NARRATIVE WRITING TIPS AND TRICKS For April 2024 FL

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Narrative Writing: How to Get Full Marks

Section C requires you to write for a specific purpose and in a specific form. It is important
that you write in the correct format and use the conventions of this form, as to get the highest
mark you will need to adapt your tone, style and register for different forms, purposes and
audiences.

This means:

 The tone (the sound of the narrator’s “voice”) is appropriate and convincing
 The register (your vocabulary and phrasing) is suitable for the purpose
 The style of the writing (the sentence structure and the overall structure of your
writing) is dynamic and engaging

When planning your response, it is a good idea to keep the tone, style and register in mind, as
well as the conventions of the form. As with any extended piece of writing, planning is vital.
You should spend 10 minutes mind-mapping your ideas before you start writing. Here, we
will consider how you can produce an effective piece of narrative writing in the following
sections:

 How to structure your narrative writing


 Narrative writing techniques
 Steps to success

How to structure your narrative writing


Narrative story writing develops an idea to a conclusion. The way to achieve this in an exam
is by planning an ending with a resolution (you should plan whether your story will end
happily or not). In the exam, it is best not to plan a complex story which takes place over a
long period of time, employs multiple characters or that has more than one setting or plot
twist.
In order to adhere to the conventions of story writing, it is best to:

 Plan your writing in an order which takes your character (and reader) on a clear
journey:
o The best way to do this is to plan one main event
o Ensure your plot is simple enough to be coherent and cohesive
 Consider employing structural techniques, such as a flashback:
o This can give background information to the reader and provide context
o Ensure you use past-tense verbs for this
 Develop your characters:
o Consider essential narrative character archetypes, such as “villain”, “victim”,
“hero”, etc.
o Decide on how your characters fit these descriptions
 When describing people, focus on relevant details only:
o For example, black and grey or green and blue
o You could focus on their body language or movements
o If using dialogue, the verbs you use to describe how your characters speak can
reveal more about them than what they say, e.g. “shrieked”, “mumbled”,
“whispered”
o It is effective to repeat ideas related to colour
o You can repeat ideas for emphasis:

Narrative writing responses should be structured into five or six paragraphs. You should plan
your response carefully as you have limited time to create a cohesive plot. Writing a response
which has not been planned is likely to have an abrupt ending, or no ending at all, which will
not get you high marks.

There are lots of different narrative structures or arcs that you could use to plan your story.
Bearing in mind you only have 15 minutes to plan, your story needs to be controlled and
concise. One of the easiest ways to achieve this is to consider a five-part narrative structure,
such as Freytag’s Pyramid:

Stage Description of narrative structure


Stick to one main setting and start at the location:

 Do not include a lengthy 'journey' before the


main action of your story starts

Hook your reader:

 Give them clues as to what will happen later,


but do not give everything away all at once

Decide which narrative perspective and tense you


are going to write your story in:
Exposition
Step 1
(setting the scene)  First person 'I' and the past tense are easier to
control
 Stick to no more than two characters and
introduce them

Employ the five senses to create an atmosphere:

 The scene's mood should reflect your main


character's mood

This paragraph could end with an 'inciting incident',


which prompts the rising action and moves the story
forward
This paragraph should build tension, drama or
interest:

 It should directly lead to the turning point of


the story (the 'climax')

Step 2 Rising action This paragraph should also develop your


character(s):

 You could use dialogue, monologue, direct


or indirect characterisation to create well-
rounded, 3D characters

Step 3 Climax This is the turning point of your story:

 It is the moment everything changes and your


character(s) cannot go back

Your protagonist could face an external problem, or


an internal choice or dilemma:

 Their choice is made in this paragraph


You should vary your sentence structure, length and
language here for dramatic effect
What happens in this paragraph should be as a direct
result of the climax paragraph:

 It shows the consequences


 It should also focus on your characters'
Step 4 Falling action
thoughts and feelings as a result of the climax
of the story
 This further develops a sense of
characterisation

You can choose to resolve your story, or end on a


cliff-hanger:

 However, a cliff-hanger is not a sudden


ending; it is a suspenseful ending
 It is also important to avoid cliches, such as 'I
woke up and it was all a dream.'
Resolution or
Step 5
denouement Your setting and atmosphere could reflect a change
from the setting or atmosphere you established in
your opening paragraph:

 Or it could refer back to imagery you used in


your opening paragraph to create a cyclical
structure

Remember, each paragraph does not have to be the same length. In fact, better answers vary
the lengths of their paragraphs for effect. What is important is to develop separate ideas or
points in each paragraph, and to avoid repeating the same descriptions throughout your
response.

Narrative writing techniques


Once you have planned out the structure of your narrative, it’s a good idea to consider how to
incorporate methods and techniques into your response. Below we have included some
guides to help you when thinking about setting, characterisation and other linguistic
techniques to make your narrative as engrossing as possible.

Setting

As this task assesses the ability to communicate clearly, effectively and imaginatively, it is
important to consider how to use language constructively in a short story to convey an
atmosphere or mood. Building an effective setting is key as it contributes to atmosphere and
mood.

 Your setting should reflect your main character’s mood:


o You may know this as pathetic fallacy, which reflects the character’s mood in
the environment, e.g., “the lonely road”
 As your setting reflects your character’s mood, your setting may change as the story
progresses:
o Contrasting scenes is an effective way to convey ideas and to engage your
reader:
 For example, your story may have started on a sunny afternoon, but
may end as the sun sets or as a storm approaches
o Whatever way you decide to contrast the scenes, ensure it reflects your
character’s mood
 The best answers build a clear setting before introducing other information, such as
introducing character:
o Describing setting is best done with sensory language as we experience
places with all of our five senses
o This means you could describe the dark, light, colours, sounds, smells and
weather
o The best way to clearly create setting is to allow an entire paragraph to
describe the scene without confusing readers with other information like who
is there
o Ensure all of your descriptive language builds the same mood and avoid
mixing ideas. For example: “The graveyard was dark, cold and smelled like
fragrant flowers” is confusing for your reader
 However, do not give too much away all at once!
o Keep your reader guessing and asking questions, such as “What is going on?”,
“Why is this like this?” and “Who is this?”
o Think of establishing a setting a bit like the game “Taboo”, in which you have
to describe something without stating explicitly what it is

Characterisation

This question asks you to create a short story and therefore you will need to build some
elements of detailed characterisation. This means you need to consider what your
character(s) represent. They may represent an idea, such as hope or strength or abandonment,
or you could include a villain to represent injustice or evil. It is best to limit yourself to two
characters in the time you have.

Well-rounded characters are taken on a journey: a character should undergo some form of
development or change. The mark scheme rewards answers which clearly and effectively
convey ideas, meaning that you need to consider the most effective ways of building a
character in a short piece of writing. Ideally, you should focus more on indirect
characterisation than direct characterisation:

Direct characterisation Indirect characterisation


 The writer describes the character  The writer hints to the reader what the
through narration character is like
 The writer describes the character’s  An impression is formed of the
physical appearance, personality and character through their speech,
the things that motivate them thoughts and feelings, interactions
 It is useful for giving broad details in a with other characters and what other
sentence or two, but if used too much characters say or think about them
direct characterisation will result in  It is useful for developing more
superficial characters that a reader is complex, well-rounded characters that
not able to relate to or engage with engage the reader
 This is “telling”  This is “showing”

Here, we will consider how to plan your character(s) effectively to engage your reader. This
is what the examiner is looking for in your answer:

Characterisation

Your character’s appearance may not always be relevant:

 It is worth considering if it is necessary to describe


the colour of your characters’ hair, for example
 Usually appearance is important if your character
represents something, for example, a king, a soldier
or someone in trouble
Appearance (direct
 Facial expressions or descriptions can convey
characterisation)
character effectively. For example, “her tear-stained
face” or “he frowned”
 If you choose to write in first-person, remember that
it is rare that we describe our own appearance
 Third-person perspective can describe appearance
more effectively

One of the most effective ways to describe a character is


through their movements:

 This is the way we judge people most accurately


 Consider how you can describe your characters’
Movements and body
emotions or circumstances using movements, e.g.,
language (indirect
“His head dropped”
characterisation)
 Verbs and adverbs can be used to effectively build
characterisation
 If you are including dialogue, think about alternative
verbs to “said”, such as “whispered” or “bellowed”

Monologue (indirect If you use the first-person perspective, a monologue helps


characterisation) readers engage with the character:
 This creates a personal tone and engagement with the
character
 You can create a character’s “voice” using
punctuation, such as short sentences or questions:
o A short sentence indicates your character may
be nervous, for example
 Using emotive language will help your reader
understand your character better

Dialogue can convey the relationships between your


characters and provide insights into what other characters
think about each other:

 It is best to limit dialogue in your story, especially if


Dialogue (direct and indirect you are not absolutely certain how to punctuate it
characterisation) correctly
 Use speech marks and punctuation accurately
 Carefully consider how the dialogue conveys an idea:
o Do not include dialogue which does not
progress the characterisation or plot

Linguistic devices

When considering your choice of language and the techniques you wish to employ, you must
always remember that you are making deliberate choices for effect. It is important to consider
the connotations of words and phrases, and how these may add depth to your writing. For
example, do your word choices evoke certain emotions or feelings in the reader, or do they
reveal aspects of a character’s personality, background or emotions? You should employ the
principle of “show, not tell” in order to bring your writing to life in the reader’s mind.

Below you will find a brief explanation of some of the key techniques you could employ in
your narrative (or descriptive) writing:

Device or
Explanation Example
technique
Repeating a word, phrase, image or
Throughout life, I have learnt never
idea. This is much more effective if
to give up: never give up on my
Repetition you think of repetition as a motif that
dreams; never give up on my hopes
you use throughout your piece of
and never give up on myself.
writing
Remember, the words starting with the
same consonant sound do not have to
The swirling mist silently settled on
Alliteration be consecutive. Consider the effect you
the sleeping town.
are trying to achieve through the use of
alliteration
Metaphor Metaphors can be as simple as figures She was the chief lioness among us,
of speech, but are especially effective fierce, determined and strong. It was
where they are extended and developed she who brought us all together.
A great way to create atmosphere at The weary old tree, its gnarled
Personificatio the start of your writing is by branches outstretched like weathered
n personifying the setting to your story arms, whispered ancient wisdom to
or description the breeze.
The representation of sound on paper
should be more sophisticated than
The crackling fire whispered its
comic-book terms such as “boom”. It
secrets along with the gentle pop and
Onomatopoeia is also not helpful to put onomatopoeic
sizzle of the logs as they surrendered
words all in capital letters. Consider
to the flames.
sound as a way of evoking the senses
in order to create atmosphere
A simple comparison using “like” or
Her smile was as radiant as the early
Simile “as” should be used sparingly, as this
morning sun on a summer’s day.
creates more impact
The sun-kissed waves crashed
Engages the reader’s senses by using
against the golden shore, their frothy
Imagery vivid and detailed language to create
white caps glistening in the morning
an image in the reader’s mind
light.
Thе еlеgant ballroom was adornеd
Places two contrasting ideas, images or
with еxquisitе chandеliеrs and finе
Juxtaposition concepts side by side to highlight their
artwork, whilе thе servants' quartеrs
differences or to create a striking effect
bеlow hеld nothing but barе walls.
Words or phrases that are intentionally
Emotive The devastating aftermath left a trail
used to evoke a strong emotional
language of destruction, sorrow and misery.
response in the reader
Verbs are doing, action or being
words. Power verbs are the deliberate,
interesting choice of verb to help the The man stooped, bumbling slowly
Power verbs
reader picture what you are writing. towards the entrance.
They can be especially useful for
characterisation
The ability to evoke a specific mood or
Pathetic The lonely road beckoned him
feeling that reflects a character’s
fallacy onwards with no end in sight.
internal or emotional state

Steps to success
1. Read the two task options carefully:
o Highlight which one you have a strong idea for
2. Spend five minutes planning your writing:
o Use a mind-map or a representation of Freytag’s Pyramid to plot out your
story
o Plan your characters - who they are, what they represent and how you will
convey this
o Decide on your narrative perspective - first or third person
3. Write down some reminders of figurative language or literary techniques to include to
add interest and detail to your writing
4. Write your story, sticking to your plan
5. Try to leave five minutes at the end to re-read your writing carefully, correcting any
obvious mistakes you have made

***

Challenges of acing Imaginative Writing in IGCSE


English Language
Imaginative Writing is often seen as an easier section in the IGCSE English Language exams,
but it is often neglected in the classroom. Effective imaginative writing, just like essay
writing and analysis, requires a clear plan and structure and powerful use of creative writing
techniques. While most IGCSE English students understand basic techniques such as similes
and metaphors, more complex techniques like juxtaposition, personification and irony are
important. Getting the right mark in the imaginative writing assessment requires candidates to
produce a thorough and thoughtful response to the stimulus and can be harder than you
think.

Weaker IGCSE English response


Let’s take a look at a sample exam prompt:

“You return to your old school, to find it abandoned.”

Here is an example of what some IGCSE students might produce for this imaginative writing
task:

The school was huge. I stared at its empty front as I walked towards it and through the
gates. I pushed open the big doors and made my way into the reception. It was filled
with papers, mess and dust. The piles of paper looked like old parchment in a forgotten
castle. I could smell stale coffee and the dust as I crept through the corridor, not
wanting to make a sound.

Why is this response considered weak for IGCSE English?


What this response is missing:

 Though there is some use of basic linguistic techniques such as simile and sensory
imagery, and structural devices such as short sentences, these will have to be
considerably more sophisticated for top marks in imaginative writing.
 The narrative lacks inner monologue and has no indication of depth of setting and
connection to history and subject matter.
 The sentence structure is mostly repetitive with ‘I’ starting lots of sentences,
indicating that the writer struggles with sentence structure.
Scroll down for a more promising effort, please…

Improved IGCSE Imaginative Writing response


Now consider this alternative imaginative writing response:

The grand, old, Victorian façade gazed down at me as I tottered, shrinking before it. It
was both imposing and inspiring. It reminded me of times past, the ring of the school
bell and the chatter of children chasing memories down the halls. The prodigious
double doors creaked open as I pushed my way through into the reception foyer.
Stacks of office paper spilled over the edge of the reception desk and seemed crammed
haphazardly into drawers beside a trophy cabinet long since last locked. The dim
gleam of an old trophy whispered of glories gone, and of students long since signing
their names on their final exam papers. A waft of burnt coffee, dry and earthy, seemed
to crawl, tingling up my nose. As quietly as a mouse, I crept through the deserted
corridor, the paintings of old headmasters and mistresses gazing at my intrusion
disapprovingly.

Why is this response stronger?


How this response succeeds:

 This response to the imaginative writing task uses a wide and effective variety of
creative writing techniques, both linguistic and structural (including the use of a
varied vocabulary and evocative verbs).
 There is an emerging connection to the subject matter and history for the character
outside of the story, including some characterisation: “as quietly as a mouse, I crept”.
 There is a variety of sentence structures with little repetition unless for effect, such as
through alliteration which works well in imaginative writing.

In summary, the Imaginative Writing section of IGCSE English Language is not the
cakewalk that it is often made out to be, but it is not impenetrable either. Filling a well-
structured response with a variety of sentence structures and creative writing techniques will
get you the marks you need for brilliance in the IGCSE exam.

ASSIGNMENT
Instructions: Write 3 paragraphs of approximately 15 lines each
on My Red Letter Day vs. My Worst Day Ever vs. April Fool’s Day
based on real or imaginary events, or a combination of both!
Duration: 30 minutes. Best of luck!

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