1. Literature Trial Exam Drama and Prose 1 hour 45 minutes Answer TWO questions

2. A paper of two halves Section A: – 1 drama question – There will be a huge choice of questions – find the one to do with An Inspector Calls! – 30 marks – 50 minutes Section B: – 1 prose question – There will be a huge choice of questions – find the one to do with Of Mice and Men – 30 marks – 50 minutes This exam is worth 60% of your overall mark for literature

3. The most important advice: Write a lot about a little. You should have a few key quotations and events in mind. Don’t give loads of examples, instead really analyse a few examples in as much detail as you can. If it’s a quotation, pick apart the words used. If it’s a quotation or a reference to the text, comment on the effect on the audience/reader, think about what it tells us about the character/ theme.

4. An Inspector Calls – J B Priestley Either (a) ‘You ought to like this port, Gerald.’ How does Priestley present the character of Gerald as an upper class young man in this play? OR (b) Do you consider An Inspector Calls to be an effective title for this play? (30 marks)

5. Of Mice and Men – John Steinbeck Either (a) Explore the role and character of Candy in this novel. OR (b) How does Steinbeck use different settings in this novel to convey his themes? (30 marks)

6. WHO’S WHO? What do they do throughout the novel/ play? What IMPACT do they have? What themes do they link with?

7. GEORGE

8. ARTHUR BIRLING

9. CANDY

10. GERALD CROFT

11. CROOKS

12. SHEILA BIRLING

13. LENNIE

14. INSPECTOR GOOLE

15. SYBIL BIRLING

16. DAISY RENTON

17. CURLEY

18. ERIC BIRLING

19. CURLEY’S WIFE

20. SLIM

21. EDNA

22. WHO SAID IT? Who said this quotation? Why? When? Why are these words important? What themes do they link with? Are any techniques being used? Why?

23. One Eva Smith has gone – but there are millions and millions and millions of Eva Smiths and John Smiths Inspector Goole - Act 3

24. It’s you two who are being childish – trying not to face the facts. Sheila - Act 3

25. Well go to bed then, and don’t stand there being hysterical. Mr Birling Act 3

26. I’ve learnt in the good hard school of experience – that a man has to mind his own business and look after himself and his own – and - Mr Birling Act 1

27. All right Gerald, you needn’t look at me like that. At least, I’m trying to tell the truth. Sheila - Act 1

28. Go and look for the father of the child. It’s his responsibility. Mrs Birling - Act 2

29. I wasn’t in love with her or anything – but I liked her – she was pretty and a good sport - Eric - Act 3

30. Yes, I suppose it was inevitable. She was young and pretty and warm- hearted – and intensely grateful. Gerald - Act 2

31. It’s just that I can’t help thinking about this girl – destroying herself so horribly – and I’ve been so happy tonight. Sheila - Act 1

32. I shouldn’t ought to of let no stranger shoot my dog. Candy – Chapter 3 Candy – Chapter 3

33. Nobody can’t blame a person for lookin’. Curley’s Wife – Chapter 2 Curley’s Wife – Chapter 2

34. Oh! Please don’t do that. George’ll be mad. Lennie – Chapter 5 Lennie – Chapter 5

35. I read plenty of books out here. Nobody never gets to heaven, and nobody never gets no land. Crooks – Chapter 4 Crooks – Chapter 4

36. Funny how you an’ him string along together. Slim – Chapter 3 Slim – Chapter 3

37. I’ll kill the big son-of-a-bitch myself. I’ll shoot ‘im in teh guts. Curley – Chapter 5 Curley – Chapter 5

38. I ain’t used to livin’ like this. I coulda made somethin’ of myself. Curley’s Wife – Chapter 5 Curley’s Wife – Chapter 5

39. LevelMarkA01/A02/A04 Level 313-18 Sound knowledge and understanding of the text evident Comments about the writer’s use of characterisation/ theme/ plot/ setting for literary effect show sound appreciation of the writer’s craft Engagement with the text is sound, examples used are clearly relevant Where response requires consideration of two or more features, a clear balance is evident Level 419-24 Thorough knowledge and understanding of the text evident Comments about the writer’s use of characterisation/ theme/ plot/ setting for literary effect show sustained appreciation of the writer’s craft Engagement with the text is sustained, examples used are fully relevant Where response requires consideration of two or more features, a thorough, balanced approach is evident Level 525-30 Assured knowledge and understanding of the text evident Comments about the writer’s use of characterisation/ theme/ plot/ setting for literary effect show a perceptive appreciation of the writer’s craft Engagement with the text is assured, examples used are fully relevant Where response requires consideration of two or more