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  • How to Make Your Coursework as Good as It Can Possibly Be

gcse english coursework examples

Many GCSE and A-level subjects are assessed in part by coursework in addition to exams, meaning that the mark you receive for coursework contributes to your overall grade. Many students prefer coursework, because it’s a chance to showcase your academic abilities away from the high-pressured environment of the exam room, making it ideal for those who don’t perform to the best of their abilities in exams. However, the time you have available for coursework, in contrast with the time constraints of the exam room, can lull some students into a false sense of security. Coursework is arguably just as challenging as exams, just in different ways – and, given the fact that you have more time, much higher standards are expected of you in coursework than in exams. Careful planning and research are needed for successful coursework, as well as strong data-gathering and essay-writing skills. In this article, we look at how to produce excellent coursework, from planning to proofreading. This information might also be useful to you if you’re planning on attending an Oxford Summer School this summer.

What is coursework?

GCSE and A-level coursework typically takes the form of an extended essay or project. Its objectives vary from one subject to another, but there’s usually an emphasis on the student conducting independent research into a topic of their own choice. Thus coursework often takes the form of some sort of investigation; it may, therefore, help to have your ‘detective’ hat on as you explore, investigate and analyse your topic. You can usually work on your coursework at home, though it’s sometimes completed under controlled conditions through sessions at school. To give you a better idea of how coursework varies from one subject to another, here are some examples:

  • English – English coursework usually takes the form of an extended essay with a title of your choice. You’re usually given a choice of themes and/or texts to explore, and you could choose a format such as a comparison between a set text and another one.
  • Geography – Geography coursework usually focuses on the gathering, reporting and interpretation of data designed to answer a particular geographical question. You could investigate usage of a shopping centre, for example, or look at erosion on a particular beach.
  • Sciences – coursework for science subjects often takes the form of a scientific project or experiment that you conduct and report on yourself.

Before you start work on your coursework, it’s essential that you have a thorough understanding of the rules. Failing to conform to the rules – inadvertently or not – may result in your coursework (or possibly even your entire qualification) being disqualified, so it’s a serious matter.

  • No plagiarism – this is particularly dangerous given the ready availability of relevant information on the internet these days. Make sure everything is in your own words; you’ll need to sign a declaration stating that it’s your own original work.
  • There’s only so much help your teacher can give you . They can provide guidance on what you need to include, and on what the examiners will be looking for. You can ask them questions, but they’ll usually only be able to check through your first draft once and offer broad hints on updating it.
  • Check the word count , and stick to it. Find out whether footnotes, appendices and bibliographies are included in the word count.
  • Check what topics you’re allowed to do your coursework on; if there’s an exam on this topic, you’ll almost certainly have to choose a different one for your coursework.

Choose your topic wisely

Ideally, choose something you’re genuinely interested in, as your enthusiasm will come across and you’ll find it more enjoyable to write. If there’s something you’ve been working on for the course so far that you’ve particularly enjoyed, you may be able to focus more on this as part of your coursework. For science coursework, you’ll need to choose something to investigate that you can measure, change and control; it should be what’s called a ‘fair test’, meaning that you have to acknowledge all the controls you use in the experiment and why. Try not to pick a topic for which the scope is too vast, as you’ll struggle to research it properly and you’re unlikely to do it justice, and it’ll be hard to keep within the word limit. Ask your teachers for some guidance on choosing your topic if you’re not sure what to write about; they might even tell you a bit about what previous students have done to give you some inspiration.

Plan how long it’s going to take

Never leave your coursework until the last minute, even if this is your normal approach to essays and it usually works for you. Make sure you understand when the deadlines are, including time for submitting a first draft for comments from your teacher. Then schedule blocks of time for working on it, allowing plenty of time before the deadline to cater for any unexpected delays. Allow ample time for making corrections based on teacher feedback on your first draft, and keep some time aside before the deadline for final editing and proofreading. Because actual deadlines are few and far between, you’ll need to take responsibility for the writing process and impose some deadlines on yourself to ensure it’s finished in time. Write down your deadlines on a calendar, with the coursework broken into stages and dates assigned to each, by which time each task should be complete. You can base your stages on the next few points in this article – research and data gathering, a structure plan for the piece of work, writing up, and so on.

Conducting your research and gathering data

As coursework is primarily a research exercise, the research phase is crucial, so don’t be tempted to skimp on it and go straight to writing up. Use as many different resources as you can to gather data: books, journals, newspapers, television, radio, the internet and anything else you think might be relevant. For science and Geography coursework, you’ll need to base your work on a hypothesis, so the research stage should start by coming up with at least one hypothesis, otherwise your research will lack direction. The research phase for some subjects may involve site visits for gathering data, so allow plenty of time for this, particularly if you need your parents to drive you somewhere to do so. If it’s a scientific experiment you’re conducting for your coursework, you’ll need to pay careful attention to planning the experiment using rigorous scientific methods (also noting what Health and Safety precautions you are taking), as well as reading up on the background and theory so that you have an idea of what to expect from the outcome of your experiment. In the research stage, make notes about what you expect to happen, so that you can later compare your expectations with what actually did happen. The experiment itself also forms part of the research and data-gathering stage for your science coursework; in the write-up stage, which we come onto shortly, you analyse and write up the results.

Plan your structure

Once you’ve completed your research, the process of writing up begins. Before you get down to the actual writing, however, it’s advisable to write a plan for how you’re going to structure it – essentially an essay plan for English coursework and other subjects for which the coursework is based on an extended essay. It’ll look slightly different from an essay plan for science subjects and others that revolve around project work, but the principle is the same: plan out what order you’re going to present your information in. For big projects, this is particularly important, because with a lot of information to convey, you risk being disorganised and waffling.

Writing up your project

For any coursework, but particularly coursework based around an extended essay, you’ll need to perfect your essay-writing abilities. For science coursework, writing up your project also involves data analysis, as you interpret the results of your experiment and work your notes into formal scientific language. Follow the links below to find lots more useful advice on writing great essays.

  • How to write dazzlingly brilliant essays
  • How to write more original essays
  • Techniques from creative writing that can improve your essays

When you’re writing up, it’s important to find a place where you can work quietly, without distractions that could cause you to make careless errors. You wouldn’t want noise or distractions when you were in an exam room, so treat your coursework with the same reverence.

Supporting materials and images

For some subjects, namely the sciences and Geography, it would be appropriate to include images, graphs, charts, tables and so on in your coursework. For example, for Geography coursework, your extra material could include annotated images and maps of the site you’re talking about, plus tables, graphs and charts. An appendix could then detail your raw data; if, for example, your coursework focused on the results of a survey, you could put the raw survey responses in an appendix and provide summaries and analysis in the main body of the coursework.

Footnotes and bibliography

As we said earlier, it’s important that you always use your own words in your coursework to avoid the possibility of falling foul of plagiarism rules. However, it’s acceptable to quote from another source, as you would in any piece of academic writing, but you must make sure that you state where it is from and use quotation marks to show that it’s a quote from somewhere else. The best way of citing another work is to use a footnote; word processors will allow you to insert one, and it just puts a little number at the end of the sentence and another in the footer of the document, into which you put the name of the author and work, and the page within that work that the quote can be found. At the end of your piece of work, include a bibliography that includes a list of every external source you’ve used in the creation of your coursework. Stick to a set formula when including books. A common format is: Author Surname, Initial. (Date) – Title of Book , page number For example: Lewis, C.S. (1960) – Studies in Words , p. 45 When you get to university, you’ll be expected to include footnotes and bibliographies in all your essays, so it’s a good habit to get into and coursework gives you good practice at it.

The final pre-submission check

Having completed a first draft, received feedback from your teacher, and honed your work into a finished piece of coursework, have a final check through it before you send off your coursework for submission.

  • Sense check : have a read through your completed piece of work and check that it all makes sense. Make sure you haven’t contradicted yourself anywhere, or repeated yourself, or laboured the point. If there are any facts that you may have meant to look up to double check their accuracy, do so now.
  • Word count : ensure that the completed work falls within the word count, and double check whether the bibliography should be included in the word count. If you’ve exceeded it, you’ll need to work through the piece and tighten up your writing, omitting unnecessary information, reordering sentences so that they use fewer words, and so on.
  • Proofread : check your spelling and grammar, and ensure that there are no typos. Don’t just use the spellcheck – go through it with a fine toothcomb, manually, and if you can, ask someone to read through it for you to see if they spot anything you haven’t.
  • Formatting : check that you’ve included page numbers, and that the font and line spacing is consistent throughout the work. Ensure that the font is plain and easy to read, such as Arial or Times New Roman.
  • Bibliography : check that you’ve included everything, that the format is the same for all sources mentioned, and that the right information is included for each.

Once this stage is complete, you’re ready to submit your coursework along with your declaration that it’s entirely your own work. Get ready for a feeling of immense satisfaction when you finally send off your hard work!

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GCSE coursework help and sample essays

GCSE coursework help and sample essays

  • The following are tips for GCSE coursework. The tips are not for any specific subject but a general idea for content to include in all of your coursework.
  • It is always a good idea to write an introduction. Describe the problem you have been set and how you understand it. Show the examiner that you understand the question. In the introduction you could also describe how you plan to tackle the problem.
  • Obtain your information and results in a clear and organised way. Explain how you are obtaining your results giving specific examples.
  • Don't just present your results in one way - use many different methods like graphs, tables, charts. If you are drawing more than one graph then don't just use a bar or pie graph experiment with more complex graphs.
  • Explain what each way you have presented your results shows you. If there is an unusual result explain clearly why this could be, again using clear examples. If you notice a pattern explain it clearly with examples and try testing the pattern on other results.
  • When you make predictions always include how you made your prediction and what gave you your ideas (other experiments you have done?)
  • If you have finished the coursework fully try extending it by changing the question slightly and comparing results with the original problem.

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How to Structure Creative Writing for GCSE (Creative Writing Examples!)

Posted on August, 2022

girl writing bed structure creative writing

Structure Creative Writing for Success

Having plenty of ideas for creative writing is one thing, but nailing down the right structure can be a bit more challenging.

Jenga structure creative writing blog

There are several steps for children to think about before they begin writing, and that includes creating a structure or plan for how their story will flow.

Creative writing is all about grabbing the reader’s attention immediately, so children in their GCSE years need to understand the importance of structure when writing, in order to organise their ideas and make sure their work reads cohesively.

In this post, we will go through everything your child needs to know from paragraphing, to creating a satisfying ending, providing examples along the way to demonstrate the best way to structure their creative writing.

How Should I Structure Creative Writing?

There are several types of creative writing questions that could come up on the GCSE reading and writing exam. There will be the option to either write creatively based on an image, or a made-up scenario.

Having a solid structure for longer creative writing questions and exercises helps to ensure your child is prepared.

By using a structure that helps to organise your child’s ideas, it helps their writing to flow. It also allows your child to become more confident in their creative writing process.

Planning is more important than you might think, as mark schemes from most exam boards include ‘well-controlled paragraphs’ or something very similar within the top band of criteria for creative writing.

Therefore, children should practise planning out creative writing structures well before their writing exam. Planning gives them time to get into the habit of always providing themselves with a simple, but focused idea of what they are going to write.

Structure Creative Writing with Seven Story Archetypes

Introduction.

Understanding the fundamental structure of a story is crucial for crafting engaging narratives. Beyond basic sequences, story archetypes provide a deeper framework. Christopher Booker , a renowned scholar, identified seven main story archetypes.

Each archetype outlines a distinctive journey and the challenges faced by characters.

1. Overcoming the Monster

This archetype portrays an underdog’s quest to conquer a formidable evil. Examples include the epic tales of Harry Potter battling Lord Voldemort, the classic struggle in Jurassic Park, and the timeless narrative of Jack and the Beanstalk.

2. Rags to Riches

Embarking from a starting point of poverty or despair, characters rise to newfound wealth and success. Witness this transformation in stories like Slumdog Millionaire, The Pursuit of Happyness, and The Wolf of Wall Street.

3. The Quest

A hero’s journey to discover something, overcoming trials and tribulations along the way. Iconic examples include the Fellowship of the Ring’s quest in The Lord of the Rings, Marlin’s journey to find Nemo, and the epic adventures of Odysseus in The Odyssey.

4. Voyage and Return

Protagonists venture into unknown territories, facing adversity before returning home transformed. Dive into this archetype with examples like the curious escapades in Spirited Away, Bilbo Baggins’ journey in The Hobbit, and the enchanting Chronicles of Narnia.

Contrary to our typical perception of humour, this archetype involves destined lovers kept apart by conflicting forces. Delight in the comedic twists of relationships in classics such as 10 Things I Hate About You, When Harry Met Sally, and Notting Hill.

Protagonists with major flaws or errors leading to their inevitable downfall. Witness the unraveling of characters in tragedies like The Great Gatsby, Requiem for a Dream, and the Shakespearean masterpiece Othello.

Characters succumb to darkness but redeem themselves throughout the narrative. Experience the transformative journeys in stories like Atonement, American History X, and the animated Beauty and the Beast.

Application Across Mediums

Beyond literature, these archetypes seamlessly apply to filmmaking and photography. A well-crafted photograph or film can mirror the same narrative arcs, captivating viewers on a visual adventure akin to storytelling. Explore these archetypes to infuse depth and resonance into your creative endeavors.

Paragraphing for a Solid Creative Writing Structure

First of all, paragraphing is central to creative writing as this is what keeps the structure solid.

In order to stick to a creative writing structure, children must know exactly when to end and start a new paragraph, and how much information each paragraph should contain.

For example, introducing the main character, diving into the action of the story, and providing 10 descriptive sentences of the weather and location, could be separated and spread throughout for impact.

Structuring a creative writing piece also involves creating an appropriate timeline of events. Then, you must map out exactly where the story will go from start to finish. This is assuming the writing piece is in sequential order.

Occasionally, there may be a question that requires a non-sequential order.

Master creative writing with our Ultimate Creative Writing Workout!

The Ultimate Creative Writing Workout!

What does a Solid Creative Writing Structure look like?

This list below details every section in a creative writing piece and should look something like this:

  • An engaging opening
  • A complication
  • The development
  • The turning point
  • A resolution or convincing close

With this structure, it is important to bear in mind that for the AQA GCSE English Language paper 1 reading and creative writing exam.

You can also use Freitag’s pyramid or a story mountain to help you understand the basic structure of a story:

structure story story mountain

Children will be expected to spend about 50 minutes on the creative writing section. It’s therefore vital to get them into the habit of planning their writing first. As with anything, practice makes perfect.

If you want to find out more about GCSE English Language papers 1 and 2, check out our blog .

We will dive deeper into the creative writing structure further on in this post, but first, let us go through the importance of paragraphing, and how TipTop paragraphs can help to improve children’s writing.

boy in red jumper writing

Paragraphing and TipTop Paragraphs

Before children begin to plan out the structure of their stories, it’s essential that they know the importance of paragraphing correctly first.

At this stage of learning, your child should be comfortable in knowing what a paragraph is, and understand that they help with the layout of their stories throughout the whole writing process.

Paragraphs essentially help to organise ideas into dedicated sections of writing based on your child’s ideas. For example, having a paragraph for an introduction, then another paragraph introducing the main character.

This means your child’s writing will be in a logical order and will direct the reader further on into the writing.

Be as creative as Kevin’s booby traps from “ Home Alone “.

To avoid your child straying from their creative writing structure and overloading paragraphs with too much information, there is a simple way to remind them of when they need to start a new paragraph.

TiPToP for a Clearer Creative Writing Structure

Using the TiPToP acronym is such an easy way for you to encourage your child to think about when they need to change paragraphs, as it stands for:

When moving to a different time or location, bringing in a new idea or character, or even introducing a piece of action or dialogue, your child’s writing should be moving on to new paragraphs.

During creative writing practice, your child can ask themselves a series of questions to work out whether they need to move onto a new paragraph to keep their story flowing and reach that top band of criteria.

For example:

  • Is the story going into a new day or time period?
  • Is the location staying the same or am I moving on?
  • Am I bringing in a new idea that I haven’t described yet?
  • Am I going to bring in a new character?

Providing opportunities to practise creative writing will help your child to get into the habit of asking themselves these questions as they write, meaning they will stick to the plan they have created beforehand.

Now it’s time to get into the all-important creative writing structure.

Teenager writing desk

Structure Creative Writing: A Step-by-Step Guide

Producing a creative writing structure should be a simple process for your child, as it just involves organising the different sections of their writing into a logical order.

First, we need to start at the beginning, by creating an engaging opening for any piece of writing that will grab the reader’s attention. You might also be interested to check out this blog on story structure that I found in my research.

This leads us nicely onto step 1…

1. Creating an Engaging Opening

There are several ways to engage the reader in the opening of a story, but there needs to be a specific hook within the first paragraph to ensure the reader continues.

This hook could be the introduction of a word that the reader isn’t familiar with, or an imaginary setting that they don’t recognise at all, leaving them questioning ‘What does this all mean?’

It may be that your child opens their story by introducing a character with a description of their appearance, using a piece of dialogue to create a sense of mystery, or simply describing the surroundings to set the tone. This ‘hook’ is crucial as it sets the pace for the rest of the writing and if done properly, will make the reader feel invested in the story.

Read more about hooks in essays .

If your child needs to work more on description, I definitely recommend utilising the Descriptosaurus :

Additionally, it’s important to include a piece of information or specific object within the opening of the creative writing, as this provides something to link back to at the end, tying the whole storyline together neatly.

Engaging Opening Examples:

  • Opening with dialogue – “I wouldn’t tell them, I couldn’t”
  • Opening with a question – “Surely they hadn’t witnessed what I had?”
  • Opening with mystery/ or a lack of important information – “The mist touched the top of the mountains like a gentle kiss, as Penelope Walker stared out from behind the cold, rigid bars that separated her from the world.”

2. Complication

Providing a complication gets the storyline rolling after introducing a bit of mystery and suspense in the opening.

Treat this complication like a snowball that starts small, but gradually grows into something bigger and bigger as the storyline unfolds.

This complication could be that a secret has been told, and now the main character needs to try and stop it from spreading. Alternatively, you could introduce a love interest that catches the attention of your main character.

In this section, there should be a hint towards a future challenge or a problem to overcome (which will be fleshed out in the development and climax sections) to make the reader slightly aware of what’s to come.

Complication Example:

  • Hint to future challenge – “I knew what was coming next, I knew I shouldn’t have told him, now my secret is going to spread like wildfire.”
  • Including information to help understand the opening – “Bainbridge Prison was where Penelope had spent the last 2 years, stuffed into a cell the size of a shoebox, waiting for August the 14th to arrive.”

3. Development

The development seamlessly extends from the previous section, providing additional information on the introduced complication.

During this phase, your child should consider the gradual build-up to the writing piece’s climax. For instance, a secret shared in the compilation stage now spreads beyond one person, heightening the challenge of containment.

Here, your child should concentrate on instilling suspense and escalating tension in their creative writing, engaging the reader as they approach the climax.

Development Example:

  • Build-up to the challenge/ climax – “I saw him whispering in class today, my lip trembled but I had to force back my tears. What if he was telling them my secret? The secret no-one was meant to know.”
  • Focusing on suspense – “4 more days to go. 4 more days until her life changed forever, and she didn’t know yet if it was for better or for worse.”

The climax is the section that the whole story should be built around.

Before creating a structure like this one, your child should have an idea in mind that the story will be based on. Usually this is some sort of shocking, emotion-provoking event.

This may be love, loss, battle, death, a mystery, a crime, or several other events.  The climax needs to be the pivotal point; the most exciting part of the story.

Your child may choose to have something go drastically wrong for their main character. They must regardless, need to come up with a way of working this problem into their turning point and resolution. The should think carefully about this will allow the story to be resolved and come to a close.

Climax Example:

  • Shocking event: “He stood up and spoke the words I never want to hear aloud. ‘I saw her standing there over the computer and pressing send, she must have done it.’”
  • Emotion-provoking event: “The prisoners cheered as Penelope strutted past each cell waving goodbye, but suddenly she felt herself being pulled back into her cell. All she could see were the prison bars once again.”

5. Turning Point or Exposition

After the climax, the story’s turning point emerges, crucial for maintaining reader interest.

During this post-climax phase, address and resolve issues, acknowledging that not every resolution leads to a happy ending.

Turning points need not be confined to the story’s conclusion; they can occur at various junctures, signifying significant narrative shifts.

Even in shorter pieces, introducing turning points early on can captivate the reader.

Creative writing allows for individual storytelling, and effective turning points may differ between your child and you.

Maintain suspense in this section, avoiding premature revelation of the ending despite the climax’s conclusion.

Turning Point Example:

  • Turning point: “Little did they know, I was stopping that file from being sent around the whole school. I wasn’t the one to send it, and I had to make sure they knew that.”
  • Turning point: “She forced herself through the window, leaving the prison behind her for good this time, or so she thought.”

6. A Resolution or Convincing Close

The resolution should highlight the change in the story, so the tone must be slightly different.

At this stage, the problem resolves (happily or unhappily) and the character/s learns lessons. The close of the story must highlight this.

The writer should also not rush the resolution or end of the story.

It needs to be believable for the reader right until the very end. The writer should allow us to feel what the protagonist is feeling.

This creates emotion and allows your reader to feel fully involved.

Remember the piece of information or specific object that was included in the story’s opening?

Well this is the time to bring that back, and tie all of those loose ends together. You want to leave the reader with something to think about. You can even ask questions as this shows they have invested in the story.

Resolution Example:

  • Happy resolution: “He came up to me and curled his hand around mine, and whispered an apology. He knew it wasn’t me, and all I felt was relief. Looks like I should have told them right from the start”
  • Unhappy resolution: “All she felt was separation, as she felt those cold, rigid prison bars on her face once more.”

 person thumbs up creative writing structure

How to Structure Your Creative Writing for GCSE (with Creative Writing Examples!)

To enhance your children’s GCSE creative writing skills, allocate time for practice.

Plan a structure for creative writing to guide children in organising their thoughts and managing time during the GCSE exam.

Apply this structure to various exam questions, such as short stories or describing events.

Focus each creative piece on a climactic event, building anticipation in the beginning and resolving it at the end.

Consider a tutor for GCSE preparation to help children focus on specific areas.

Redbridge Tuition offers experienced tutors for learning from KS2 to GCSE, providing necessary resources for your child’s success.

Get in touch to find out how our tutors could help.

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An Inspector Calls coursework

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Using a section from “An Inspector Calls”, illustrate how dramatic devices can be used in order to build suspense.

         “An Inspector Calls”  was written in the 1940’s by J B Priestley; however it is set in 1912. This was because J B Priestley uses a lot of dramatic irony in this play, which is when the audience are more aware and know of what the situation or circumstances are to come in the future than the characters in the play; what the characters think and their feelings are all ironic because they are different from reality. This was only possible because the play was set in 1912, a time in which rich industrialists like Arthur Birling lived in false security about the future. J B Priestley wanted to unsettle his audience; he wanted them to see how arrogantly they behaved and their mistakes. He also wanted them to look at different perspectives of different situations in life. He wished to make the point that everyone has their responsibilities and that they should fulfil them too. There are a lot of different responsibilities portrayed throughout the play, the responsibilities of an employer, the responsibilities of a father, of a mother, of children, the responsibilities of being a citizen. In the Edwardian era, when the play was set, technology had made a huge improvement and when the ‘unsinkable’  titanic was launched, the country was full of national pride. The death of a king had also shaken the country, they were uncertain of what to do, or what was to happen. Miners had already had a strike in 1907, and there had been one in 1910 too, which had caused riots frightening the society. There had also been a lot of talk about war, because after the downfall of Napoleon III, there were fears of German denomination.        The Edwardian period had an extremely rigid British class system, with there being a huge difference between the rich and poor. There was also a change in social thought; there was more attention towards the poor, and also the status of women. The women’s suffrage also protested for the rights of women, as it was a social, economical, and political movement aimed at extending the right to vote for women. There was a lot of rapid industrialisation and more economical opportunities which created an environment in which there was more social interaction and people became more liberal.                         I will be analysing a section of the play, which I have chosen to be from p45-49. I will look how different dramatic devices are used to create suspense. Dramatic devices can vary from, dramatic irony to a doorbell. They create the tension and uneasiness we feel in the play.                                                                        At the opening of the play, the stage directions state that the dining-room should be ‘Substantial and heavily comfortable, but not cosy and homelike.’   This shows the personality of the Birling’s to be a front and fake because they would prefer to look powerful and united in front of people rather than be at home and at ease. They still have to uphold the same manner they have outside in the world, inside their own home.  This is what they are expected to do, or what they want to do. Lighting is also mentioned in the stage directions, as it says that the lighting should be ‘pink and intimate until the Inspector arrives, and then it should be brighter and harder’. When the lighting is pink and intimate it shows that the atmosphere is calm and relaxed in the house, showing it is a special happy occasion. Later on the light changes to brighter and harder light, showing the intensity of the interrogation and to emphasise the seriousness of the situation. The lighting makes the audience more alert of what is happening, as well as the characters in the play too.                        The doorbell is another device that is used to create tension in the play. At first Mr. Birling is giving a talk to Gerald and Eric telling them that there is no such thing as community and that every man is for his own. During this speech he is interrupted by the doorbell and Birling stops to listen. This shows that he is curious to know who has interrupted them, creating suspense as the audience also want to know who has arrived, interrupting the speech that Birling was giving. Birling told Gerald with great confidence that he was expecting to receive a knighthood, he is trying very hard to impress Gerald and his family because he doesn’t’t want Lady Croft to feel that her son could have married someone with a better position in society. This adds to the tension and suspense as Birling says to Gerald that there should be no public scandal in the coming months, only then will he receive the knighthood. This is hinting to the audience that foreshadowing events are to take place, making the audience more curious to see what happens next. Another time when the doorbell was used as a dramatic device was when everybody found out that the Inspector was not a real Inspector. They are in shock and the doorbell rings. Mr. Birling reaction is this, ‘“Yes- well. We’ll have to do something and get to work quickly too… (Ring at front of door)  Now who’s this? Had I better go?”’ You realise here that Birling is tensed as he asks a lot of questions after the bell, showing it is making him uncomfortable and so this increases the tension.                                 The photograph is used as a dramatic device as the Inspector uses it to create tension between the Birlings. “Inspector takes a photograph, about postcard size, out of his pocket and goes to Birling. Both Gerald and Eric rise to have a look at the photograph, but the Inspector interposes himself between them and the photograph. They are surprised and rather annoyed. Birling stares hard, and with recognition, at the photograph which the Inspector then replaces in his pocket.”  Gerald says “(showing annoyance) any particular reason why I shouldn’t’t see this girl’s photograph, Inspector?” The Inspector replies “(coolly, looking hard at him) There might be.”   This shows that by showing the photograph to Birling and not Gerald and Eric they are getting agitated and annoyed at the Inspector. Showing the Inspector in a cool way, indicates that he is calm and wary that he is annoying them but he sees this to be a benefit for him, as they themselves are getting worked up about the photograph before they have seen it. This creates a lot of tension. Afterwards when everyone discusses what happened with the Inspector, Gerald looks into the possibility that maybe the Inspector used different photographs making us doubt the Inspector, and this also creates tension as you start to doubt everything that has happened and what is to happen too.        The end of act one is a cliffhanger leaving the audience interested to know what will happen next.  Sheila has guessed that Gerald knew Daisy Renton and even though the Inspector knows he leaves them to talk, knowing that Gerald himself will confess he knew her. This shows the Inspector to be cleverer and a lot wiser than all of the Birlings. Sheila says   “(laughs rather hysterically) why- you fool-he knows. Of course he knows…she looks at him almost in triumph. He looks crushed. The door slowly opens and the Inspector appears, looking steadily and searchingly at them. (Inspector) Well?”

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The Inspector ends the act off with a question, giving it a very intriguing finish, which leaves the audience wandering what is to happen next. This creates even more anxiety.                                                                                        The telephone plays a vital device towards the end of the play. Gerald is using it to phone the infirmary to find out if any girl has been brought in who has committed suicide, “Is that the infirmary? This is Mr. Gerald Croft of Crofts limited…Yes…We’re rather worried about one of our employees. Have you had any girl brought in this afternoon who committed suicide by drinking disinfectant- or any like suicide?  Yes, I’ll wait. As he waits, the others shoe their nervous tension. Birling wipes his brow, Sheila shiver, Eric clasps and unclasps his hand etc. Yes?…You’re certain of that…I see. Well, thank you very much…Good night. (He puts the telephone and look at them) No girl has died in there today.”   We do not know what the other person on the telephone is saying to Gerald and so there is a lot of mystery and secrecy.  We can see this is having a very shattering effect on the characters as they are showing their tension, either by shivering or wiping their brows. It is a huge relief for them when they realise that no girl has died. Sheila has changed the most and knows that they are very lucky that the girl has not died, yet she has learnt her mistake, just like Eric. Gerald, Mr. Birling, and Mrs. Birling have not learnt anything, they are still the same people they were before and are just happy to know that the Inspector and girl were fabricated. The telephone rings again sharply, and after a moment complete silence Mr. Birling answers the phone. “Yes? …Mr. Birling speaking…What? - Here- (But obviously the other person has rung off. He puts the phone down slowly and looks in a panic stricken fashion at the others.) That was the police. A girl has just died-on her way to the infirmary-after swallowing some disinfectant. And a police Inspector is on his way here-to ask some-questions-” (As they stare guiltily and dumbfounded, the curtain falls.)   This leaves the Birlings in complete shock. They are astounded at what has just happened and what will happen when the Inspector arrives. The Inspector was their warning, the Inspector was telling them about what was to happen so that they could change it, but instead all the Birlings could do was try to blame other people for it and although Eric and Sheila changed the rest didn’t’t, this will make them uneasy and the audience too. The audience will be left with lots of questions which they will be wandering about. This dramatic device is one of the most pivotal in the whole play.                                                                         The Inspectors speech also caused a lot of tension and anxiety. He contradicted everything that Mr. Birling believes in and believes that we are all responsible for each other. We are a community that should look after each other. He tells them that “We don’t live alone. We are members of one body. We are responsible for each other. And I tell you that the time will soon come when, if men will not learn that lesson, then they will be taught it in fore and blood and anguish. Good Night.” This is probably very harrowing to the audience because they will know that the war did break out afterwards and that there was a lot of blood and anguish.  This dramatic irony causes a lot of apprehension and unease. The Inspector has given a warning to the Birlings of events that will happen if they don’t change and learn to accept one another. If this lesson was learnt then war would never have happened. J.B. Priestley is trying to put the message across that we are all responsible for everything that happens. It is what we say and do that influences other people. This was the Inspectors philosophy of life which he feels everyone should know. This creates a lot of fear and worry for the Birlings as they are taken aback by what the Inspector has said. He has given them the bitter truth and they are shocked and appalled.                                                                         I am now going to analyse pages 45 to 49. Mrs Birling in this section is being questioned by the Inspector but she is very arrogant and believes it is no fault of her own the girl is dead. When the Inspector is asking Mrs. Birling questions she does not reply properly making the Inspector and audience agitated, her replies are not what Eva said to her but what she thinks about Eva. The Inspector has enough of her as he says “Her position now is that she lies with a burnt-out inside on a slab. (As Birling tries to interrupt, Inspector turns on him) Don’t stammer and yammer at me man. I’m losing all patience with you people. What did she say?” This is dramatic as you can see from the way the Inspector talks that he has had enough. Considering his position in front of the Birlings, the audience would probably have been shocked that someone would talk to the Birlings like that, and this creates a dramatic atmosphere. The Birlings also must have felt outraged that a stranger has entered their premises and is insulting them by talking to them like they are lower class people. They probably found it mind-boggling that the Inspector has the courage to say these things; their expressions are probably of astonishment.   Mrs Birling strongly believes that the entire fault is the father’s. She makes her feelings very clear, “I’ll tell you what I told her. Go and look for the father of the child. It’s his responsibility.”   Mrs. Birling is adamant that what she says is right and there are no other ways about it. She is portrayed as a hard hearted cold woman. Even though she knows Eva Smith was pregnant she still feels no responsibility at all. She also blames Eva for her state and says: “ Secondly, I blame the young man who was the father of the child …he didn’t belong to her class, and was some drunken young idler, then that’s more reason why he shouldn’t’t escape…if the girl’s death is due to anybody, then it’s him.” Sheila “(with sudden alarm) Mother- stop- stop!”        

        This piece creates a lot of stress and apprehension because Sheila knows that the father is Eric and her mother is making matters worse for her own son. Everything Mrs. Birling says hints to the audience that she is talking about Eric, he was not in the same class  as Eva, and he was a drunken young idler. Priestley builds the tension further because when Sheila tries to stop her mother, her mother turns on her branding her a hysterical child. This adds to the atmosphere as we all know that Sheila is right. However Mrs. Birling continues to show her authority over the Inspector by telling him what he should do next, “And if you’d take some steps to find this young man and then make sure that he’s compelled to confess in public his responsibly- instead of staying here asking quite unnecessary questions-then you would really be doing your duty.” Inspector “No hushing up, eh? Make an example of the young man, eh? Public confession of responsibility - um?” Mrs. Birling “Certainly. I consider it your duty. And no doubt you’d like to say good night.”         This section of text shows Mrs. Birling informing the Inspector of his duty and telling him what he should do. She tells him that he should be made to publicly apologise and made an example of. The Inspector knows that Mrs. Birling may later deny that she ever said that and that she said something else so he asks her point by point. Inspector “No hushing up, eh? Make an example of the young man, eh? Public confession of responsibly - um?”   He asks her these questions knowing fully well that she will say yes.  This makes the tension unbearable because Mrs. Birling is so egotistic and proud of her family that she believes no one in her upper-class household will ever do this.  She insists on telling the Inspector his duty but has failed to fulfil her duty to her son. Throughout this section the Birlings insist on blaming one another for what has happened, none of them apart from Sheila at this point truly realise what they have done. This also adds to the tension because the audience can relate this to the war, whose fault was it that war happened? And the truth was that it was everyone’s because we all have responsibility, and should all look after one another, like a community.  Sheila tries to control the situation by trying to get her mother to stop but her mother is not prepared to listen.  After the Inspector says he will wait for some time to do his duty of finding the father of Eva’s child it clicks with Mrs. Birling that the Inspector is saying that the young man she said all those things about is her own son.  Sheila says “(distressed) Now, mother - don’t you see?”   Sheila can’t believe that it has taken her mother this long to realise that it was Eric even though it was quite obvious . Birling says “(terrified now) Look Inspector, you’re not trying to tell us that - that my boy - is mixed up in all this-?” Inspector “(sternly) If he is, then we know what to do, don’t we?  Mrs. Birling has just told us.” Mrs. Birling “(agitated) I don’t believe it. I won’t believe it…” Sheila “Mother - I begged you and begged you to stop -” The end of Act two is full of uneasiness and disbelief. Birling is in disbelief as they are all worried about what will happen to Eric. The audience are also in wonder about what will happen next, what will Mrs. Birling do, will she fulfil her duty as a citizen and let her son be publicly humiliated or deny everything and say it’s not true?  These devices all used add a lot of anxiety to the play, the wondering about what will happen next, the dramatic irony used. The stage directions add a lot to the tension and worry as after Shelia says “Mother - I begged you and begged you to stop -” Inspector holds up a hand. We hear the front door. They wait, looking towards the door. Eric enters, looking extremely pale and distressed. He meets their inquiring stares. Curtain falls quickly. The Inspector holds up a hand to stop Sheila talking, increasing the seriousness of the situation, as there is now complete silence, and then they hear the front door. This is heard, not seen which makes it a bit more mysterious. By waiting, there is a pause, making the tension agonising seeing as everyone wants to question Eric. When Eric enters he is looking pale and distressed, which emphasises the fact that he knows what he has done and that he is worried and ashamed. After this the curtain falls quickly which has a big impact because you can no longer see what is happening at a crucial stage in the play. All of the characters and audience at this point want to hear an explanation from Eric and want to find out the truth. The curtain falling at this point enhances the atmosphere to be excruciating. This device used has an effect on the audience as it keeps them entertained and watching with interest to know what will happen later on.                        Overall, the play contains a variety of dramatic devices. These include from lighting to a doorbell to a telephone. These devices can be seen in the play, as the lighting changes to show the intensity of the situation when the Inspector comes, whereas before when the Birlings were celebrating it was pink and intimate. The doorbell enhances the tension whenever it is used because we don’t know who is at the door. The telephone also works in the same way, as we don’t know what the other person is saying on the phone. The photograph plays a vital role in the play too, as the audience or the characters too never see the photograph together. They are shown the photograph secretly, making the audience more curious about whom the picture is of. Is it really the same girl or someone different? When the Birlings look into the possibility of the photograph being of different girls the whole play is in doubt, we don’t know what will happen next. These devices add mystery as although they can be seen, we are left in suspense about what will happen next. I feel these devices worked extremely well because although the audience can see them they don’t actually see the person on the photo or hear the person on the phone. I think these devices were very successful in the play. At the start of the play the Birlings are shown as the perfect family, but the further you go into the play the more we find out that they are the complete opposite. This creates tension because they are nothing like what we first think they are. Mr. Birling and Mrs. Birling make a big impact throughout the play as they truly only care about themselves and their reputation.  Mr. Birling especially is always talking about a “public scandal” and is very sure that he is set to receive a knighthood. This adds to the irony as he is in his own world, where everything is fine and he has no responsibility for any person apart from his “own”.   Mrs. Birling is a very egotistical, self-important person, very proud, this adds suspense because when she finds out the father of Eva’s child is Eric, her world collapses, and she is shocked and appalled and refuses to believe it is true.  This is very different from the person she was at the start. The Inspectors speech is another pivotal part in the play. J.B. Priestley is trying to convey the message of responsibility in the play. All of the devices he used were used cleverly and whilst some were devices that we saw, for example the telephone, others were more subtle, like the Inspectors speech. I think J.B. Priestley used these devices very successfully, the devices created a lot of apprehension and uneasiness throughout the play, and they worked very well with the theme that runs throughout the play too; responsibility.

An Inspector Calls coursework

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An Inspector Calls: A* / L9 Example Intro + Paragraph

Here are some samples of an essay on An Inspector Calls, on the theme of responsibility. I wrote these myself as a teacher to show students an example of the standard required to get a high level at GCSE. I’ve also broken down the structure below so you can see what to put into each paragraph and how to organise all of your ideas – this is the most important thing for getting a high level in an essay !

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How does Priestley explore the theme of responsibility in the play?  

An Inspector Calls Intro

EXAMPLE INTRO: 

Responsibility is a very important theme in An Inspector Calls, as the Inspector reveals one by one that all the Birling family are partly responsible for Eva’s death. Eva represents the lower classes, and Priestley uses the tragic ending of her character to spread his message about social responsibility, a message which is delivered by the Inspector himself, who acts as a mouthpiece for Priestley’s own views on socialism and equality. Overall, the audience realizes that their actions affect other people’s lives, so they are responsible for looking after and caring for everyone in society. 

An Inspector Calls: Character Revision

EXAMPLE MIDDLE PARAGRAPH: 

  • Point (one sentence that answers part of the question, your idea)
  • Evidence (quotes/references that prove your point) 
  • The technique (language features/dramatic features/structure features)
  • Explanation (analysis – how/why the evidence proves the point)
  • Development (context/alternative interpretations)
  • Link (linking back to the argument/thesis in the Intro)

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Which GCSEs Have Coursework?

In GCSE by Think Student Editor September 23, 2022 Leave a Comment

If you’re currently trying to decide which GCSEs you should take, it’s important to know whether the option you’re considering will involve coursework. Coursework is a useful way of showing your ability outside of taking written exams. Coursework can allow you to: take more responsibility for what you study, study a topic in more depth, and have more control over the pace at which you study.

To understand which subjects involve coursework and learn the percentage of coursework and exams in these subjects, keep reading this article.

Table of Contents

Do GCSEs still have coursework?

After new education plans were introduced in 2015, most GCSEs no longer include any coursework that count towards students’ final grades. Before this, there would be coursework tasks even in subjects such as maths and English.

In some subjects coursework was done through long written tasks, whereas in maths this was done through a handling data project and an applying mathematics task. In English Language, 40% of the end grade used to be from coursework. This was through assessment of speaking, listening and written assignments.

Despite the recent changes to the GCSE system, all creative and practical subjects do still have some level of coursework. This is because in certain subjects, like Art for example, coursework is necessary for students to demonstrate their talent at particular skills. The subjects that have coursework are Food Preparation & Nutrition, Drama, Art, Music, DT (Design Technology), and PE (Physical education).

What percentage of creative or practical GCSEs is coursework?

No GCSE is currently 100% coursework. There will always be some weighting placed on final exams. All of these final exams are written, apart from Art which is instead a creative project done under time pressure.

Also, it’s important to note that for the same subject, different exam boards may require different amounts of coursework. Make sure to find out which exam board your school uses for the particular subject you’re considering. If your school offers IGCSEs, have a read of this Think Student article to understand the difference between them and normal GCSEs.

Have a look at the table below which has information outlining what percentage of the GCSEs are coursework and exams. This data is from AQA’s website .

In each of these subjects, the type of task to be completed for coursework is completely different. Most exam boards refer to coursework as a non-exam assessment (NEA).  

What does GCSE coursework involve?

In the Food Preparation and Nutrition GCSE, the non-exam assessment mainly consists of a cooking practical. Students will have to prepare, cook and present a final menu of three dishes. The students will then have to write a report about their work and include photographic evidence. To find out more about the Food Preparation and Nutrition course, visit the AQA page .

For the coursework in Drama, there are two different components. One involves performing a group devised mini play and keeping a log of the creation process. The other involves performing two extracts from a play. To find out more about GCSE Drama, visit the AQA page .

In GCSE Art, the coursework component consists of selecting and presenting a portfolio representative of their course of study. The portfolio must include one main project as well as a selection of other work from activities such as experiments, skills-based workshops, or responses to gallery visits. To find out more about GCSE Art, visit the AQA page .

In GCSE Music, students must do both an ensemble performance and a solo performance using the instrument of their choice (which can be voice). They must also create two different music compositions. To find out more about GCSE Music, visit the AQA page .

For coursework in GCSE DT, students must design and produce a product. This will involve investigating design possibilities, planning, creating their idea, and evaluating the end result. At school, students will have to use special equipment such as machines and saws. To find out more about GCSE DT, visit the AQA page .

For coursework in GCSE PE, students will be assessed through their performance in three different sports or physical activities of their choice. One has to be a team activity, one an individual activity, and the third either a team or individual activity. Students will also be assessed on their analysis and evaluation of their improvements in performance.  To find out more about GCSE PE, visit the AQA page .

Does GCSE Science have coursework?

GCSE Science doesn’t involve any graded coursework. However, there is a list of required practicals that students are supposed to complete. These science practicals will involve following instructions set out by the teacher to investigate materials or scientific principles.  Students will often have to write up the method and conclusion. It’s important that students try their best to understand these practicals as there will be questions about them that are worth several marks in the exams.

Does GCSE English have coursework?

GCSE English technically doesn’t have any coursework that has a weighting on the final grade. However, in English Language there’s a compulsory spoken language assessment that isn’t done at the same time as normal GCSE exams. It’s reported as a separate grade (either Pass, Merit, Distinction or Not Classified) and doesn’t contribute to the result of the GCSE English Language qualification. To learn more about the spoken language assessment, have a look at this AQA page .

For English Literature, despite there not being any coursework tasks, there are of course novels and poems that students need to become familiar with in order to pass the GCSE. This will have to be done throughout Year 10 and Year 11. Students might be set the homework of reading a couple of chapters for example.

What are some tips for completing GCSE coursework?

If you’re deciding to do one or multiple GCSE subjects that involve coursework, it’s crucial that you can be organised enough to complete them to the best possible standard. As seen from the table shown previously, coursework makes up a significant proportion of the final grade. To have the best chance at getting a high grade, you’ll need to put an adequate amount of time into the task and not treat it as trivial.

In GCSE Art in particular, there is a lot of work that will need to be completed throughout the two-year course. A lot of homework will end up being graded for coursework as they will go in your portfolio. GCSE Art is often said to be one of the most stressful GCSEs because of this constant pressure of getting work done on time out of school.

If you love art and want to continue studying it, it’s important to manage your time well and not post-pone completing tasks until the last minute. As soon as you start getting behind with work that needs completing, that’s when you’ll really start to struggle and make things harder for yourself. If you want to learn how to get a good grade in GCSE Art in general, check out this Think Student article .

Make sure that you always note down what you’ve got to get done and by what date. This could be in a physical planner, on an app on your phone, or on a digital calendar. Perhaps set a specific time each weekend to complete any remaining work that you didn’t manage to get done during the week. If you remain on schedule, you’ll significantly reduce any stress plus you’ll have a higher chance of producing your best quality work.

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    GCSE coursework help and sample essays. The following are tips for GCSE coursework. The tips are not for any specific subject but a general idea for content to include in all of your coursework. It is always a good idea to write an introduction. Describe the problem you have been set and how you understand it.

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    — in real time. In English, this tense, known as the "historical present", is more common in spontaneous conversational narratives than in written literature. A recent example of this is the Hunger Games trilogy by Suzanne Collins. Third Person: Third-person narration provides the greatest flexibility to the author and thus is the most

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    Paper 1 (10) Paper 2 (8) Exam series June 2018 (1) June 2019 (1) June 2022 (4) November 2020 (4) November 2021 (4) November 2022 (4) Sample set 1 (1) Topic Post-16 resits (1) Page 1 2 Showing 22 results for example responses. Reset search AQA | Non-exam assessment guide: Spoken language endorsement Promoted Published 30 Oct 2015

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    Examples include the epic tales of Harry Potter battling Lord Voldemort, the classic struggle in Jurassic Park, and the timeless narrative of Jack and the Beanstalk. 2. Rags to Riches Embarking from a starting point of poverty or despair, characters rise to newfound wealth and success.

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    each of these six example essays. The coloured hi-lights show where each student has done well in terms of including quotations (part of AO1), terminology (part of AO2) and context (AO3). Level 4 essay In Act 1, 7 Shakespeare shows how Lady Macbeth is ambitious and is determined to do the murder when Macbeth thinks about failing.

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    She went on to tutor Business English, English as a Second Language and international GCSE English to students around the world, as well as tutoring A level, GCSE and KS3 students for educational provisions in England. Sam freelances as a ghostwriter on novels, business articles and reports, academic resources and non-fiction books.

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    Final date for submission of coursework marks and sample, and optional SLE: 7 November 2023. By 7 November 2023 you must have submitted your coursework marks (and SLE grades if applicable) on Edexcel Online (EOL), and uploaded your coursework and SLE (if applicable) samples to the Learner Work Transfer Portal (LWT).

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