WJEC Eduqas GCSE 9-1 ENGLISH LANGUAGE

WJEC Eduqas GCSE 9-1 ENGLISH LANGUAGE
A Guide to the new GCSE GCSE English Reading Fiction – Paper 1, Section A Copyright 2015 Online Teaching Resources Ltd

WJEC Eduqas GCSE English Language
Subject Content To gain a GCSE English Language qualification students must provide assessments in the following 3 areas 1. 20th Century Literature Reading and Creative Prose Writing. 2. 19th and 21st Century Non-fiction Reading and Transactional/Persuasive Writing. 3. Non-exam assessment – Spoken Language. Copyright 2015 Online Teaching Resources Ltd

Let’s look in more detail at the first area of assessment:
‘20th Century Literature Reading and Creative Prose Writing’ This is assessed in Paper 1 or Component 1 of the GCSE English Language exam. Copyright 2015 Online Teaching Resources Ltd

How is Paper One assessed? Section A: Reading
one literature fiction text Section B: Writing descriptive and narrative writing Assessment Breakdown A written exam: 1 hour 45 minutes 80 marks available Worth 40% of the GCSE In Section A you will be given an extract from a C20th novel or short story. This extract will be from an unseen text (one you haven’t previously studied). This is a test of your fiction reading and understanding skills. In Section B you will be asked to produce a piece of creative writing such as a short story. This is a test of your fiction writing skills. The exam will last 1 hour and 45 minutes. It is worth 80 marks and makes up 40% of the English Language GCSE. Copyright 2015 Online Teaching Resources Ltd

Reading (40 marks) (20%) – one single text, 4 or 5 questions.
Paper One Section A Reading (40 marks) (20%) – one single text, 4 or 5 questions. Section A will test the reading of an unseen extract from one 20th century literary prose text (about lines). This section assesses AO1, AO2 and AO4. Copyright 2015 Online Teaching Resources Ltd

Section A Let’s take a look at Section A in more detail.
On the next few slides we will go through an example exam paper. We are going to focus on Section A. There will be a prose extract then five questions designed to assess your understanding of what you have read. Copyright 2015 Online Teaching Resources Ltd

20th Century Literature Reading and
Creative Prose Writing SPECIMEN PAPER 1 hour 45 minutes ADDITIONAL MATERIALS A 12 page answer book. INSTRUCTIONS TO CANDIDATES Use black ink or black ball-point pen. Answer all questions in Section A. Select one title to use for your writing in Section B. Write your answers in the separate answer book provided. You are advised to spend your time as follows: Section A - about 10 minutes reading - about 50 minutes answering the questions Section B - about 10 minutes planning - about 35 minutes writing INFORMATION FOR CANDIDATES Section A (Reading): 40 marks Section B (Writing): 40 marks The number of marks is given in brackets at the end of each question or part-question.

SECTION A: 40 marks Read carefully the passage below then answer all the questions which follow it. This extract is taken from the opening of The Monkey’s Paw, a short story by W W Jacobs. In this section a Sergeant-Major, home after more than twenty years in India, entertains the White family with exotic stories of life abroad. Without, the night was cold and wet, but in the small parlour of Laburnam Villa the blinds were drawn and the fire burned brightly. Father and son were at chess, the former, who possessed ideas about the game involving radical changes, putting his king into such sharp and unnecessary perils that it even provoked comment from the white-haired old lady knitting placidly by the fire. "Hark at the wind," said Mr. White, who, having seen a fatal mistake after it was too late, was amiably desirous of preventing his son from seeing it. "I'm listening," said the latter, grimly surveying the board as he stretched out his hand. "Check." "I should hardly think that he'd come to-night," said his father, with his hand poised over the board. "Mate," replied the son. "That's the worst of living so far out," bawled Mr. White, with sudden and unlooked-for violence; "of all the beastly, slushy, out-of-the-way places to live in, this is the worst. Pathway's a bog, and the road's a torrent. I don't know what people are thinking about. I suppose because only two houses on the road are let, they think it doesn't matter." "Never mind, dear," said his wife soothingly; "perhaps you'll win the next one." Mr. White looked up sharply, just in time to intercept a knowing glance between mother and son. The words died away on his lips, and he hid a guilty grin in his thin grey beard. 5 10 15 20 Copyright 2015 Online Teaching Resources Ltd

"Sergeant-Major Morris," he said, introducing him.
"There he is," said Herbert White, as the gate banged to loudly and heavy footsteps came toward the door. The old man rose with hospitable haste, and opening the door, was heard condoling with the new arrival. The new arrival also condoled with himself, so that Mrs. White said, "Tut, tut!" and coughed gently as her husband entered the room, followed by a tall burly man, beady of eye and rubicund of visage. "Sergeant-Major Morris," he said, introducing him. The sergeant-major shook hands, and taking the proffered seat by the fire, watched contentedly while his host got out whisky and tumblers and stood a small copper kettle on the fire. At the third glass his eyes got brighter, and he began to talk, the little family circle regarding with eager interest this visitor from distant parts, as he squared his broad shoulders in the chair and spoke of strange scenes and doughty deeds; of wars and plagues and strange peoples. "Twenty-one years of it," said Mr. White, nodding at his wife and son. "When he went away he was a slip of a youth in the warehouse. Now look at him." "He don't look to have taken much harm," said Mrs. White, politely. "I'd like to go to India myself," said the old man, "just to look round a bit, you know." "Better where you are," said the sergeant-major, shaking his head. He put down the empty glass, and sighing softly, shook it again. 25 30 35 40 Copyright 2015 Online Teaching Resources Ltd

"Monkey's paw?" said Mrs. White curiously.
"I should like to see those old temples and fakirs and jugglers," said the old man. "What was that you started telling me the other day about a monkey's paw or something, Morris?" "Nothing," said the soldier hastily. "Leastways, nothing worth hearing." "Monkey's paw?" said Mrs. White curiously. "Well, it's just a bit of what you might call magic, perhaps," said the sergeant-major off-handedly. His three listeners leaned forward eagerly. The visitor absentmindedly put his empty glass to his lips and then set it down again. His host filled it for him. "To look at," said the sergeant-major, fumbling in his pocket, "it's just an ordinary little paw, dried to a mummy." He took something out of his pocket and proffered it. Mrs. White drew back with a grimace, but her son, taking it, examined it curiously. "And what is there special about it?" inquired Mr. White, as he took it from his son and, having examined it, placed it upon the table. "It had a spell put on it by an old fakir," said the sergeant-major, "a very holy man. He wanted to show that fate ruled people's lives, and that those who interfered with it did so to their sorrow. He put a spell on it so that three separate men could each have three wishes from it." His manner was so impressive that his hearers were conscious that their light laughter jarred somewhat. 45 50 55 60 Copyright 2015 Online Teaching Resources Ltd

"Well, why don't you have three, sir?" said Herbert White cleverly.
65 70 75 80 85 "Well, why don't you have three, sir?" said Herbert White cleverly. The soldier regarded him in the way that middle age is wont to regard presumptuous youth. "I have," he said quietly, and his blotchy face whitened. "And did you really have the three wishes granted?" asked Mrs. White. "I did," said the sergeant-major, and his glass tapped against his strong teeth. "And has anybody else wished?" inquired the old lady. "The first man had his three wishes, yes," was the reply. "I don't know what the first two were, but the third was for death. That's how I got the paw." His tones were so grave that a hush fell upon the group. "If you've had your three wishes, it's no good to you now, then, Morris," said the old man at last. "What do you keep it for?" The soldier shook his head. "Fancy, I suppose," he said slowly. "If you could have another three wishes," said the old man, eyeing him keenly, "would you have them?" "I don't know," said the other. "I don't know." He took the paw, and dangling it between his front finger and thumb, suddenly threw it upon the fire. White, with a slight cry, stooped down and snatched it off. "Better let it burn," said the soldier solemnly. "If you don't want it, Morris," said the old man, "give it to me." "I won't," said his friend doggedly. "I threw it on the fire. If you keep it, don't blame me for what happens. Pitch it on the fire again, like a sensible man." Copyright 2015 Online Teaching Resources Ltd

"If you must wish," he said gruffly, "wish for something sensible."
The other shook his head and examined his new possession closely. "How do you do it?" he inquired. "Hold it up in your right hand and wish aloud,' said the sergeant-major, "but I warn you of the consequences." "Sounds like the Arabian Nights," said Mrs White, as she rose and began to set the supper. "Don't you think you might wish for four pairs of hands for me?" Her husband drew the talisman from his pocket and then all three burst into laughter as the sergeant-major, with a look of alarm on his face, caught him by the arm. "If you must wish," he said gruffly, "wish for something sensible." Mr. White dropped it back into his pocket, and placing chairs, motioned his friend to the table. In the business of supper the talisman was partly forgotten, and afterward the three sat listening in an enthralled fashion to a second instalment of the soldier's adventures in India. "If the tale about the monkey paw is not more truthful than those he has been telling us," said Herbert, as the door closed behind their guest, just in time for him to catch the last train, "we shan't make much out of it." "Did you give him anything for it, father?" inquired Mrs. White, regarding her husband closely. "A trifle," said he, colouring slightly. "He didn't want it, but I made him take it. And he pressed me again to throw it away." 90 95 100 105 Copyright 2015 Online Teaching Resources Ltd

Read lines 1-17. A1. List five things from this part of the text about the story’s setting. [5] Read lines [5] A2. What are your first impressions of the sergeant-major? [5] You must refer to the language used in the text to support your answer. Read lines A3. How does the writer use language here to convey the sergeant-major’s emotions? [10] You must refer to the text to support your answer. Read lines 59 to the end. [10] A4. How does the writer make these lines tense and dramatic? [10] You should write about: what happens to build tension and drama; the writer’s use of language to create tension and drama; the effects on the reader. Think about the whole of the text. A5. “The writer encourages the reader to feel that Mr White is a rather foolish man.” [10] To what extent do you agree with this view? your own impressions of Mr White in the passage as a whole; how the writer has created these impressions.

These ‘Assessment Objectives’ are explained below.
The reading section of the exam paper is designed to assess the following criteria: AO1, AO2 and AO4. These ‘Assessment Objectives’ are explained below. Copyright 2015 Online Teaching Resources Ltd

Let’s take a closer look, starting with Question 1 and AO1.
Question 1 (AO1) assesses your ability to identify and interpret explicit and implicit information and ideas. It also requires you to select evidence from a text. In other words, can you show a sound understanding of what you have read? Let’s break this down a bit more. Copyright 2015 Online Teaching Resources Ltd

What does the question require you to do?
Look at Question 1 again: Read lines 1-17. A1. List five things from this part of the text about the story’s setting. [5] What does the question require you to do? Copyright 2015 Online Teaching Resources Ltd

Question 1 assesses AO1. It requires you to show general understanding of what is happening in the extract. In this example it asks you to list five things about the setting. It’s just a case of retrieving the relevant information from the text about the place and the weather. Most of this information is explicit but some is implicit. Do you know the difference between implicit and explicit? Copyright 2015 Online Teaching Resources Ltd

It is more difficult to understand things which are implicit as they aren’t so obvious. It requires the reader to make some deductions – a key reading skill that we are going to study in more detail. Discuss the images on the following slides very carefully and explain what you think has happened. Copyright 2015 Online Teaching Resources Ltd

Look at this picture carefully. What can you see?
Making Deductions Look at this picture carefully. What can you see? We all see different things when we look at an image or read a book. Being able to infer and deduce is about looking closely and picking up clues that tell us more than the obvious. Copyright 2015 Online Teaching Resources Ltd

The Red Room "If," said I, "you will show me to this haunted room of yours, I will make myself comfortable there." The old man with the cough jerked his head back so suddenly that it startled me, and shot another glance of his red eyes at me from out of the darkness under the shade, but no one answered me. I waited a minute, glancing from one to the other. The old woman stared like a dead body, glaring into the fire with lack-lustre eyes. "If," I said, a little louder, "if you will show me to this haunted room of yours, I will relieve you from the task of entertaining me." "There's a candle on the slab outside the door," said the man with the withered hand, looking at my feet as he addressed me. "But if you go to the Red Room to-night--" "This night of all nights!" said the old woman, softly. "--You go alone." Copyright 2015 Online Teaching Resources Ltd

This extract is taken from The Red Room, a short story by H.G. Wells.
Use your inference and deduction skills to answer the following questions: What emotions is the narrator experiencing? Explain your answer. Are the elderly people friendly? Explain your answer. Which words and phrases create a dark and sinister atmosphere? Copyright 2015 Online Teaching Resources Ltd

Alternative but valid answers are acceptable.
Below are three possible answers. The narrator is trying to appear relaxed, confident and fearless. You can sense this in the way he speaks to the old people: ‘"If," said I, "you will show me to this haunted room of yours, I will make myself comfortable there." His speech is formal and he is assertive. He says that he will be ‘comfortable’ in the ‘haunted room’ which suggests that he is courageous and self-assured. The old people are very unfriendly. They ignore his request to be taken to the haunted room, the old man only looks at the narrator’s feet as he speaks to him and none of them will escort him to the room. A dark and sinister atmosphere is created by words and phrases such as, ‘haunted’, ‘startled’, ‘red eyes’, ‘darkness’, ‘stared like a dead body’, ‘glaring into the fire with lack-lustre eyes’ and ‘the withered hand’. Alternative but valid answers are acceptable. Copyright 2015 Online Teaching Resources Ltd

Question One Now let’s put your deduction skills into action.
Read the first part of the extract again then answer the question. The question is worth only 5 marks so don’t spend too much time on it – 7 minutes is more than enough. Copyright 2015 Online Teaching Resources Ltd

Now let’s move on to Question 2 which is all about AO2.
AO2 assesses your ability to understand how writers use language and structure. You must also be able to explain how language and structure can be used to achieve certain effects and how such effects can influence the reader. To do this well you need to be able to use subject terminology. Copyright 2015 Online Teaching Resources Ltd

Now let’s look at Question 2 again:
Read lines A2. What are your first impressions of the sergeant-major? [5] You must refer to the language used in the text to support your answer. Copyright 2015 Online Teaching Resources Ltd

Question 2 is worth the same amount of marks as Question 1
Question 2 is worth the same amount of marks as Question 1. Therefore you should also spend around 7 minutes on this question. Q2 asks you how the writer has used language to convey an impression of a character. In this case, the sergeant-major. Copyright 2015 Online Teaching Resources Ltd

This response requires a slightly deeper analysis of the text than the first question.
You need to pick out words and phrases using quotation marks and explain the effects created by the words that you have selected. You should look out for techniques used by the writer such as similes, metaphors, alliteration, personification, onomatopoeia and so on. If you spot one, write about it – explain why the writer has used it and what effect it creates. Finally, keep a keen eye out for different sentence types – simple, compound, complex, statements, questions, exclamations – again make sure that you explain the reason why the author has used them. Copyright 2015 Online Teaching Resources Ltd

Use P.E.E. P.E.E. is incredibly useful when answering questions like this. P.E.E. stands for: POINT EVIDENCE EXPLAIN THE EFFECT Make a point, find some evidence to back it up then explain what effect the word or phrase has. P.E.E. shows that you have read and understood the text in detail. Reading assessed work without quotations and detailed explanations will not gain a good grade. Copyright 2015 Online Teaching Resources Ltd

POINT > EVIDENCE > EXPLAIN THE EFFECT
Using Quotes When using P.E.E. you will need to use quotations or quotes. Quotes have specific ‘rules’ which must be followed. Quotation marks must always be used to show that you are quoting from the text. E.G. The sergeant-major’s arrival immediately establishes a darker tone and mood: ‘the gate banged to loudly and heavy footsteps came toward the door.’ This creates the immediate impression that he is a large and powerful man. The verb ‘banged’, the adverb ‘loudly’ and the adjective ‘heavy’ combine to convey an image of a domineering presence. This loud and forceful disturbance of the quiet cosy family home has the effect of engaging the reader in the story and foreshadowing later events. Remember: POINT > EVIDENCE > EXPLAIN THE EFFECT Copyright 2015 Online Teaching Resources Ltd

Powerful adjectives, verbs, adverbs
Things to look out for Powerful adjectives, verbs, adverbs Similes Metaphors Personification Alliteration Onomatopoeia Pathetic fallacy Sentence styles Copyright 2015 Online Teaching Resources Ltd

Now attempt the question.
Read lines A2. What are your first impressions of the sergeant-major? [5] You must refer to the language used in the text to support your answer. Spend about 10 minutes on it. Copyright 2015 Online Teaching Resources Ltd

Now look at Question 3: Read lines 45-61 .
A3. How does the writer use language here to convey the sergeant-major’s emotions? [10] You must refer to the text to support your answer. Copyright 2015 Online Teaching Resources Ltd

Use Point – Evidence – Explain again.
Question 3, like Question 2, is focused on AO2. However, it is worth twice as many marks so it requires a more detailed and analytical response. You should spend about 12 minutes on this question. It asks how the writer has used language to convey character and engage the reader. Like Question 2, it instructs you to refer to the text to support your answer. Therefore, as before, you need to find evidence - using quotation marks - and explain the effects created by the quotes that you have selected. Use Point – Evidence – Explain again. Copyright 2015 Online Teaching Resources Ltd

Quotes and Comments Make a point, use a quotation, then explain in detail the effect created by the language used. One has been done for you. Point Quotation Effect Descriptive opening sentence ‘Without, the night was cold and wet, but in the small parlour of Laburnam Villa the blinds were drawn and the fire burned brightly.’ Immediately the writer establishes the setting of the opening scene. The weather is unpleasant in the extreme – it is a wet and cold night - but it is warm and cosy in the parlour room of Laburnam Villa. This creates a contrasting image. Inside the family are safe, happy and contented while outside, behind the drawn blinds, in the cold darkness, the storm rages angrily. Awkward silences Copyright 2015 Online Teaching Resources Ltd

Quotes and Comments Point Quotation Effect
Copyright 2015 Online Teaching Resources Ltd

Now answer the question
Read lines A3. How does the writer use language here to convey the sergeant-major’s emotions? [10] You must refer to the text to support your answer. Copyright 2015 Online Teaching Resources Ltd

Question 4: Read lines 59 to the end.
A4. How does the writer make these lines tense and dramatic? [10] You should write about: - what happens to build tension and drama; - the writer’s use of language to create tension and drama; - the effects on the reader. Copyright 2015 Online Teaching Resources Ltd

what happens to build tension and drama;
Question 4 is all about AO4. It is also worth quite a large amount of marks (10) so it requires a detailed response. You will therefore need to spend the same amount of time on this question as the previous one – 12 minutes. Here you need to evaluate the text critically and support your evaluation with appropriate textual references. In this example question the focus is on how the writer creates tension and drama in the extract. It requires you to write an essay-type response which includes: what happens to build tension and drama; the writer’s use of language to create tension and drama; the effects on the reader. So, how do you evaluate a text and write about the creation of tension? Let’s have a go at the following task… Copyright 2015 Online Teaching Resources Ltd

How has the writer built tension and drama?
Look out for the use of these techniques and consider how the writer uses them to create tension in this scene. Word Choices Techniques Sentence styles Complete the table on the following slide. Make a point, find a quote that backs up your point, then explain the quote in detail. Copyright 2015 Online Teaching Resources Ltd

How does it add to the tension?
Getting Tense Point Quotation How does it add to the tension? The sergeant-major is reluctant to speak about the paw. "And did you really have the three wishes granted?" asked Mrs. White. "I did," said the sergeant-major, and his glass tapped against his strong teeth. Mrs White’s question anticipates a detailed and excited account of what happened but the sergeant-major’s reply is clipped and unresponsive. The tapping of the glass against his teeth suggests that he is brooding and troubled. It is also a rather unpleasant sound which adds tension – like a ticking clock – and an awkward silence. Copyright 2015 Online Teaching Resources Ltd

How does it add to the tension?
Tension Building Point Quotation How does it add to the tension? Copyright 2015 Online Teaching Resources Ltd

Tension You are going to write a paragraph explaining how the writer builds tension in this section of the story. Remember to make clear points which are backed up with evidence and explained in detail. 12th September Question 4 The sergeant-major is reluctant to speak about the paw … Copyright 2015 Online Teaching Resources Ltd

Question 4 – Use P.E.E. P.E.E. is incredibly useful when answering questions like this. P.E.E. stands for: POINT EVIDENCE EXPLAIN THE EFFECT Make a point, find some evidence to back it up then explain what effect the word or phrase has. P.E.E. shows that you have read and understood the text in detail. Reading assessed writing without P.E.E will not gain a grade higher than a grade 4 at GCSE. Copyright 2015 Online Teaching Resources Ltd

Now answer the question. It is worth 10 marks.
Read lines 59 to the end. A4. How does the writer make these lines tense and dramatic? [10] You should write about: - what happens to build tension and drama; - the writer’s use of language to create tension and drama; - the effects on the reader. Copyright 2015 Online Teaching Resources Ltd

The final question is also worth 10 marks.
Think about the whole of the text. A5. “The writer encourages the reader to feel that Mr White is a rather foolish man.” [10] To what extent do you agree with this view? You should write about: - your own impressions of Mr White in the passage as a whole; - how the writer has created these impressions. You must refer to the text to support your answer. Copyright 2015 Online Teaching Resources Ltd

Question 5 is about AO2 and AO4
Question 5 is about AO2 and AO4. It is also worth 10 marks and requires a similarly lengthy and thorough response. You will therefore need to spend the same amount of time on this question as the previous two – 12 minutes. Here you need to evaluate the text critically and support your evaluation with appropriate textual references. In this example question, the focus is on how the writer influences the reader. It requires you to write a response which again uses P.E.E. and analyses the text, as a whole, in depth. Copyright 2015 Online Teaching Resources Ltd

Have a go at answering the question.
Think about the whole of the text. A5. “The writer encourages the reader to feel that Mr White is a rather foolish man.” [10] To what extent do you agree with this view? You should write about: - your own impressions of Mr White in the passage as a whole; - how the writer has created these impressions. You must refer to the text to support your answer. Copyright 2015 Online Teaching Resources Ltd

Remember, the exam paper is designed to assess the following criteria:
AO1, AO2 and AO4. These ‘Assessment Objectives’ are listed below. Copyright 2015 Online Teaching Resources Ltd

Links to WJEC Eduqas exam papers
WJEC Eduqas Specimen Exam Papers for 2015 Copyright 2015 Online Teaching Resources Ltd

WJEC Eduqas GCSE 9-1 ENGLISH LANGUAGE

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