries about the IGCSE 2009 qualifications, or if you are interested in offering
other Edexcel qualifications your Regional Development Manager can help you. Go to
www.edexcel.com/international for details of our regional offices.

Head Office — London

If you have a question about IGCSE 2009 and are not sure where you should direct it email us
on [email protected] or call our Customer Services Team on +44 (0) 1204770696.

Training
A programme of professional development and training courses, covering various aspects of the
specification and examination is available. Go to www.edexcel.com for details.

2 Teacher’s guide – Edexcel IGCSE in English Language (Specification A) (4EA0)

– Issue 2 – January 2010 © Edexcel Limited 2010
Section A: Qualification content
Introduction
• The IGCSE in English Language (Specification A) (4EA0) is based on the legacy Edexcel
IGCSE in English Language (4355) which has proved to be an attractive and flexible course.
• The IGCSE in English Language (Specification A) (4EA0) is essentially the same as the
legacy Edexcel IGCSE in English Language (4355) in terms of its overall structure, apart
from some modifications within the content of the Edexcel Anthology for IGCSE English
Language (Specification A) and IGCSE English Literature.
• These changes have been introduced in order to give some new set texts, which have been
chosen to add interest and variety for students and centres.
• Because of the introduction of the downloadable anthology, free of charge, centres will have
immediate access to the new texts.
• Tiering has been removed from Paper 1. All students will now sit the same examination,
removing the need to select a tier of entry some months in advance.
• The IGCSE in English Language (Specification A) (4EA0) comprises two assessment routes:
o route one – 100% written examination paper (Paper 1 and Paper 2)
o route two – 70% written examination paper and 30% internally assessed coursework
(Paper 1, Paper 3 and Paper 4).
• Paper 1 – is taken by all students, and makes up 70% of the total qualification. The paper is
divided into three sections. In Section A students will answer all questions on an unprepared
non-fiction reading passage. In Section B students will answer two compulsory questions
based on a passage from Section A of the anthology. In Section C one question will be set to
test students’ ability in writing to inform, explain, describe. The anthology must not be
taken into the examination.
• Paper 2 – is the examination alternative to coursework. Students answer two questions –
testing reading and writing. One compulsory reading question will be set on a piece from
Section B of the anthology and one writing question from a choice of three tasks to explore,
imagine, entertain and argue, persuade, advise. The anthology must not be taken into the
examination.
• Paper 3 (Reading and Writing) – is one part of the coursework alternative to 100%
examination route of study and must be taken with Paper 4. Paper 3 requires students to
complete two assignments (one reading, one writing). The reading assignment must be
based on Section B of the anthology. The writing assignment must be a piece of personal
and imaginative writing.
• Paper 4 (Speaking and Listening) – taken with Paper 3 completes the coursework alternative
to 100% examination route of study. Students complete two assignments (one individual
talk and one group work).

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Information for Edexcel centres
The IGCSE in English Language (Specification A) (4EA0) qualification has been designed to
provide a real sense of continuity for those who have been taking the legacy Edexcel IGCSE in
English Language (4355). It ensures that the format of the specification, papers and teacher’s
guide are similar and easily recognisable. This qualification is also accessible for new centres.
Where there are changes these are minimal, as shown in the following tables.

Topic This qualification Legacy IGCSE (4355)

qualification
Number of tiers A single tier Foundation and Higher tiers
Length of paper Paper 1: Two hours 15 Paper 1: Two hours
minutes (to include reading
Paper 2: Unchanged
time)
Paper 2: One hour 30 minutes
Anthology Section A Five new passages Five passages deleted
Anthology Section B Four new poems Three poems deleted

Anthology pieces
Section A
This qualification Legacy IGCSE (4355) qualification

Anthology pieces Retained pieces Removed pieces

From Touching the Void – From Touching the Void –

n/a
Joe Simpson Joe Simpson
Your Guide to Beach Safety – Harriet Tubman – Jone
n/a
RNLI leaflet Johnson Lewis
Climate Change: The Facts – Impact Alert – Asteroids –
n/a
Kate Ravilious Stuart Clark
From A Game of Polo with a From A Foreign Field –
n/a
Headless Goat – Emma Levine Ben MacIntyre
From A Passage to Africa – Shopping for Romanian
n/a
George Alagiah Babies – Sue Lloyd Roberts
From The Explorer’s Daughter I Never Thought I could be
n/a
– Kari Herbert this Lucky – Lisa Laws
Explorers, or Boys Messing Explorers, or Boys Messing
n/a
About – Steven Morris About – Steven Morris
From Taking on the World – From Taking on the World –
n/a
Ellen MacArthur Ellen MacArthur
From Chinese Cinderella – From Chinese Cinderella –
n/a
Adeline Yen Mah Adeline Yen Mah

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Section B
This qualification Legacy IGCSE (4355) qualification

Anthology pieces Retained pieces Removed pieces

Dulce et Decorum Est –

Disabled – Wilfred Owen n/a
Wilfred Owen
The Road Not Taken –
Out, out – Robert Frost n/a
Robert Frost

Refugee Blues – W H Auden Refugee Blues – W H Auden n/a

An Unknown Girl – Moniza The Country at my Shoulder –

n/a
Alvi Moniza Alvi
Electricity Comes to Cocoa Electricity Comes to Cocoa
n/a
Bottom – Marcia Douglas Bottom – Marcia Douglas
The Last Night (from The Last Night (from
Charlotte Gray) – Sebastian Charlotte Gray) – Sebastian n/a
Faulks Faulks
Veronica – Adewale Maja-
n/a n/a
Pearce
The Necklace – Guy de The Necklace – Guy de
n/a
Maupassant Maupassant

A Hero – R K Narayan A Hero – R K Narayan n/a

King Schahriar and his King Schahriar and his

brother (extract from The brother (extract from The n/a
Arabian Nights) Arabian Nights)

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Information for centres starting the Edexcel IGCSE for the
first time
• For those who are new to this qualification, there are alternative approaches for dealing with
poetry (either as a written paper or as a coursework option). Notes with detailed guidance
and suggestions for course planning, together with examples of students’ work at key
grades, are all in this guide – together with comments on the levels achieved.
• All the reading material required is in the free anthology which is downloadable from our
website – therefore no additional books need to be purchased, no matter what course has
previously been followed.
• This guide includes many practical examples so that new centres can understand clearly
what is needed.
• The flexibility of the qualification (with its two routes) caters for a range of different
circumstances.

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Section B: Assessment
This section summarises the alternative routes which can be taken: Paper 1 is the compulsory
unit; Paper 2 is taken by those opting for the 100% examination route. Those who opt for
coursework take Papers 3 and 4 instead of Paper 2.
Two possible assessment routes
Route one – 100% written examination paper (Paper 1 and Paper 2)
• Paper 1 is externally assessed through an examination paper of 2 hours and 15 minutes
(including reading time)
AND
• Paper 2 is externally assessed through an examination paper of 1 hour 30 minutes.
Route two – 70% written examination paper and 30% internally assessed coursework (Paper 1,
Paper 3 and Paper 4).

Assessment overview
The tables below give a simple overview of the assessment for this course.
We recommend that you make this information available to students to help ensure they are
fully prepared and know exactly what to expect in each part of the assessment.

Route one
Paper 1 Percentage Marks Time Availability
English Language 70% 60 marks Two hours 15 minutes January and June
(Specification A): examination series
Paper code: First assessment
4EA0/01 June 2011
Set and marked by
Edexcel
Single tier of entry
Paper 2 Percentage Marks Time Availability
English Language 30% 30 marks One hour 30 minutes January and June
(Specification A): examination series
Paper code: First assessment
4EA0/02 June 2011
Set and marked by
Edexcel
Single tier of entry

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Route two
Paper 1 Percentage Marks Time Availability
English Language 70% 60 marks Two hours 15 minutes January and June
(Specification A): examination series
Paper code: First assessment
4EA0/01 June 2011
Set and marked by
Edexcel
Single tier of entry
Paper 3 Percentage Marks Time Availability
English Language 20% 80 marks n/a June examination
(Specification A): series
(40 marks
Paper code: for each First assessment
4EA0/03 assignment) June 2011
Reading and
Writing
Coursework
Two coursework
assignments,
internally set and
assessed and
externally
moderated by
Edexcel
Paper 4 Percentage Marks Time Availability
English Language 10% 80 marks n/a June examination
(Specification A): series
(40 marks
Paper code: for each First assessment
4EA0/04 assignment) June 2011
Speaking and
Listening
Coursework
Two coursework
assignments,
internally set and
assessed and
externally
moderated by
Edexcel.

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Assessment Objectives and weightings

Route one
Assessment Objective (AO) % in IGCSE
AO2: Reading
The range of reading provided should include fiction and non-fiction texts, and
should include texts from a variety of cultures and traditions.
The range and purpose for reading should be wide, including reading for pleasure
and reading to retrieve particular information for study purposes.
All students will be required to demonstrate an ability to: 50%
(i) read with insight and engagement, making appropriate reference to texts and
developing and sustaining interpretations of them
(ii) follow an argument, distinguishing between fact and opinion
(iii) understand and make some evaluation of how writers use linguistic and
structural devices to achieve their effects.
AO3: Writing
Students must be given opportunities to write in a wide range of forms and genres
to:
• explore, imagine, entertain
• inform, explain, describe
• argue, persuade, advise.
50%
All students will be required to demonstrate an ability to:
(i) communicate clearly and imaginatively, using and adapting forms for
different readers and purposes
(ii) organise ideas into sentences, paragraphs and whole texts using a variety of
linguistic and structural features
(iii) use a range of sentence structures effectively, with accurate punctuation and
spelling.
TOTAL 100%

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Route two
Assessment Objective (AO) % in IGCSE
AO1: Speaking and Listening (coursework option only)
Students must be given opportunities to:
• explain, describe, narrate
• discuss, argue, persuade
in a variety of formal and informal contexts.
Students will be required to: 10%

(i) communicate clearly and imaginatively

(ii) use Standard English appropriately
(iii) listen to and understand varied speech
(iv) participate in discussion, by both speaking and listening, judging the nature
and purposes of contributions and the role of participants.
AO2: Reading
The range of reading provided should include fiction and non-fiction texts, which
should also include texts from a variety of cultures and traditions.
The range and purpose for reading should be wide, including reading for pleasure
and reading to retrieve particular information for study purposes.
All students will be required to demonstrate an ability to: 45%
(i) read with insight and engagement, making appropriate reference to texts and
developing and sustaining interpretations of them
(ii) follow an argument, distinguishing between fact and opinion
(iii) understand and make some evaluation of how writers use linguistic and
structural devices to achieve their effects.
AO3: Writing
Students must be given opportunities to write in a wide range of forms and genres
to:
• explore, imagine, entertain
• inform, explain, describe
• argue, persuade, advise.
45%
All students will be required to demonstrate an ability to:
(i) communicate clearly and imaginatively, using and adapting forms for different
readers and purposes
(ii) organise ideas into sentences, paragraphs and whole texts using a variety of
linguistic and structural features
(iii) use a range of sentence structures effectively, with accurate punctuation and
spelling.
TOTAL 100%

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Assessment summary

Route one
Paper 1 Description Knowledge and skills
English Language Structure The Assessment
(Specification A): Students must answer ALL of the questions in Objectives covered in
Paper 1 Section A, the TWO compulsory questions from this assessment are:
Section B and the question from Section C. • AO2: 35%
Paper code: 4EA0/01
Section A (Reading) • AO3: 35%
Two hours 15 minutes
(including reading Questions on an unprepared non-fiction
time) passage.
Section B (Reading and Writing)
Reading question
Based on a passage from Section A of the
anthology.
Writing question
A topic based on the passage from Section A of
the anthology which was used in the previous
question.
Section C (Writing)
A writing question (no choice) to: inform,
explain and describe.
This is a single tier paper and all questions
cover the full range of grades.
60 marks overall, 20 for each section.
No anthologies or dictionaries are to be taken
into the examination.
Paper 2 Description Knowledge and skills
English Language Reading The Assessment
(Specification A) Question 1: This is on one piece taken from Objectives covered in
Paper 2 Section B of the anthology. this assessment are:
Paper code: 4EA0/02 Writing • AO2: 15%
One hour 30 minutes Question 2: ONE question from a choice of • AO3: 15%
THREE on:
• to explore, imagine and entertain;
• to argue, persuade and advise.
This is a single tier paper and all questions
cover the full range of grades.
30 marks overall, 15 for each question.
No anthologies or dictionaries are to be taken
into the examination.

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Route two
Paper 1 Description Knowledge and skills
English Language Structure The Assessment
(Specification A): Students must answer ALL of the questions in Objectives covered in
Paper 1 Section A, the TWO compulsory questions from this assessment are:
Section B and the question from Section C. • AO2: 35%
Paper code: 4EA0/01
Section A (Reading) • AO3: 35%
Two hours, 15 minutes
(including reading Questions on an unprepared non-fiction
time) passage.
Section B (Reading and Writing)
Reading question
Based on a passage from Section A of the
anthology.
Writing question
A topic based on the passage from Section A of
the anthology which was used in the previous
question.
Section C (Writing)
A writing question (no choice) to: inform,
explain and describe.
This is a single tier paper and all questions
cover the full range of grades. 60 marks overall,
20 for each section.
No anthologies or dictionaries are to be taken
into the examination.
Paper 3 Description Knowledge and skills
English Language Two coursework assignments: The Assessment
(Specification A) Unit 1 – a piece of writing responding to Objectives covered in
Reading and Writing Section B of the anthology this assessment are:
Coursework Unit 2 – a piece of personal and imaginative • AO2: 10%
Paper code: 4EA0/03 writing to explore, imagine, entertain or to • AO3: 10%
argue, persuade, advise
Internally set and assessed and externally
moderated by Edexcel
80 marks overall, 40 marks for each assignment.
Paper 4 Description Knowledge and skills
English Language Two coursework assignments: The Assessment
(Specification A) Objectives covered in
• An individual talk
Speaking and this assessment are:
Listening Coursework • One group work assignment
• AO1: 10%
Internally set and assessed and externally
Paper code: 4EA0/04
moderated by Edexcel
80 marks overall, 40 marks for each assignment.

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Examination questions
The following section is intended to give not only a clear indication of what the examination
papers will look like, but also to offer practical assistance for preparing students for the
demands of the questions. Since the form of the examination is essentially unchanged from the
legacy Edexcel IGCSE in English Language (4355), teachers and students will be able to find
much relevant material by studying past papers and examiners’ reports. There are some new
examples which reflect the changes in the anthology selection, as well as examples from the
material which was used in the previous specification.
Exemplar examination questions can be seen in the sample assessment materials for Paper 1 and
Paper 2; some are quoted in this section. More examples of reading questions are given in this
guide on the anthology pieces.
It will be noted that the quality of the student responses included is often very high (grade A). It
is recognised that this does not reflect the full range of students’ responses. Nevertheless, the
reason for including scripts of this quality is to give as clear an idea as possible of what
constitutes a really effective answer, which can be of particular value for teaching and
discussion. Some grade C responses are also included – with areas that could be improved.

Paper 1

Section A (Reading)
The compulsory questions which assess AO2 Reading, are designed to test students’ response to
an unprepared non-fiction passage. The passage will be drawn from a range of contemporary
non-fiction, including autobiography, travel writing, reportage, media articles, letters, diaries
and writing which expresses a personal opinion, and the questions will reflect the nature of the
passage. The material will be chosen with regard to what is accessible and appropriate for
students. The pattern of questioning is short, specific questions followed by a more sustained
question drawing on the passage as a whole.
All the Reading objectives will be addressed in the questions in this section. Students will be
expected to read the passage carefully and show ability in their answers to respond to the
writer’s choice of detail, approach to the subject matter and use of techniques. They will also
need to be able to interpret the meaning of the passage, including its implications, and be able to
quote and make textual references to support their points.
Questions will be phrased to be student friendly and to deliver a clear meaning. The shorter
questions will be more factually based and the phrasing more structured, straightforward and
direct, for example ‘What similarities and differences … does the writer notice?’ ‘Find four
examples of…’ Question 3 will require more overall interpretation, for example ‘Show how the
writer is successful in using language to make the situation real to the reader.’, ‘What
indications are there that this is an eyewitness account?’
An example of a passage and accompanying questions can be found in the sample assessment
materials.

Section B (Reading question)

This question, which assesses AO2 Reading, is based on students’ reading of the selected prose
passages from the anthology. Students must answer ONE question on the passage which is
specified. Students will be expected to show ‘insight and engagement’ and to ‘develop and
sustain interpretation.’ Students may be asked explanatory questions, such as: ‘Explain how the
events were a turning point.’ They may also be asked to evaluate character, for example: ‘What
personal qualities does Karen show in overcoming her difficulties?’

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Two typical questions from passages are given below, and indicate the kind of question which
may be found in the full range of passages. See the sample assessment materials for a sample
passage and accompanying questions. A further example for one of the new pieces, with a
student response and examiner comments, is also given.

Explorers, or boys messing about?

How does the writer try to persuade the reader towards his point of view, that the men were
irresponsible and immature?

Chinese Cinderella

How does Adeline Yen Mah present her relationship with her family?

A Passage to Africa — George Alagiah

Example question
In this passage, how does George Alagiah present his views about his experiences as a
television reporter in Somalia?
You may include brief quotations from the text to support your answer.
(10 marks)
Student answer
Grade A
George Alagiah has clearly been struck in a powerful way by what he encountered in Somalia.
He wants to make his readers see what terrible conditions existed there and how fortunate we
are to live in such a different world. He also shows that journalists often just start out by
looking for the best stories they can find. But in this case, the stories really got to him on a
deeply emotional level.
The most powerful effect of Alagiah’s writing is the way he focuses on particular individuals
and their tragedies. He describes the death of the ten year-old Habiba in a graphic way: ‘No
rage, no whimpering, just a passing away’. He is also skilled at creating not only images of the
terrible sights he saw but also uses the other senses to convey the horror, as when he writes:
‘the smell of decaying flesh’.
One of the striking ways he presents his experiences is by drawing attention to a particular
moment or sight. He does this especially when writing about the smile of the unknown man. His
translator’s explanation that he was ‘embarrassed to be found in this condition’ disturbed him
and he could not get it out of his mind. He also realises that he never even found the man’s
name, and feels guilty about that, too. He almost seems ashamed of his life as a journalist and
the way in which he was normally able to report on such events in a detached way.
Overall, then, Alagiah brings across to the reader the way in which people in that situation lack
basic necessities and human respect. However, he also reflects on how he felt to be witnessing
and reporting on these events.

Examiner’s comments
This is a well-focused response which makes very thoughtful points about the writer’s views
and experiences. There are excellent examples focusing on the detail of Alagiah’s language. The
writing is accurate, with only a few minor errors.

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Section B (Writing question)
This question, which assesses AO3 Writing, is based on a topic related to the specified passage
from the anthology which has been used for the Section B Reading question. Although it is
connected to the previous question in subject-matter, it will be assessed for Writing only.
Because of the diversity of the material in the anthology, and the variety of ways in which it
could provide stimuli for writing, none of the writing triplets is specified for this question. Any
one of them could be targeted, but the aim will be to choose a topic that will relate to all
students, and the form and audience required will be similar to those in other writing questions.
Forms might include diary entries, letters (formal and informal), feature articles for magazines
and so on. A variety of audience is also possible, ranging from the general (‘Give your views on
a controversial subject relating to the passage.’) to the specific (‘Write an article for a school
magazine on …’). The readership could also be defined by the given context (‘Write a review of
a film, or book or television programme, suitable for posting on a website, which dealt with a
similar theme to that of the passage.’) Note that the purpose and the audience will define the
style; if the student is asked to write a letter to a head teacher then the choice of ‘street
language’ and other slang would clearly be very inappropriate. Similarly, a letter to a friend
would not be convincing if it did not include some conversational phrasing.
See the sample assessment materials for an example.

Section C (Writing question)

This question, which assesses AO3 Writing, is a ‘freestanding’ question, relating to inform,
explain and describe, such as:
Your best friend has just received some very bad news and their reaction was, ‘There’s no point
fighting it. Just give up.’
Write a letter to your friend explaining why they should adopt a positive approach to the news.
Some example questions, with student responses and examiners’ comments are shown below.

Example question 1

Your school is to have a new building and your head teacher has decided it would be a good
idea to bury a time capsule in the foundations, containing information about the school which
future generations might find interesting. Write a lively account of your school in the form of a
letter to pupils of the future, to be placed in the capsule. You should include information about
the curriculum, sports and school rules.

Student answer
Grade A
Dear student of the future,
If you are reading this, you have obviously been digging up a school from the past, and have
come across our message. I am sure things have changed a great deal from our time in the early
twenty-first century. Who knows, perhaps you do not even go to school (some hopes!). You will
undoubtedly use technological aids far more sophisticated than anything known to us. I can
hardly begin to imagine just how much things will have changed. Anyway, just in case they have
altered beyond all recognition, here is a snapshot of our school life.

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First, the curriculum. Basically, the curriculum is a collection of subjects of all kinds. We have
a thing called the National Curriculum, so people all over England (do you still have England, I
wonder, or are you part of some great new European state?) all take the same subjects. It starts
with English and mathematics and science, which everybody has to take right through to the
age of 16. Lucky us – I love English, and mathematics is not too bad, but I could do with some
rather more exciting science. Somehow we hardly ever seem to get to do real experiments.
We also do history, geography, religious studies and languages, as well as technology, art and
music. There is really quite a lot to take in, I suppose, and we still have some old-fashioned
things called examinations to see how much we have learnt. I hope for your sakes that these are
now obsolete.
One of the best things about school is sport, though. We now have a fantastic range of
possibilities on offer. In our parents’ days, all they did was rugby and cricket, but we have a
really good range of team and individual sports, and our school has a great sports hall and
large playing fields. You may have seen these when you came to dig up the school. They placed
the capsule right underneath the sports hall, which is where we play badminton and tennis and
do gymnastics, weight-training and climbing. Sport is the best part of the week. My favourite is
golf, since I think I am more of an individualist than team player, and rugby has a habit of
giving you nasty injuries, whereas the chance of being struck on the head by a golf ball is quite
remote. Do you know about golf? If not, the idea of whacking a small white ball all over the
countryside and trying to get it into a tiny hole may seem slightly bizarre. But I love it. It’s great
being out in the open. Come to think of it, we even have electronic games where you can play
golf without ever having to leave the house. But what’s the point of that? Sport should be a real
challenge, not a virtual waste of time.
Now for the very difficult subject of school rules. Of course, everyone likes to hate rules, and to
protest that they are just a violation of our freedom. But I am rather old-fashioned about this,
and reckon that if everyone thinks they can do whatever they like, in the end nobody can do
what they want. The worst rules are about what we wear. For some weird reason, it has been
decided that everyone has to look like everyone else – like ‘clones’. We have only just started
cloning animals. Who knows, by your time you may all be clones of some idealized brainy and
super-fit person. I do hope not, because, like I said, I am a bit of an individualist. I don’t see
why anybody should make me wear a bright green blazer and a horrible stripy tie, so that I can
look like everyone else in my class. Uniform, I hate it.
There are some sensible rules though, and the best one is that the most important thing is
respect and tolerance, and treating everyone else like we would wish to be treated. I can’t see
how anyone can object to these rules, and I hope that your society still believes in them
So that’s just a little glimpse into our school life. You probably wonder what I think about
school. We have a saying that ‘school days are the happiest days of your life’. Of course, I can’t
really comment on that, since school days are all I can remember! But I guess on balance it is
not so bad, and no two days are exactly the same.
I hope that this has made you think about what life at school was like for the students of my
generation and that my letter has reached out to you across the years.
Your friend from the past,
Joe

Examiner’s comments
This is a lively and interesting letter, written in an appropriate style. The suggestions in the
question have been have been included and the answer is sustained and well structured. The
writing is accurate and the sentence structure varied.

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Example question 2

‘My room.’
Write a letter to a friend who has never visited you, giving information about the room you
spend most time in.
You should:
• describe what this room is like
• explain what you think of it
• say how you would like to improve it.

Student answer
Grade C
Dear Bethany.
How are things going? It seems ages since we saw or spoke to each other! What you been up
to? Anyway, I just wanted to write you this letter about the room I spend most of my time in. It’s
the best yet. But enough of me just telling you. Let me explain…
This room is one of a kind. It’s not too big nor too small. Quite frankly, it’s actually a
reasonable size. It’s quite dark but that’s only because when I have one of those days at school
or have a fall out with my parents, I just need space and time to myself, you know what I mean.
There’s a huge window on the right next to the door which is directly facing the moon at
precisely twelve o’clock. This room isn’t really the most comforting place but it sure is the most
relaxing. Not too long ago I brought a close friend over, not as close as you, but brought one
over and left him alone while he slept at my house. He told me it was like a stress relief room.
I wanted to make this room a room like no other. The floor is a blue, soft, squeezy kind of
carpet, so when you step on it, it leaves your footprints on it, then rises up very slowly when you
step off. Also I put a two thousand pound sofa in as well. I haven’t the slightest idea why I
decided to get that, I just thought it matched the carpet. I’ll tell you now, though, that sofa was
worth every penny.
You would think I would put a television in it, but guess what?… I didn’t. I decided that
television is not really stress relief equipment, is it? Also I must not forget the one thing that
livens up this room the most… the light switch… Ha, ha, I’m only joking. It’s really my dog,
called Sweet. Well, I couldn’t think of any other name, OK?
At the moment I’m saving up for the last thing that this room needs, of course I have to say it’s
going to be the most expensive thing in the world, but I know in the end I’m going to get it. I
spose your scratching your head thinking of what it could be? Well… it’s you. I need you in this
room with me at all times so we can relieve our stress together. Step on the carpet and leave
footprints all over the place, and I need you with me at all times.
When you get the chance please reply and come down and visit me as soon as possible because
I really think it’s time you saw my room.
Love you loads
James

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Examiner’s comments
This is a low grade C essay. It is lively and personal, has a clear register and tone and has an
appropriate structure for a letter to a friend. The writing informs, explains and describes details
of the room in an appropriate way. To achieve a higher mark, the student should aim for more
ambitious and expressive vocabulary, with greater variety in sentence structure. The
colloquialism is not inappropriate in terms of register, but the writing comes across as rather
lacking in ambition.

Example question 3

‘Entertaining relatives: heaven or hell?’ Write a magazine article, drawing on your own or your
friends’ experiences, explaining how to make things go as well as possible and pointing out
what should be avoided.

Student answer
Grade A*
We can all sympathise when it comes to entertaining the family. And just this once, it would be
so good to ensure the whole event runs successfully and smoothly, whether you’re entertaining
four or forty. First of all, a truly happy family is a well-fed family; keep them quiet for as long
as possible by cooking and presenting an enormous and magnificent meal and insisting no-one
leaves the table until every last tasty dish of food is gone. This may also provide an excellent
chance to catch up with those whom we don’t get to see so often (out of choice or chance).
Conversely, it’s best not to end up sitting next to the aged relative who will bore the life out of
you by droning on about the weather or an excellent shot they made in golf that morning. It may
be wise to have some sort of elaborate seating plan; that way, any potential arguments between
certain relatives who nearly came to blows at the last family gathering can be avoided for as
long as possible.
Secondly, ensure some form of entertainment is provided. Bored relatives are even less fun than
unfed relatives, and again, all dull conversations can be kept to a minimum. Board games work
fine, but any team games are fantastic at bringing the different age groups of the family
together. Warning: some relatives (Uncle George) may get over-competitive; avoid this by
making regular offenders the judge or host of the game.
And finally, always make sure your relatives know when to call it a day – it is possible to have
too much of a good thing! Subtle hinting on your part may be necessary, my personal favourites
including, ‘Gosh, isn’t it getting late?’, accompanied by looking at your watch every five
minutes. Be warned. This does only work at night – I would suggest the former at two-thirty in
the afternoon.
But I reckon the main thing to remember, however your day pans out, is that you should just
make the most of your family’s company – blood is thicker than water, so make the most of your
relatives while you can – and perhaps keep Auntie Dorothy away from the wine. Again.

Examiner’s comments
This is a good grade A* essay because it is a lively, well-expressed and amusing article. It has
confident and effective stylistic flourishes, and the reader is engaged and entertained with witty
information and anecdotes. The register and vocabulary are fit for purpose and the writing is
technically assured, making its points concisely and effectively.

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Paper 2

Question 1 (Reading)
This question, which assesses AO2 Reading, is based on students’ reading of the selected poems
from the anthology. Students must answer ONE question on the poem which is specified. Below
is an example of a question with a student answer and examiner comment.

Example question

Look again at the poem ‘Electricity Comes to Cocoa Bottom’ and show how the poet presents
the relationship between the physical environment and the events and feelings portrayed.
In your answer you should make close reference to the language of the poem.
Student answer
Grade A
The poem ‘Electricity Comes to Cocoa Bottom’ has very strong links to nature and the physical
surroundings of the setting are all interlinked to the main series of events. This is a way of
seeking to place more importance on the occurrences in the poem. It gives a sense of nature
being replaced by human creations and of expectation.
‘Electricity Comes to Cocoa Bottom’ uses a lot of natural imagery to describe the small village
of Cocoa Bottom. It also uses the reactions of the people in the village to enhance the
importance of the occurrences.
All the children and Grannie Patterson had gone to see Mr Samuel’s lights. This gives examples
of the oldest and youngest of the populus, thus suggesting that people young and old went to
witness the glorious event. There is a sense of dramatic irony in the way the children ‘waited’
for sunset so they could see the lights while, in the meantime, they used oil lamps to light the
dark around them.
A significant image is ‘The cable was drawn like a pencil line across the sun. This shows two
things. Firstly it symbolises how the arrival of electricity is crossing out the old natural light as
if it had become obsolete. But it also shows that the sun is low in the sky now as if the sun is
preparing for this event.
Animal imagery is introduced through the fireflies and ‘kling-klings’ (birds). The way that the
fireflies ‘waited in the shadows/Their lanterns off shows that they were respecting and
anticipating the arrival of electrical light. The birds also seem to be creeping in to view the
event.
The breeze and bamboo seem to stop their swaying in anticipation of the event and the stanza
finishes with the words ‘Closing, Closing’ which builds anticipation.
‘Light!’ begins the next stanza of ‘Electricity comes to Cocoa Bottom. This short, monosyllabic
word grabs the attention. Assured technical knowledge is shown here. Mr Samuel is then deified
through the description that follows. The silhouette that is Mr Samuel, the gasps and ‘fluttering
of wings’ all seem to show the power that Mr Samuel now has over the environment.
‘Such a swaying, swaying’ and ‘tweet-a-whit’ shows how, now this has happened, the bamboo
and birds resume their natural exploits. The wind blows the grass, bending it into a bow as if
nature is bowing to the one in control of the light.
The final stanza creates a cyclical structure with the lighting of the oil lamps and suggests that
although this momentous occasion has taken place, not everything has changed.

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The poem therefore relies heavily on the surroundings to increase the importance of the events
occurring. Nature holds its breath to the new era of man-made light and then continues its
workings afterwards.

Examiner’s comments
This is a grade A essay because it presents a strongly reasoned argument in a clear structure and
contains a variety of perceptive points on language. It also uses a wide range of examples.

Question 2 (Writing)
This question, which assesses AO3 Writing, is a freestanding question, relating to one or other
of the triplets: explore, imagine and entertain; and argue, persuade and advise.

Question — Advise

You have been asked to give a talk to students who are new to your school or college, giving
advice on how to approach study and lessons, and on the school rules.
Write the script for the talk that you intend to give.

Question — Argue

Write an article for a magazine arguing for more expenditure of money on educational resources
for your school.
Student answer
Grade A
Computers are essential. Editor, I agree and communicate my wishes and support for a
campaign. We should not be reduced to scrounging for money off parents and pupils. Today, I
ask you to rise up and incite your interest in information and communication technology.
It is the narrowminded and negative bureaucrats that dictate the measly money given to schools
and colleges for technology. I believe, and I am certain, that nobody could deny this as a
falsehood, that children have the right to an excellent education and it is time that our
expectations of our Government is matched by spending on technology.
In my own school, we are reduced to the level of a ‘Third-World’ education. In many a case, I
am forced to share a single computer with a collection of classmates. We are forbidden to print
in colour and the size of our text is the smallest imaginable; the school simply cannot afford the
ink or paper to allow us the ability to express ourselves creatively and explore our
imaginations.
Meanwhile, in the private sector, pupils perfect their coursework with professional documents.
Learning is interactive, it is a joy to teach and a pleasure to gain knowledge. How can even the
brightest of state school pupils hope to compete? This is an issue that cannot be ignored as
places at university become harder and harder to earn. It is those that are successfully
stimulated that can expect to win.
There has also been a scandalous rife in spending for physical education. This is senseless,
from a Government that alledges its support for education and improvement. Whilst money is
whittled away on footballs and hockey boots, we as a country are allowing the minds of the next
generation to deteriorate. This waste of funding prevents the academics of the future from
development of their learning. Computers are a gateway to a world of information and opinion.

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The student can be introduced to an involving array of data, images and graphics that show life
and intellect as entertaining and enjoyable.
Henceforth, every man, woman and child must confront this scandal. Technology is our only
hope, and so I place my hope in you, the public. We must not allow this neglect to continue, it is
only through unity that we can overthrow the tyranical principles of the Government that
prevents teachers and pupils from the right to learn.

Examiner’s comments
This is a very effective answer, with good use of rhetoric, vocabulary and sentence structure.
There is a strong sense of the student’s beliefs on the subject, and the writing uses ambitious
phrases, mostly successfully.

Question — Explore

In a magazine article, explore what you see as the most important challenges facing teenagers in
today’s world and how they try to deal with them.
Student answer
Grade A
On considering this question I begin to feel my own emotions take over; no longer am I calm,
reserved and un-biased but my true opinionated self has burst out of its shell. There are so
many challenges to teenagers in today’s world that it is virtually impossible to decide at which
point to start; in my honest opinion the greatest and most important challenges of today come in
avoiding several things. Fashion, drugs and falseness.
To start with the former. I do not mind admitting it but I am what many magazine columnists or
clothes analysts call a ‘fashion victim’, not, I hope, because I look bad in what I war, but
because I care far too much about it. In this sense I have failed miserably in the challenge to
avoid fashion awareness. Walking down the street in any town or city teenagers are rife, the
several different ‘latest styles’ are flaunted endlessly on body-beautiful superstar look-alikes.
Anyone wearing last months fashion is ensured a wide berth when making her way down the
road; the slogan ‘life is a catwalk’ flashing up tirelessly on bilboards boring into the minds of
the teenagers. You may well ask ‘what is wrong with this? People grow out of it.’ This may well
be true, but the competition between rival teenagers is a horrible thing. I do not know whether
you have visited a girls school recently, but I have. Let me tell you it is not pleasant. Rival
gangs patrol the corridors, each with their own trade mark fashion statement, such as pink
socks or hair tie. The ‘sad’, ‘uncool’ group is instantly recognisable, their trademark is having
no ‘fashion sense’ whatsoever. No one speaks to them or even acknowledges their presence.
A perhaps more serious issue is drugs: I say perhaps because in my experience it is much easier
to avoid taking drugs than nearly everything else. However I gather that, in this case, I am an
exception; for the entirety of my school life I have been warned of ‘peer pressure’ and how ‘not
to give in’. Again, I have no recollection of having to make an effort to avoid taking drugs, but
on every street corner it is plain that it is occuring all the time. It is incredible how many groups
of six to seven teenagers sit around smoking or taking drugs, in full daylight, despite being
underage. It is, I’m sure you’ll agree, very sad to see, as you know that in taking drugs they are
effectively ruining their lives, their job prospects and their quality of life in the future. In this
case I do not believe that the challenge is so hard to take on, but it is the recognition of the
challenge which poses the primary problem.

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In answer to this there are not a huge number of solutions, perhaps the main one is to get the
school around the country to provide more talks on the harmfulness of drug-taking. Certainly
the many lectures I’ve attended on this subject, have been amusing but not very persuasive. The
use of shocking statistics or pictures could help the dilemma.
I move on to my final point: to be yourself. There is nothing worse, I believe, than really liking
someone and then finding out they were just pretending to like you. Alternatively it is awful
when you become amiable with someone, but they think you are someone whom you are not. I
believe that it is better to be yourself and to show your own feelings towards a person or
something rather than keep up a pretentious attitude in front of them
A music teacher invites you to sing in a school concert, needless to say you don’t want to, but
instead of voicing your inner feelings you lie and inform him you have an extra English lesson.
To cut a long story short a very embarrassing conversation ensues, before which the teacher
has already worked out the original motive behind the falsity.
I have just failed the challenge, I have succumbed to lying and producing a false excuse. As I
have just proved there is absolutely no point at all in lying, other than to preserve the feelings of
the person in question, who ultimately is going to end up more offended than he previously
would have been. Therefore I would argue that maintaining and telling the truth is a crucial
part to the life of a teenager in today’s world, and a huge challenge to keep up.
Without doubt there are more harmful things which a teenager must avoid, and more positive
things he or she must do, such as concentrate on schoolwork and not be distracted by items
such as television. A teenager, I believe, should also maintain a healthy lifestyle. However the
three challenges I wrote on, I believe provide a balanced and more economical view on life.
Rather than spend money on fashion items or take drugs or lie there are many more important
things to spend your life doing.

Examiner’s comments
This is a very thoughtful and maturely written approach to the subject. The examples are
appropriately chosen, and the argument is constructed to make clear and effective points.
Writing has a good command of vocabulary, despite the occasional slip in spelling and
punctuation.

Using the mark scheme

The mark scheme gives the responses we expect from students. Indicative answers are given but
during the standardisation of examiners process the mark scheme is updated and expanded to
cover unexpected, correct student responses.

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Section C: Planning and teaching

Course planner
The course is designed to be taught over two years, or five terms, but it is possible to reduce this
time to one year. Much will depend on the amount of teaching time available for teaching
English, and on the ability of the students. It should be possible to cover the course in one year
or, given that there are two series of examinations, one in June and one in January, for a period
between one and two years, depending on when the course starts. The exemplar plan that
follows could be compressed by combining two terms’ work into one. Centres are, however,
reminded that English skills are cumulative, and the more time students are given to cover the
course, the more likely they are to succeed.

An example of course planning

There are many valid ways of organising the course. Teachers will have their preferred order for
dealing with the materials. However, many find it useful to group the passages and poems
studied into a small number of key themes. The table on the following pages shows a possible
five-term course plan with such a thematic approach, although other titles or links can be made.

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Term 1 of 5 — Exploration and self-discovery
Theme/focus of study Outcomes

Anthology, Section A: Non-fiction Reading AO2 (i), (iii)

From Touching the Void (Use work sheets in the subject-specific
From Taking on the World section of this guide for these texts.)

From A Game of Polo with a Headless Goat

Anthology Section A: students study and
discuss personal narratives, including features
Anthology, Section B: Literature such as style, structure, viewpoint, creating a
An Unknown Girl sense of place and atmosphere, building
tension.
A Hero
Anthology Section B: students study and
discuss the two texts; focus on use of
metaphor in the poem, treatment of theme of
courage in the story.

Writing AO3 (i), (ii), (iii)

Students practise skills studied above, by
writing one or two pieces:
• autobiographical writing, eg a challenge
overcome (inform, explain, describe)
• story illustrating courage, moral or
physical (explore, imagine, entertain).

Coursework option
Written
Unit 2: Writing AO3 (i), (ii), (iii)
The topics already given for the examination
route (above) could be used to produce a
coursework unit.

Speaking and Listening AO1 (i),(ii), (iii)

Individual talk.
A talk to the class on an individual interest or
experience (explore, imagine, entertain).

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Term 2 of 5 — The female perspective
Theme/focus of study Outcomes

Anthology, Section A Reading AO2 (i), (ii), (iii)

From The Explorer’s Daughter Section A: students study and discuss
biographical and autobiographical writing,
From Chinese Cinderella
including features such as style, structure,
viewpoint, selection of detail, presentation of
fact/opinion.
Anthology, Section B
King Schahriar and His Brother (from The Section B: students study and discuss
Arabian Nights) techniques and features of short-story
narrative, including style, plot, character,
The Necklace theme, viewpoint, tone/mood.
Veronica Coursework task (below) could also be used as
a written outcome.

Writing AO3 (i), (ii), (iii)

Students practise skills studied above, by
writing one or two pieces:
A short story on a title chosen by themselves
or teacher (explore, imagine, entertain)
A discursive essay on a gender theme, such as
equality (argue, persuade, advise).

Coursework option
Written
Unit 1: Reading AO2 (i), (iii)
Essay on the short stories, eg compare and
contrast the roles of the major female
characters in TWO of the following stories:
King Schahriar, The Necklace and Veronica.

Speaking and Listening AO1 (i), (ii), (iii),

(iv)
Group work.
Class discussion/debate on a gender issue, eg
co-education, women’s role in society (inform,
explain, describe).

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Term 3 of 5 — Dilemmas and dramas
Theme/focus of study Outcomes

Dilemmas and dramas Reading AO2 (i), (ii), (iii)

Anthology, Section A Section A: students study and discuss
reportage and media, especially the use of
Your Guide To Beach Safety
language to interest the reader and to convey
Climate Change: The Facts information; use of direct speech; structure;
Explorers, or Boys Messing About? headlines.
Section B: study of poems, looking at subject
matter and theme, purpose, form and style
Anthology, Section B (including use of figurative language).
Out, Out Writing AO3 (i), (ii), (iii)
Electricity Comes to Cocoa Bottom Students practise skills studied above, by
writing one or more pieces:
• a feature article for a magazine, with a
specific readership, on a topic chosen by
student/teacher (explore, imagine,
entertain)
• a letter to a newspaper arguing the case for
or against a controversial opinion (argue,
persuade, advise)
• a critique of one (or both) of the poems
studied, exploring a personal response.
Coursework option
Written
Unit 1: Reading AO2 (i), (iii)
Topic (c) (above) could be developed for a
coursework task.
Unit 2: Writing AO3 (i), (ii), (iii)
Write a feature article for a magazine, with a
specific readership, either (a) arguing the case
for a controversial opinion (argue, persuade,
advise), or (b) on an entertaining topic (explore,
imagine, entertain).

Speaking and Listening: AO1 (i), (ii), (iii),

(iv)
Group work
Small group problem-solving task or pair work
on poems (inform, explain, describe).

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Term 4 of 5 — War and conflict
Theme/focus of study Outcomes

War and conflict Reading AO2(i), (iii)

Anthology, Section A Section A: students study and discuss the
From A Passage to Africa writer’s presentation of a war-torn country in
the autobiographical account, considering how
information is conveyed; structure; viewpoint
Anthology, Section B and tone.
Disabled Section B: students study and discuss the
Refugee Blues writers’ presentation of war in literary texts,
including the use of language (especially
The Last Night figures of speech), rhythm and rhyme in the
poetry.

Writing AO3 (i), (ii), (iii)

Students write imaginative and/or critical
responses to the above texts.
Contrasting letters/diary entries of a soldier in
the front line (explore, imagine, entertain).
Write a critique of either of the poems or of
‘The Last Night’, exploring a personal
response to them (argue, persuade, advise).
Coursework option only Coursework option
Assemble coursework folders and award Written
marks.
Unit 1: Reading AO2 (i), (iii)
Finalise Speaking and listening marks. Compare and contrast the presentations of the
Internal standardisation procedure. lot of soldiers and civilians in a time of
conflict in ‘Disabled ’ and ‘Refugee Blues’.
Unit 2: Writing AO3 (i), (ii), (iii)
Topic in the examination route could be
developed to produce a coursework unit.

Speaking and Listening AO1 (i),(ii), (iii)

Individual talk
Present a TV journalist’s videophone report,
from the frontline of war, for a national/
international audience (explore, imagine,
entertain).
Mock examination

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Term 5 of 5 — Preparing for the examinations
Theme/focus of study Outcomes

Cover any remaining subject content n/a

Final revision
Practice questions

Coursework option
Ensure deadlines are met for submitting marks
and sample folders.

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Teaching ideas
Approaches to teaching the anthology
The following notes are intended to provide some support and framework for the teaching of the
Edexcel Anthology for IGCSE English Language (Specification A) and IGCSE English
Literature. They are not definitive. They should be developed and tailored by teachers to suit
their own purposes. They are not intended to be copied and distributed to students.

Section A of the anthology

The following examples are taken from the two extracts: From Taking on the World – Ellen
MacArthur and From Touching the Void – Joe Simpson. These two pieces lend themselves
naturally to being linked together in a teaching unit, for example under a thematic heading such
as ‘Exploration and Self-Discovery’.

Taking on the World — Ellen MacArthur

Context
This is an extract from Ellen MacArthur’s autobiography. It deals with an emergency she faced
on the 44th day of the Vendée Globe yacht race when she had to replace an essential sail. The
passage highlights the enormous physical and psychological challenges in sailing alone in heavy
seas near Antarctica. The fact that it is Christmas and that she is female and small – most
competitors were large, male and physically strong – makes it even more extraordinary. The
‘Mark’ referred to in the last paragraph is Mark Turner, a close friend and sailing expert. Note
that though MacArthur faces the physical challenge alone, she has the means, by
communication technology, to keep in close contact with the rest of the world.

Structure and form

This is prose autobiography, with a strong narrative element. It is structured in paragraphs
following the sequence of time.

Language
Ellen MacArthur, not very surprisingly, considering the nature of her achievements, insisted on
writing the book herself, so, unlike many sporting autobiographies, the words are her own and
not a ‘ghostwriter’s’. The style is unaffected and frank and perhaps all the more powerful for
being very personal. The challenge may be a superhuman one, but the human being involved
seems subject to the same feelings as the rest of us, so much so that you wonder what the
motivation is, unless it is the challenge itself.
There is much use of the first person pronoun. Other features of style include:
• use of technical language (not overdone) giving a sense of the reality of the situation
• straightforward, direct language; active verbs (climbed, worked, agonised, streamed),
limited and precise use of adjectives and adverbs; repetitively structured sentences often
using a first person construction
• use of words/phrases/clauses that suggest struggle, effort or challenge – the hardest climb to
date; there would be no second climb on this one
• many conversational features – for example contractions (I’d), fillers (odd massive wave),
use of the verb to get and words like thing, repetition of words within a sentence for
emphasis – add immediacy to the writing, though there is some loss of refinement

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• syntax begins to break down as the passage reaches its climax; she even breaks into direct
speech, as though talking to herself – not far now, kiddo, come on – again adding to the
sense of urgency and drama; it makes the reader feel present
• occasionally more elaborate phrasing, including comparisons, is used – as if I was stepping
out on to the moon; This is what it must look like to the albatross; I felt like a million dollars
– but most of the writing is uncompromisingly literal – I couldn’t feel my fingers
• strong focus on words that convey detail – of features and equipment of the boat, including
the height of the mast, the weather, the waves – again giving a strong sense of actuality
• similarly direct language is used to detail her feelings – agonised, exhausted, rallied – and
to convey the physical and psychological effort required – This was by far the most
dangerous part
• the strongest phrasing, reflected in the use of more complex words, is often linked to
moments of potential danger, sometimes suggestive of near panic – a world over which I
had no control; you are a passive observer; the frustration was unreal; no time for
complacency now
• humorous lightening of tone at the end with the reference to Santa.

Questions for students

1 Describe the climb briefly in your own words, making clear what the purpose and problems
were.
2 Choose three words or phrases which you found effective and vivid in the passage in
bringing out Ellen MacArthur’s thoughts and feelings, and carefully explain your reasons
for choosing each one.
3 Choose three words or phrases which you found effective and vivid in the passage in
bringing out the dangers and difficulties she faced, and carefully explain your reasons for
choosing each one.
4 Basing your ideas on the passage, what would you need to be a successful competitor in a
round-the-world solo race? Think about personal fitness, qualities of character and
equipment.
5 Is there anything in the passage that explains why Ellen MacArthur took part in this
dangerous race?

Example examination questions

Paper 1, Section B
From Taking on the World
• Reading: How does this passage bring out the thoughts and feelings of Ellen MacArthur as
she sails alone in a race around the world?
• Writing: Write about an occasion when you were in a difficult situation. Explain how you
overcame the problems.

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Example coursework activities
Paper 3, Reading and Writing
• Writing: Write a short story involving a challenge, an unexpected hero and a surprising
outcome.

Paper 4, Speaking and Listening

There are various possible outcomes. For group work, a small- or large-group discussion on
what makes people (especially young people) take risks might be productive. For the individual
talk, students might be asked to give a talk on a challenging or adventurous activity or decision,
in which they were involved. The questions above could be used for paired discussion or small
group discussion. A representative who reports the group’s findings back to the class could also
be assessed for their individual talk. Another possibility is a student emulating Ellen MacArthur
by presenting a monologue, based on character in a film, or book, or in a real-life situation. The
monologue should reveal the character’s thoughts and feelings in a challenging situation.

Follow-up activity
Visit Ellen MacArthur’s website for further background material – www.ellenmacarthur.com –
or read her book Taking on the World.

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From Touching the Void — Joe Simpson
Context
Joe and his climbing partner, Simon Yates, were nearing the end of a climb in the Peruvian
Andes, when this terrible accident occurred.
The passage provides a focus on an extreme sport at a life or death moment. It raises many
issues. What makes people participate in activities like this? What should one do when faced
with a moral dilemma like Simon’s? Is self-preservation more important than friendship? Note
that, unlike MacArthur, these two are completely on their own.

Structure and form

This extract consists of two pieces of autobiographical prose narrative (perhaps better described
as monologues), giving different perspectives on the same event. Relatively short paragraphs
follow a sequence of time, but the real demarcations are provided by crucial developments in
thought.

Language
Though both accounts are very similar in style, there are significant differences.
Both accounts:
• use of first person narrative
• narrative structure, but evaluation and analysis of the significance of what is happening is
integrated into the storytelling
• use of direct speech to convey the immediacy of thought – You’re dead – and to bring in
other perspectives – I’m dead. Everyone said it … if there’s just two of you a broken ankle
could turn into a death sentence.

Joe’s account
• Conveys pain (and other feelings) by powerful metaphors – pain flooded; a fierce burning
fire.
• Varied sentence structure, varying the pace and reflecting the impact of the moment. Minor
sentences used at particularly dramatic moments – My leg! My leg!
• Strong, direct words, often verbs, used to convey movement, pain, etc – catapulted;
screamed; raced; ripped off.
• Sometimes uncompromisingly direct to intensify sense of reality – the impact had driven my
lower leg up through the knee joint; we were above 19000 feet ... and very much alone.
• Words and images that convey thoughts and feelings vividly and frankly, sometimes in a
sequence that conveys dramatic changes of mood and thought (paragraph 4 A wave of
nausea … I’m dead); phrasing becomes abstract and almost vague at times, suggesting
trauma: something terrible, something dark with dread; teetering on the edge of (panic).

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Simon’s account
• More straightforward language, at least initially, conveying a sequence of mundane events
and feelings largely through the verbs/adjectives – glad, tired, grateful, rested, moved
again.
• Sudden change in pace/urgency in paragraph three with injection of dynamic words – sharp
tug; the rope lashed me.
• Words that relate to logic, contrast with Joe’s pained and emotional response – totally
rational, dispassionately; in a way I hoped he would fall.

Questions for students

1 Summarise briefly in your own words (a) what happened to Joe and (b) what choices face
Simon.
2 What words or phrases in Joe’s account bring out most vividly (a) the pain he suffers as a
result of his injuries and (b) his thoughts and feelings?
In each case choose three examples and give reasons for your choice.
3 What words or phrases in Simon’s account show most clearly the difficult decision he
faces? Explain carefully the reasons for your choices.
4 Compare and contrast the two accounts in:
(a) use of language
(b) perspective and viewpoint
(c) attitudes to what has happened.
5 What do you think Simon should do in this situation? Give him your advice.

Example examination questions

Paper 1, Section B
From Touching the Void
• Reading: Compare and contrast the presentation of the events in the two accounts.
You should comment on the following
– similarities and differences in attitude and viewpoint
– similarities and differences in use of language.
• Writing: Imagine you have a friend who is interested in taking up mountaineering as a
sport.
Write a letter to him either encouraging him to continue or persuading him to stop.

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Example coursework activities
Paper 3, Reading and Writing
• Writing: Think about a real situation, or imagine a fictional one, involving two people who
had very different experiences. Write two contrasting first-hand accounts, giving their
thoughts and perspectives and, as far as possible, differing in the way they are expressed.

Paper 4, Speaking and Listening

The passage is similar to the Ellen MacArthur one, and the same tasks could be used. There are
links also with the ‘Explorers, or Boys Messing About?’ newspaper article. A debate on the
topic of whether the taxpayer should fund rescues is feasible, as is a small or large group
discussion of why young people are attracted to extreme sports. Students could also research
extreme sports (there are many websites devoted to them) and give individual presentations on
them.

Follow-up activity
The extraordinary sequel to the events in the passage is recounted in Simpson’s book Touching
the Void. Students might also like to read a follow-up book written by Simpson called ‘The
Beckoning Silence’, in which he provides further insights into the world of the mountaineer.
This book concludes with a spellbinding account of an attempt on the North Face of the Eiger.

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Section B of the anthology

Out, Out — Robert Frost

Context
Robert Frost (1874–1963) was one of the major American poets of the 20th century. His poetry
is based mainly on the life and scenery of rural New England. ‘Out, Out’ was published in the
collection ‘Mountain Interval’ in 1916. The setting of this poem is a farm and, although the
scenery around the farm is beautiful, life is too hard for it to be enjoyed fully by the family,
even by the young son, who has to work all day cutting up wood with a buzz-saw.
Frost is believed to have written this poem after reading a similar account in a newspaper
article.
Structure and form
The poem consists of a single stanza. It is written in ‘blank verse’, with five stresses to a line
(the ‘iambic pentameter) and a lack of formal rhyme scheme. This form is one which suits the
conversational tone. The poem can be seen as realistic, shocking and dramatic. Students should
consider how the construction of the poem helps to achieve these effects.
The importance of the unusual title is something to be discussed. Particularly because of the
dash after the repeated word Out; this indicates an unfinished statement.
This is a quotation from near the end of Shakespeare’s play, ‘Macbeth’. Macbeth has just
learned of the death of his wife:
‘Out, out, brief candle!
Life's but a walking shadow; a poor player,
That struts and frets his hour upon the stage
And then is heard no more.’ Act 5, scene 5 lines 23–26
Why has Frost chosen to use it?
Frost has used the detached account in the newspaper obituary and given it life, drama and
sympathy for the waste of a young life.
How is imagery used? Look at ‘leaped out at the boy’s hand’.
How does Frost focus on small details to make this scene powerful?

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Language/comments
• The language the poet uses is simple and everyday. Study the use of direct speech.
• The poet’s language raises a number of topics for exploration, such as:
o What use is made of sound, especially at the start of the poem?
o How effective is the use of repetition?
o How much do we learn about the situation and character of the boy?
o What do we learn of the sister, the relationships and the reactions to the boy’s tragic
early death?
o What are the central themes?
o What meaning or message do you take from the poem?

Follow-up activity
There are other poems by Robert Frost that could be looked up, for example Stopping by Woods
on a Snowy Evening, Mending Wall, Meeting and Passing. You can hear Robert Frost reading
this poem (it helps to grasp the rhythm) on www.poets.org, the website of The Academy of
American Poets.
Lea Newman, the author of the book ‘Robert Frost – The People, Places and Stories Behind His
New England Poetry’, gives an account of the real incident behind the poem.

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Electricity Comes to Cocoa Bottom — Marcia Douglas
Context
Marcia Douglas was born in England and grew up in Jamaica. She has given talks on the history
and culture of the Caribbean, as well as her development there as a woman and writer. She is
particularly interested in making cross-cultural comparisons which explore people’s attitudes.

Summary
This poem conveys the phenomenon of electricity coming to a house in a village in the
Caribbean. Both the humans, especially children, and the animals are drawn to witness the
experience, pulled towards it like magnets. The poem is clearly intended as one that celebrates
progress and development, but it does so with a particularly Caribbean flavour.

Ways into the poem

Imagine life as previous generations experienced it, without the domestic luxuries we enjoy,
such as electric lights, running tap water, central heating, electric/gas fires and cookers. Carry
out a role play of a domestic scene where one of these amenities happens for the first time.
• Stimulus material: Imtiaz Dharker’s poem ‘Blessing’ which describes a burst water pipe in a
developing country and the importance of water to the community.

Structure and form

The first two stanzas of free verse are of similar length (detailing the audience settling and then
reacting to this event), whilst the third is noticeably shorter (commiserating their failure to
record it). The line lengths also vary which is particularly significant between stanzas one and
two, since the poem appears to come to a close as the natural light fades: ‘Closing. Closing’,
then bursts into life as the electricity is switched on ‘Light!’

Language/comments
The language used is familiar, yet poetic and descriptive with rhythmic variations. It is a
nostalgic and celebratory poem.
• This poem uses a fictional style, as if telling a children’s story and begins mid-tale Then all
the children … The proper nouns sound fictional Cocoa Bottom …Grannie Patterson which
draws us into the magical moment which is described. We sense a young audience for this
poem and can imagine it being read in an excited and dramatic voice, brought to life via the
many verbs of movement swooped …fluttering …swaying.
• The event is clearly an important one since the children ‘camped’ and the lamps are filled
with oil – expectation is high. Tension and suspense are created:
waiting…watching…waited, reinforced by the alliteration.
• Descriptions are vividly colourful: yellow, orange, and there are many references to light,
natural or man-made lamps…sunset…sun…fireflies…lanterns. The fact that one of the older
generation, Grannie Patterson, tries to view the event surreptitiously enhances its
importance, since it unites all ages.

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• It is ironic that the fireflies’ lanterns are off since they already demonstrate the power the
humans aspire to and a further irony comes from the fact that everyone is waiting for the
dark to come so they can see light! Yet the fireflies, like the birds, the breeze and the
bamboo lining, also anticipate this minor miracle. The personification is especially powerful
here: a breeze… held its breath… bamboo lining… stopped its swaying, as nature too
heralds this new dawn and almost seems in a state of worship and thanks: bowed heads. The
use of onomatopoeia livens the scene – tweet-a-whit – as this poem appeals to several of our
senses, heightening the experience.
• Language is exotic: kling-klings… orange trees… bamboo lining… mongoose ferns.
• The rhythm of the lines and pace slow down at the end of stanza one almost to a standstill,
but then increases as soon as the electricity comes on: Light! Mr. Samuel smiling on the
verandah as the line lengths begin to build again, thus raising their momentum to match the
excitement and enthusiasm felt by the crowd.
• Douglas successfully uses a pattern of three: such a gasp, such a fluttering of wings… such
a swaying, as if, like humans, nature too celebrates this moment by its own natural
movements.
• The poem ends, however, on a regretful note that not one who witnessed the event could
record it (possibly because of lack of literacy or equipment to do so) and thus a sad element
is introduced to this joyous occasion. There is a great sense of disappointment and loss: the
moment had passed.

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Veronica — Adewale Maja-Pearce
Context
Adewale Maja-Pearce lives in Lagos, Nigeria, where he runs Yemaja, an editorial services
agency. His latest book is Remembering Ken Saro-Wiwa and Other Essays. He is well-known
as someone who documents the problems and struggles of the Nigerian people.

Summary
The focus of the short story is the contrasting experiences of young Africans, one male and one
female, in the second half of the twentieth century in African society. The story focuses
especially on the constraints that confine Veronica to a life of poverty surrounded by violence
and brutality, comparing her lot (to an extent self-appointed, since she declines invitations to
escape from the village’s squalor) to the life of opportunity accessible to Okeke through
education, travel and a taste of city life and luxury.

Language and ideas

The story is rich in imagery which explores both the contrasting lifestyles of city and
countryside and the imprisonment and resignation of Veronica’s existence. Okeke is an
intelligent and sympathetic observer, drawn powerfully back, on an emotional level, to the
society he has left for better things, and aware that there is an eternal current flowing through
the villagers’ lives.
The story benefits from an approach which draws students into its fabric and detail through a
focus on detail.

A suggested approach is:

1 Read the opening paragraph only (lines 1-10)
• What clues and hints are there about how the story will develop? Underline or highlight
the key words and phrases. Compare your underlined/highlighted version with another
person’s. Discuss the similarities and differences between the two versions.
2 Read the second paragraph (lines 11-16)
• What do the following words (lines 13-16) suggest about Veronica: ‘… she asked me
endless questions about my school and the town and what I was going to be when I
grew up’?
• What can you predict about how the lives of Veronica and the narrator might unfold
from what we read in lines 1-16?
3 Read the rest of the story
• How accurate were your predictions, based on the first two paragraphs, about Veronica
and the narrator?

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4 Re-read closely paragraphs 2-4 (lines 11-26)
• How does Adewale Maja-Pearce build up an impression of:
– Veronica
– Okeke
– the relationship between them?
• Highlight, in three different colours, words and phrases that relate to Veronica, Okeke
and their relationship.
5 Look again at the next section of the story (lines 27-51)
• How does the writer use dialogue and her own narrative comments to add to the
reader’s understanding of Veronica and Okeke?
6 Re-read lines 52-64
• These 13 lines span a period of 10 years. Why does the writer pass over them so
rapidly? What are the most important things she tells us in this section?
7 Re-read lines 65-112
• Line 65 begins: ‘I was shocked …’ What shocked Okeke about the village and about
Veronica and her situation?
• What do we learn about the causes of the troubles?
8 Re-read the final section of the story (lines 113-142)
• What are your thoughts about Veronica and Okeke in these concluding lines?
• Compare the last line of the story with lines 42-43: ‘I snapped a twig and threw it into
the water. It bobbed on the current and then vanished from sight.’ In what ways could
these words be seen as symbolic?
9 Write a single sentence which sums up the moral of the story, or the ‘message’ the writer
seems to convey.
10 Select an alternative title for Veronica by choosing a word or a group of words used in the
story. Explain and justify your choice.
11 Okeke says (line 139): ‘I cried that night for the terrible waste.’ Who or what do you think
was responsible for that terrible waste?
12 What does Veronica suggest to the reader about gender roles, the effects of education and
the differences between urban and rural life in this society?

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A Hero — R K Narayan
Context
Rasipuram Krishnaswamy Narayan (1906-2001) was an Indian novelist, who wrote in English.
His novels and short stories are largely based on his experiences as a teacher in India and are set
in the imaginary Southern Indian town of Malgudi. They depict daily life in the town in rich and
often comic detail. ‘A Hero’ is a typical example of his style of writing.

General
The story is very economically and dynamically told. Ironic humour is central to its impact. It is
important for students to think about these points, and about how R K Narayan engages our
interest and shapes our response to the story, through use of language (including dialogue), the
structure of the story and so on. There are many examples of stylistic features, but it is less
important for students to show knowledge of technical terms than to show how these work to
further the writer’s purposes. A good understanding of the central characters is also essential,
and of the themes, which include family relationships, growing up and differing concepts of
courage.

Questions for students

1 Read the opening sentence: For Swami events took an unexpected turn. What is the impact
of this sentence on you? How do you think the story will develop?
2 In the argument between Swami and Father (lines 7 to 18), with whom do you agree more?
Which words or phrases in this extract are the most important in shaping your response to
it?
3 Why does Swami think that the idea that he should sleep in his father’s office room is ‘a
frightful proposition’? How does he try to change the subject? Why does he fail?
4 Swami knows his father’s tenacity (line 27). What does this phrase mean?
5 What does the section from line 29 to 51 tell you about the relationships and tensions in the
family? Comment on how Father, Mother, Granny and Swami react to each other in these
lines. How does R K Narayan make this section humorous?
6 Considering what you have learnt so far in the story, what is your view of Swami’s
character?
7 The reader is told that Swami didn’t like the strain of cruelty he saw in his father’s nature.
Looking specifically at the section between lines 50 and 66, do you think his father is
presented as cruel or caring?
8 The plot develops to a climax between lines 71 and 100. How does the writer hold the
reader’s interest in this section? In particular, think about his use of words and sentences;
how suspense is sustained; how Swami’s fears are brought out; and the use of humour.
9 What do lines 96 to 106 tell us about Swami, his father and the burglar?
10 How does Swami react to the praise he receives? What is your opinion of him and what he
did? Which words or phrases in this extract are the most important in shaping your response
to him?
11 How does the last section (lines 110 to the end) add to your understanding of Swami and his
father and the relationship between the two?
12 Looking back again at the first sentence, and your answer to question 1, how have events
and developments turned out to be unexpected for (a) Swami, (b) Father and (c) you, as
reader?

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Sample examination question
Paper 2
How does R K Narayan bring out the tensions in the relationship between Father and Swami
and to what extent have these been resolved by the end of the story?
You should consider the following points
• their differing views on the newspaper article
• their disagreement about where Swami should sleep
• the influence of Granny
• the impact on the relationship of the incident with the burglar in the office
• the writer’s use of language.

Sample coursework activities

Paper 3, Reading and Writing
• Reading: How does R K Narayan make ‘A Hero’ interesting and amusing for the reader?
• Writing: Write an account of the incident that might have appeared in the local newspaper.
• Writing: Write a short story, which develops in an unexpected way, from the viewpoint of a
child.

Paper 4, Speaking and Listening

The questions above could be used for group discussion with formal reporting back of the
group’s findings to the rest of the class. Characters in the story could be ‘hot seated’ to answer
questions related to the text, or questions such as ‘What makes a good parent?’ ‘How do you
teach a child to be self-reliant?’ This approach would provide opportunities for individual talk
(explain, describe, narrate).

Follow-up activity
Research could be undertaken into R K Narayan and his novels, especially ‘Swami and
Friends’. Alternatively, some time could be spent looking at other stories which are written from
a child’s perspective. Graham Greene, who was an influential friend of R K Narayan, wrote
several, including ‘The Destructors’. Saki’s ‘The Lumber Room’ and/or ‘Sredni Vashtar’ have
central boy characters who are comparable to Swami.

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Coursework
This optional component is available only to centres specifically approved by Edexcel
International to offer coursework.
The guidance below should be read in conjunction with pages 9-27 of the IGCSE English
Language (Specification A) (4EA0) specification.

General comments
Coursework provides opportunities for more student-centred work. The best results occur when
students have been encouraged to express themselves in ways which reflect their own interests
and aptitudes. Ideally, there should be some negotiation between teacher and student about the
choice of topic, so that work is tailored to the individual. This is particularly desirable in writing
tasks; the best work usually comes from something which relates closely to the student, a
memorable personal experience or strongly-held views. It is possible to set a common task for a
whole class, but it should be framed in such a way that a variety of approaches is possible. A
centre whose students write very similar essays, making identical points and using the same
quotations, creates difficulties for the moderator. Students will be disadvantaged by such an
approach. More successful centres give their students a choice of tasks of different levels of
difficulty, reflecting the ability range in the centre.
There is no prescribed word length for coursework units; the nature of the task will often define
its length.
Written coursework pieces may be either handwritten or word processed.
Students can draft and re-draft units, but whilst this can be productive, it can also be a waste of
time in a hectic schedule. Written coursework constitutes just 20 per cent of the whole course
and it is important that the amount of time spent on it reflects this. The teacher may check drafts
and give advice to the student, but drafts should not have every error scored, nor should they be
re-phrased in the teacher’s words. The student is responsible for their own work; it is the
teacher’s responsibility to ensure that the work is the student’s own and to authenticate this by
signing the declaration on the coursework front sheet. Plagiarism is a growing concern of
moderators. Usually it is obvious when work derives from a secondary source. Students who
cheat in this way will be severely penalised.
The best approach to both written and oral coursework is one which incorporates them into a
programme of work for the whole subject, providing back-up for examination preparation, as
well as allowing students some degree of control over their achievements and giving
opportunities for self expression.

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Paper 3: Written coursework
This section should be read in conjunction with the information on pages 9-12 and the
assessment criteria for Reading on page 23 and Writing on pages 2-27 of the IGCSE English
Language (Specification A) (4EA0) specification.

Reading

Writing must be based on a piece or pieces from Section B of the Edexcel Anthology for IGCSE
English Language (Specification A) and IGCSE English Literature. AO2 (i) and (iii) must be
addressed to provide an opportunity for students to:
‘read with insight and engagement….sustain interpretations….understand and
make some evaluation of how writers use linguistic and structural devices to
achieve their effects.’

Bearing this in mind, any assignment will need to be analytical and, at least partly, concerned
with language. Empathetic approaches (diaries of characters, extension pieces, etc) would not
allow for all these requirements, but they could be used for the Writing assignment. Essays
should be fully developed not necessarily in terms of length but in ideas. The key word in
writing about ‘linguistic and structural devices’ is ‘evaluation’. Simply feature spotting is not
enough, for instance pointing out a simile or an example of alliteration. Students need to think
and write about the effect of the use of distinctive features.
Task setting is critical. The topic needs to encourage the student’s personal reading of the text,
and to create the potential for detailed study and for discussion of language.
A task which is phrased ‘Write about the character of Swami in ‘A Hero’ is likely to produce
some very boring, formulaic essays and it is not clear where discussion of language would fit in.
With a little rephrasing the question could be made both personal and include an opportunity for
some consideration of the way the story is written. For example: ‘Write about what you have
found interesting about R K Narayan’s presentation of Swami in ‘A Hero’. Now the key words
are ‘you’, ‘interesting’ and ‘presentation’.
Teacher guidance could be given about aspects of the story to be considered in the essay, and
there is also potential for small or large group discussion about it, but the topic now crucially
requires a personal response and some interpretative thinking on presentation. This should
naturally include the writer’s use of language. The quality of the resultant essay will largely
depend on the degree to which the student is able to develop (and of course sustain) an
individual approach to the topic. Another good example of a task on this story is given in the
specification ‘How is suspense created in ‘A Hero’?’

Further examples of tasks

• The central female characters in ‘King Schahriar and his Brother’ and ‘The Necklace’ are
both faced with situations of their own making which threaten to engulf them. Compare and
contrast the strengths and weaknesses of their characters as they are presented in the
stories.
• Wilfred Owen aimed to convey ‘the pity of war’ in his poetry. How does he try to do this in
‘Disabled’?

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Writing

The second assignment requires a piece of personal/imaginative writing. This assignment will
be assessed solely on the writing criteria. The work must address all the writing Assessment
Objectives, but the alternatives ‘explore, imagine, entertain’ and ‘argue, persuade, advise’ are
specified.
It is enough for a task to focus on one of the verbs within a triplet, though this would not
necessarily be exclusive. For instance, a piece which addresses ‘imagine’ is likely also to
‘entertain’, and as already indicated, ‘argue’ and ‘persuade’ are often closely linked.
This is the specification component where students have most freedom. As far as ‘explore,
imagine, entertain’ are concerned, any form of creative writing is possible: narrative,
description, media scripts, diaries, travel writing – the possibilities are infinite. The task may be
individual and original, or it may be an imaginative extension or empathetic response to one of
the texts in the English Language anthology. Often, the best work has been based on the
student’s own experiences, particularly those tasks which deal with a crisis of some kind,
whether light-hearted or deeply serious. Task setting needs to bear this in mind. It is possible to
approach it on a class basis, but potential should be built into the topic to allow for individual
approaches.
‘Argue, persuade, advise’ invite a similarly wide range of possibilities, including discursive
essays, scripts for speeches, advertisement copy, pamphlets, magazine/newspaper feature
articles on a controversial topic and so on.
Analytical essays on anthology pieces would not be acceptable for the writing assignment.

Examples of tasks
• Write an original story of the kind that Scheherazade might have told to entertain her
husband and delay her execution. (Entertain, imagine)
• Write about a time when you were under pressure and had to make a difficult choice. Make
clear exactly what your thoughts and feelings were at the time and how you felt about the
results of your decision. (Explore, entertain)
• ‘If I ruled the world, I would ….’ Write a feature magazine with a family readership
beginning with these words. (Argue, entertain)
• Write the script for a speech to be delivered to your class with the aim of persuading them
to your point of view on a controversial topic. (Persuade)

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Paper 4: Speaking and Listening
This section should be read in conjunction with the information on pages 13-17 and the
assessment criteria for Speaking and Listening on pages 19-22 of the IGCSE English Language
(Specification A) (4EA0) specification.

Assessment Objective — AO1

The Assessment Objectives are straightforward but AO1(ii) requires students to ‘use Standard
English appropriately’. The following definition should provide some help in clarifying this
area.
Standard English is the variety of the English language normally used in writing, especially
printing. It is associated with the education system in all the English-speaking countries of the
world, and is taught to learners to whom English is not their first language. It can be
distinguished from other varieties of English, principally in terms of grammar and vocabulary,
but not in terms of pronunciation, since Standard English is spoken in many different accents
around the world. It is by no means identical with ‘formal’ English, since colloquialisms and
slang are part of it.
For examination purposes, students will be expected to use Standard English – local dialect and
idioms will be unacceptable if the communication of clear meaning to other (ie outside)
speakers of English is impeded – and students will need to speak it with an accent that also does
not impede communication with other speakers of English, whether as a first or an additional
language.

Formal and informal contexts

‘Informal contexts’ include tasks and situations where students are talking to each other, for
instance in small or large group-discussion work, or pair work, where two students may be
analysing a poem together. Conversational and colloquial expression is naturally acceptable
here.
‘Formal contexts’ usually require more careful consideration of register, reflecting the purpose
and audience. A speech in a debate, for instance, will benefit from attention to rhetoric; a talk to
the class and teacher on a hobby will need to take into account the public context and
appropriate terminology.

The Speaking and Listening ‘triplets’

All tasks will need to target one set of the triplet verbs.
Triplet 1
Explain, describe, narrate mainly provide opportunities for individual talk, as follows:

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 Explain
• Make something comprehensible by giving a clear and detailed account of a situation,
problem or sequence of events or actions.
• Give a justification or rationale for one’s own actions and words, or those of another
person.
Examples
o Give a talk to the class explaining either (i) the rules of a game or (ii) the
technicalities of a hobby or (iii) how a new piece of computer equipment works.
o Role play: Firstly, a student who is justifying his behaviour in a situation where he
has broken the rules and secondly, a teacher who is explaining the actions he or
she intends to take in response to this.

Describe
• Give the listener(s) an account or representation of a place, a person or an event.
Examples
o Give a description of a memorable event as though you were reporting it for a
radio station.
o Describe to a group of tourists or travellers, who are in your area for a day, a
number of places they could visit, so that they can make an informed choice of
itinerary.

Narrate
• Tell the story of an actual event, experience or incident.
• Tell a fictional story, as a narrator or as a character in it.
Examples
o Give an account to a friend of a memorable episode from childhood.
o Take the role of a character in a short story and recount what happens from your
point of view (for example the father in R K Narayan's short story 'A Hero'), or
create your own character and give a monologue telling your story.

Triplet 2
Discuss, argue, persuade are mainly associated with group work, as follows.
Discuss
• Speak together purposefully about something which may, for example, involve making
a decision or clarifying an approach or viewpoint or preparing for a specified outcome.
• Exchange ideas and opinions.

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 Argue
• Present reasons in support or opposition to a course of action or an opinion.
• Attempt to prove or disprove that an assertion is true.
• Express, develop and justify a point of view about issues, events, behaviour, attitudes,
values, etc by the use of logical or rational exposition.

Persuade
• Influence listener(s) to accept a point of view on a given topic or argument, or engage in
particular practical actions, by the use of emotive and/or logical appeal.
• Influence a person to behave in a certain way or accept particular beliefs.
Examples
o Discuss the pros and cons of various charities before deciding which one to make a
contribution to.
o Exchange views, in a small group of four or five, on a controversial question, for
example Should the production of genetically modified crops be stopped?
o In a role-play exercise, represent a body of opinion within a committee of students,
which should have representatives of other points of view on it, arguing the case
for a particular line of action and persuading others to agree. A possible topic
might be school uniform or a proposal to change the school rules on mobile
phones.

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Assessment opportunities

As always with oral work, there is a need for a flexible approach to assessment opportunities
and teachers should use their own judgement as to how best to allow their students to succeed.
The information below relates to interpreting the assessment criteria grids (on pages 19-22 of
the IGCSE English Language (Specification A) (4EA0) specification).

Individual talk

‘Individual’ implies a solo effort of some kind, a contribution in which the listeners’ attention is
centred on the student and in which the work is personally created. However, it does not
necessarily mean that the material is entirely self-generated, provided that the contribution itself
is self-contained. For instance, it might be an outcome from group work, typically when a
student is given the role of representative, with the task of reporting back the findings of a
smaller group discussion to a larger group. This would entail not just reading notes out but
structure, development and attention to appropriate register for task and audience.
For any talk to merit inclusion in this category it would need to be sustained and a contribution
of some significance. This should not necessarily be defined by time but by key features like the
depth of detail or the extent to which ideas are expanded. A task should have a natural end
rather than an arbitrary time limit. It need not be uninterrupted, but could be facilitated by
questions or by comments. It does not need to be a set piece; it could be a developed personal
contribution to group work. The individual student, however, must for a period of time be the
centre of the listeners’ attention.
The second paragraph in the ‘general criteria’ column (assessment criteria) provides the key
descriptor for this; a hierarchy of skills is presented from merely showing ‘a limited awareness
of the listeners’ for the lower bands, through to ‘managing listeners’ attention through
sophisticated styles of delivery’ for the highest bands. Also, the nature of the audience is
important, for example the need ‘to adapt to different audiences’; thus a mix of formal and
informal contexts for a talk might provide opportunities for students to enhance attainment.
With regards to the ‘specific criteria’, an individual talk should be used to fulfil the first column
of triplets, headed ‘explain, describe, narrate’. The first bullet point in each band of this column
refers to the quality of the language used. An ability to deal with questions and/or interruptions
could be a key discriminator, so the final bullet point, which relates to this, might be especially
helpful. The nature of the subject matter will also help to define achievement, especially to
access band 7 – which requires ‘challenging subject matter’ – and higher bands.

Typical tasks might include some of the following:

• A talk on an area of interest – the more challenging the topic, the more likely the student is
to access the higher grades. So a talk on a personal hobby might be less demanding than
developing an idea. This might involve an informal context, for example explaining to a
friend the pros and cons of a new mobile phone, or a formal context, for example explaining
the benefits of a GCSE course to prospective students and their parents at an open evening.
This could be extended to very demanding contexts, for instance giving a presentation as
part of a school assembly or delivering a speech for a public-speaking competition.
• Group representative roles in group work, which require reporting back to the class. This
might involve presenting the views of the group after a discussion, possibly involving
problem solving or summarising the ideas of the group.
• Main speeches in debates. These might be relatively brief in terms of time – a matter of a
few minutes – but such speeches are very significant in the context of the task.

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 Examples of possible debating motions:
o this house believes that living in the country is better than living in town
o this house believes that mobile phones should be banned from schools.
The most successful topics are often those linked to issues of current interest.
• An individual presentation, for example giving a review (of a film, book, sporting event or
musical event, etc) to the rest of the class or as part of a simulated radio/TV programme.
• Explanations of specific process – for instance the rules of a game, or the route of a journey.
These more concrete tasks may be helpful for students who lack confidence or specific
interests.
• A talk based on a controversial subject would allow more-able students to explain and
present a strong point of view, thus providing access to the higher grades, whereas
explaining the pros and cons of some aspect of life near to their own experience would
benefit weaker students.

Group work

Group work shifts the focus of assessment from the solo performance to group interaction.
Whilst the expression of a personal viewpoint is important in group work, its effectiveness will
need to be gauged in the context of its impact and influence on the group and on the
development of the discussion, or the task's purpose. Thus many skills are involved, including
the ability to discuss, to debate, argue a case, negotiate and to work for a consensus view or
solution. Being given a role as coordinator or chair for the group may stretch able students, but
it is also possible to attain high marks without taking on a supervisory role.
The word ‘group’ should be interpreted broadly; its size could range from two to any number of
students. Pair work can be very successful – for instance in poetry analysis – but the larger the
group becomes, the more difficult it becomes to structure or manage the task, and the easier it is
for less-confident students to contribute little or nothing. Whilst there is no ideal number,
groups of four or five students provide a forum for everyone to contribute. The composition of
the group is also vital; teachers will need to take into account social and academic factors to
ensure that each group gels, and also to maximise the opportunities for all group members to
make a contribution and provide genuine assessment opportunities.
For assessment purposes, the third paragraph of the ‘general criteria’ provides the key
descriptor, and (as with individual contributions) there is a hierarchy of skills, relating to the
ability to engage both with the purpose of the task and with other members of the group. At the
lowest bands students ‘listen and make some contribution to discussion’; for mid-range bands,
fuller participation is expected and more ‘significant contributions’, whilst at the highest bands
students are expected to show an ability to ‘use different ways to initiate, develop and shape
discussion’.
The second of the ‘specific criteria’ columns, headed ‘discuss, argue, persuade’, provides the
key definers for this kind of work. In the second column, there are three bullet points in the box
for each grade, the first providing gradations in levels of contribution, ranging from the
‘occasional’ (Band 2) to the ‘dynamic and influential’ (Band 9). The Band 7 descriptor's
reference to the management of collaborative tasks provides a useful benchmark; an ability to
do this competently is a good indicator of higher-order skills. Similarly, a Band 8 student should
be able to both ‘initiate’ and ‘sustain’ discussion.

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The second bullet point relates to the degree and effectiveness of the student's engagement with
what is being discussed. At the lower bands the student merely responds generally, whilst at the
mid-range bands they engage ‘with others’ ideas, recognising obvious assumptions and biases’.
At the higher bands the response is required to be even more proactive in its persuasiveness.
The third bullet point relates in the main to the quality and forcefulness of the expression. A key
distinction in this respect is made at the Band 5/Band 6 borderline; a Band 5 student should be
able to use language ‘effectively to convey opinion’, whereas the Band 6 student’s command
will give them the confidence to ‘promote’ a point of view.
Typical tasks might include some of the following.
• Problem-solving activities which encourage the group to explore different options and
negotiate an outcome. This might involve work based on brainstorming ideas on a character
or a theme in a literature text, or tasks which require a definite outcome and decision. For
instance, what should be done with a sum of money raised for charity, or to resolve a
school-based problem (What practical steps can be taken to improve the litter situation in
the school?) This activity also provides an opportunity for individual reporting back to the
class or teacher by the group spokesperson. An example is given at the end of this section.
• Discussions which require a group to prepare a presentation or report back to a third party
may also be suitable, as they involve negotiation to achieve a specific outcome. For
instance, a group might be asked to look at the presentation of a character or theme in an
anthology text and report back the findings to the whole class. Or a group might be asked to
draw up a programme of advice for new members of the school. Topics for consideration
might include, tips for time management and dealing with homework; school rules and
uniform; extra-curricular activities; coping with examination pressures; balancing academic
work and leisure.
• Small-group discussions can be effective but require careful management. Ideally you need
four or five students to a group to ensure the flow of discussion. The aim is that the
discussion should be as spontaneous as possible. The topic needs to be fairly controversial
and one to which teenagers can relate. Stimulus material is needed to provide a basis for
ideas and a framework of questions to structure the discussion. One of the group needs to
act as a chair or enabler; this student should be issued with the question sheet and asked to
try to keep the discussion going by using the question sheet and their own ideas. Members
of the group should ideally all face each other so that they interact with each other and not
the assessor. The stimulus material should be removed so that the discussion is spontaneous.
A target time of 12 minutes is about right, though this could be extended. Further outcomes
could be a report by the chair of the group's ideas, or a formal classroom debate on the
subject. An example is given at the end of this section.
• Pair work. Working through the medium of a worksheet on a poem to explore the meaning,
purpose, style and success of the chosen text.
• Class discussion, perhaps following a formal classroom debate. A debate will provide
obvious opportunities for addressing the individual talk requirement, but sometimes this
will develop into a spontaneous discussion where there will be opportunities for students to
make ‘useful contributions’ (Band 4) and ‘make an impact ... through sensitive listening and
by challenging and constructive contributions’ (Band 7).

It is important, when assessing tasks with a component which requires reporting back, to
distinguish between the discussion, which is group work, and the presentation by the
group's representative, which should be considered as an individual talk.

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Example tasks

Task 1: Small-group problem solving

The following is an example of a task that could provide opportunities for assessment of both
group work and individual talk.
You will need groups of five students, one of whom will act as the chair.

The situation
The class has raised a small but significant amount of money to give to one charity. The group's
task is to decide which one it should be.
The chair's task is to steer the group to a consensus view (if this is possible) and make the final
decision. The four other members of the group should each choose a different charity to
represent; the role of each is to argue the case to the others for giving the money to their charity.

Structure it like this:

1 The chair asks each committee member in turn to present the case for their choice of
charity. This activity could be preceded by some research into the chosen charity.
2 Each member should speak for about two minutes, arguing the case for his or her choice of
charity.
3 When the chair has listened to all the arguments, they should make a preliminary choice of
charity, giving reasons (again about two minutes).
4 The chair will then ask, ‘Do you agree?’
5 Presuming that not all members of the group accept this decision, a discussion follows, in
which each member comments on the chair’s decision, and the group considers the options
fully, before (hopefully) coming to agreement. (Allow 10 minutes for this.)
6 The chair brings the discussion to an end. If a consensus has been arrived at, they should
summarise the reasons for the choice. If consensus is impossible (it usually is!) the chair
will need to stop the argument, make a decision and explain clearly to the group the reasons
for the decision.
7 Allowing the chair to present the committee’s findings and decision to the rest of the class
could extend the task.
The discussion component (5) constitutes group work; assess each student’s contribution
using the specific criteria in the ‘discuss, argue, persuade’ (column 2). The presentations
(2, 3, 6, 7) may be assessed as individual talk; both columns of triplets may be needed in
arriving at a mark.

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Task 2: Small-group discussion and whole-class debate

Introductory stimulus sheet

Clones
Twenty years ago, a famous BBC children's television programme called ‘Dr. Who’ showed the
intrepid Doctor being cloned. What happened was that the Doctor was put into a cabinet with a
glass door, some buttons were pushed, and seconds later there was a duplicate Doctor in the
adjacent cabinet. The Doctor had been cloned. It’s a classic piece of science fiction – but the
science fiction is rapidly becoming science fact.
Of course, instant duplicate copies of people is still fantasy, but the technique of producing
biological copies of people that are younger than the original is a real possibility. The first
breakthrough in cloning came in 1997 when a team of Scottish scientists astonished the world
by announcing that they had successfully cloned an adult sheep. This was the first time that a
mammal had been cloned.
In a process called ‘nuclear transplantation’ the scientist took an udder cell of a six-year-old ewe
and transplanted the nucleus into an unfertilised egg of a second sheep, from which the original
nucleus had been removed. This egg and the new cell were fused with electric pulses and the
egg began to divide normally and developed into an embryo. Then it was implanted into a third
sheep which gave birth to a lamb that was the genetically identical twin of the sheep from which
the mammary cells were taken. Thus Dolly was born and the only physical difference between
her and the first sheep was that Dolly was younger.
A similar method could be used to clone humans, but the process is not as easy as it sounds. It
took nearly 300 sheep to produce Dolly. Scientists began by trying to fuse 277 adult cells with
an equal number of eggs: this yielded only 29 embryos, which resulted in just 10 pregnant
sheep, only one of which successfully gave birth, bringing Dolly into the world. Given these
odds, it would take dozens of surrogate mothers just to give birth to one human clone.
Subsequent animal cloning attempts have had mixed results. A kitten has been cloned, but an
attempt to clone an Indian bison – an endangered species – by inserting DNA from an adult
bison's skin cells failed when the baby calf died after only two days. Also nobody knows how a
clone will age. Dolly was cloned from a six-year-old clone and so the nucleus of all her cells
was already six years old when she was born. How this will affect how long she lives is an
unanswered question, but it has been reported that she is already suffering from arthritis.
People don’t know what to think about cloning. Some take it lightly – one American website
gathered names for a petition to clone Elvis Presley – whilst others take it very seriously.
Overall opinions are deeply divided on whether human cloning should go ahead. Some
scientists say that cloning offers many benefits, for instance by getting rid of hereditary diseases
or helping infertile couples have babies, whilst others think that it should be banned and point to
the dangers of creating ‘designer babies’ or a ‘genetic underclass’.
Since the possible developments in cloning raises such questions, it’s urgently important that
they should be considered now. Already an American sect has claimed it cloned two babies, but
produced no scientific proof. More seriously, a team led by an Italian doctor has announced its
readiness and keenness to start cloning humans.
Acknowledgements to NFER and the Learning Network. Clones.

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Questions for discussion
1 Would you like a clone made of you?
Give your reasons.

2 How do you think cloned children would think about themselves?

3 Do you think human cloning, or research into it, should be forbidden?

Give your reasons.

4 What are the arguments, if any, in favour of human cloning?

5 Do you think animal cloning should be allowed to continue?

Give your reasons.

Formal debate topic

‘Human cloning, and research into it, should be banned.’

You will need two teams of three speakers, a proposer (or opposer), a seconder and a third
speaker, each to speak in turn. The first two speakers should present the case for or against the
motion. The next two speakers should develop their side’s argument and should aim to deal with
points raised by the previous speeches of the other team. These speeches should be significant
enough to allow for assessment as individual talks. Then an opportunity should be given to the
rest of the class to make a contribution to the debate before a vote is taken.

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Task 3: Group work and individual talk assessment
This provides a relatively formal context in which students may be assessed for both individual
talk and group work.
Groups of five or six are needed. One member of the group will also need to act as chairperson,
or this role can be rotated through the group.
Each student should deliver a talk, lasting three to four minutes, on a topic of their own choice.
Each talk is followed by a discussion (about three minutes) by the whole group of the issues
raised by it.
Individual talk assessments will be based on the student’s presentation of their topic, whilst the
group work assessment will be based on each student’s contribution to all the discussions.
Whilst this is a very efficient way of addressing the specification requirements, there are some
dangers. A strict control of time will probably be necessary; the target should be to assess a
group of six, in 45 minutes.
Topics will need to be chosen and presented to stimulate discussion, not questions and answers.
Factual talks may constrict the opportunities for discussion and hence for assessment. Also (as
in all oral work) students must be discouraged from reading their speeches. Brief notes are
acceptable, but a talk which is basically an essay read aloud cannot be assessed for Speaking
and Listening.
An advantage of this structure is that it allows students to demonstrate higher skills, like taking
on the role of chair (the first bullet point of the Band 7 assessment criteria refers to the
management of collaborative tasks), but a disadvantage is that it can be very time consuming.

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Resources
Please note that while resources are correct at the time of publication, they may be updated or
withdrawn from circulation. Website addresses may change at any time.

Anthology
Students will be given the Edexcel Anthology for IGCSE English Language (Specification A)
and IGCSE English Literature which will be available to download free of charge from the
Edexcel website.

Textbooks
There is useful support material for some aspects of the course in:
Addison R, Huke P and Taylor P – Aim High in Edexcel GCSE English (Edexcel, 2007)
ISBN 1846901685
Textbooks which provide practise in reading and writing skills – comprehension; writing in
different forms – will also be suitable for this qualification.

Websites
The following websites provide useful teaching ideas on writing for different purposes.
www.bbc.co.uk/education/gcsebitesize/english/ GCSE revision site for English
www.englishresources.co.uk Free teaching and revision sources
www.teachit.co.uk Teaching and revision resources for teachers

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January 2010

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