This question assesses your ability to:
AO5: Communicate clearly, effectively and imaginatively, selecting and adapting tone, style and register for different forms, purposes and audiences. Organise information and ideas, using structural and grammatical features to support coherence and cohesion of texts
AO6: Candidates must use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation.
This question is worth half of the Language Paper (40 Marks), requiring students to apply their knowledge of language and structural techniques to a creative writing piece. In this part of the exam, students will be given both a picture and a written prompt, and will choose one to create a piece of short fiction from. To be successful, students need to demonstrate their command of mechanics (SPaG), language techniques, and structural techniques.
Suggested time: 45-50 minutes
Top tips:
Plan first! Students are most successful if they do a quick plan of their story so that it can be structured appropriately.
Focus on a short timeframe. Instead of a story that is action-packed (the "and then" style story), you need to focus on description, which means only a few minutes will pass in the world of your narrative.
Pack it with techniques! You'll be assessed on how well you can use language and structure features in your work, so use them often (but appropriately).
Use ambitious vocabulary. You get more marks from attempting to use ambitious words and spelling them incorrectly, than you do if you only use basic vocabulary and spell it correctly.
Take care in your technical accuracy - it's worth 40% of this section- and don't forget to show off your ability to use a variety of punctuation!
Short, snappy sentences
Short, simple sentences
Long, complex sentences
Short paragraphs
Long paragraphs
Dialogue
Description
Action
Shift in focus
Shift in topic
Shift in time
Shift in character
Zoom out
Zoom in
Exposition
Rising Action
Climax
Falling Action
Resolution/Denouement
Inciting Incident
Connectives
Repetition
In media res
1st person/2nd person/3rd person POV
Past/present/future tense
Temporal references (references to time)
Withholding information
Endings
Order of the events
Flashback
Flashforward
Circular narrative
Justaposition
Chronological structure
Rule of 3
Direct speech
Simile
Metaphor
Onomatopoeia
Alliteration
Sibilance
Sensory Language
Emotive Language
Repetition
Asyndetic List
Oxymoron
Hyperbole
Personification
Pathetic Fallacy
Assonance
Consonance
Colloquial language
Dialect
Dialogue
Dissonance
Imagery
Irony
Pathos
Rhyme
Symbolism
Lexical (Word) Choice
Semantic Field
Need some revision to build your confidence with these techniques? Try the links below.
Full Stop / Period (.)
This is the most popular punctuation mark because you simply cannot write a single sentence without using it. There are two main uses of a full stop: to indicate the end of a sentence, or to follow an abbreviation.
Comma (,)
A comma is often used to separate different ideas in a sentence. However, it has many other uses as well.
Commas separate items in a list: apples, peaches, grapes, and oranges
A comma is used after an introductory word or phrase: at the end of the day, however, in contrast, etc.
A comma is used to distinguish a tag question at the end of your sentence fro the rest of the sentence: You are going to the party this Saturday, aren’t you?
Use a comma when you are directly addressing someone: Julia, what would you like to eat for dinner?
Question Mark (?)
A question mark, as its name suggests, needs to go at the end of every interrogative sentence instead of a full stop:
What did you do today?
How are you doing?
Where is your little brother?
Exclamation Mark (!)
Whe you add an exclamation mark at the end of a sentence, it shows emphasis. An exclamation mark can also indicate anger, happiness, excitement, or any other strong emotion, depending on the meaning of the sentence.
Go away!
I’m so excited to see you!
I can’t wait to go to London!
Quotation Marks / Speech Marks (” “)
As you might expect form the name, quotation marks indicate direct quotations. You can also use them to show that a word or a phrase is being used ironically, or for titles of articles, book chapters, episodes of a TV-show, etc.
“You’ll never believe what happened last night,” Amy said.
Apostrophe (‘)
An apostrophe has two very important uses. First, it can be used in contractions in place of omitted letters. Second, it can show possession.
You don’t have to go to the store if you don’t want to.
We should invite both of Tim's sisters to the party.
Hyphen (-)
Even though it looks very similar to a dash, a hyphen has very different uses. It’s most commonly used to create compound words.
She has always been very self-conscious.
My sister just started a new part-time job.
Dash (– or —)
In fact, there are two different dashes, the en dash and the em dash. The former is slightly shorter than the latter one. The en dash is usually used to show a connection between two things, as well as a range of numbers, years, pages, etc.
The London–Paris flight takes about 1 hour and 15 minutes.
For tomorrow’s lesson, I need to read pages 38–55 of the textbook.
The em dash can replace a comma, a colon, or parenthesis. You can also use it to put emphasis on the ending of your sentence.
This year, Linda has traveled to quite a few countries—China, Japan, South Korea, and Vietnam.
His answer was loud and clear—No!
Colon (:)
A colon is a punctuation mark used in many different circumstances. It can introduce an example, a list, an explanation, or a quotation. Or, you can also use it to emphasize a certain point.
There are two things you can do: continue being miserable or move on with your life.
There’s only one person in the world who can tell you what you should do: you.
Semicolon (;)
A semicolon is a punctuation mark that creates a longer pause than a comma but a shorter pause than a full stop. It can be used to create a pause between two independent clauses that are still closely related to each other.
My mother is a teacher; my father is an salesman.
Sylvia spent the whole morning trying to figure out what to wear; she ended up choosing the first outfit out of all that she tried on that day.
Parentheses ()
In most cases, you will see additional information in parentheses. Usually, it can be omitted without creating any confusion for the reader.
Brackets []
Brackets are, in a way, similar to parentheses. However, they are mostly used in academic writing and when presenting quotes. For instance, the writer can add extra information or fix mistakes in brackets, without changing the original quotation.
The girl said, “I could hear him [my younger brother] but I couldn’t see him”.
Ellipsis (…)
When you want to creates an intriguing and mysterious atmosphere in the text, you use ellipsis. Additionally, it can be used to show that some letters or even words are omitted.
So… what happened next?
Slash (/)
You might need to write a fraction, a measurement, or to suggest alternatives in your text. These are just three of the instances where you will have to use a slash.
To make this cake, you will need 1/2 cup of milk, 2 cups of flour and 1 cup of sugar.
The car was going as fast as 140 km/h.
Just press the On/Off button.
A magazine has asked for contributions for their creative writing page.
Either:
Write a description of a stormy sea from your imagination. You may choose to use the picture provided for ideas.
Write the opening of a story that begins with the sentence: 'This was going to be a terrible day, one of those days when it's best to stay in bed because everything is going to turn out bad.'
Drop Start your story by dropping straight into the action or a striking moment. Hook the reader immediately with something interesting, dramatic, or mysterious. Avoid long introductions — begin with movement, dialogue, or a vivid image.
Shift Shift the mood, time, place, or atmosphere. Change from the opening scene to introduce new information, a different emotion, or a new setting. This keeps the story moving and builds interest.
Zoom In Zoom in on a specific detail, character, object, or moment. Focus closely on senses (sight, sound, smell, touch, taste), thoughts, or feelings. Use descriptive language to make this part vivid and immersive for the reader.
Single Sentence Include one powerful, standalone sentence. This could be a short, shocking revelation, a key realisation, a moment of tension, or a turning point. Use it for maximum impact — it stands out because it is short.
Zoom Out Zoom out again to show the bigger picture or consequences. Pull back to reveal how the zoomed-in moment affects the character or situation. End with a wider view, reflection, or a hint of what happens next.
This was going to be a terrible day, one of those days when it's best to stay in bed because everything is going to turn out bad. The sky outside my window was already the colour of a bruise, heavy and swollen, pressing down on the rooftops as if it wanted to crush the whole street. Rain began to needle the glass in sharp, angry taps.
I pulled the duvet higher and tried to ignore the growing growl of thunder in the distance. Yesterday had been ordinary — school, chips on the way home, nothing special. Today felt different, charged, like the air itself was waiting to snap.
A fork of lightning ripped across the clouds, bleaching everything white for a split second. In that flash I saw the old oak at the end of the garden lean sideways, its branches thrashing like arms trying to fight the wind. The window frame rattled. A cold draught slipped under the door and crawled across the floorboards towards my bed.
Then the power went out.
Somewhere down the street a car alarm started wailing, thin and useless against the rising roar of the storm. The whole town seemed to hold its breath as the rain turned into a solid sheet, erasing the houses, the cars, the streetlights, until there was nothing left but noise and darkness and the certainty that the day had only just begun to go wrong.
This was going to be a terrible day, one of those days when it's best to stay in bed because everything is going to turn out bad. Beyond the window the sky had turned the colour of old bruises — swollen, yellow-black and heavy — pressing down on the rooftops as though it meant to smother the entire street. Rain began to strike the glass in spiteful, needle-sharp taps that grew steadily more insistent, each one a small accusation.
Even the air inside the room felt wrong, thicker than usual, as if it had been waiting all night for permission to turn hostile.
I dragged the duvet up to my chin and tried to convince myself that yesterday still belonged to this morning: the ordinary shuffle of school corridors, the sharp vinegar tang of chips on the walk home, the dull comfort of routine. But the silence between the raindrops felt charged, electric, the whole house holding its breath as though something inevitable was about to break.
A blade of lightning tore the clouds apart without warning, flooding the bedroom with a harsh, colourless light that bleached every shadow. In that frozen second the old oak at the bottom of the garden twisted violently sideways, its branches flailing like the arms of something drowning. The window frame shuddered in its casing. A thin, icy draught slid under the door, crawled across the floorboards and touched the edge of the mattress with cold, deliberate fingers.
Then the lights died.
Somewhere further down the road a car alarm began to scream — thin, frantic and utterly useless against the rising howl of the wind. The rain thickened into a solid grey curtain that swallowed the houses, the parked cars and the streetlamps one by one, until the world outside was reduced to nothing but noise, darkness and the growing, bone-deep certainty that the day had only just begun to go wrong.