Coursework Assignment 3: Narrative Writing

What is Assignment 3 of the IGCSE English Language coursework portfolio?

A piece of narrative writing. To reach the highest levels you must create a developed, well-defined plot and include features of fiction writing such as characterisation and setting.

What is the required word count for Assignment 3?

Between 500 and 800 words.

How are the 25 marks for Assignment 3 divided?

10 marks for content and structure, and 15 marks for style and accuracy.

What does the content and structure mark scheme require of your narrative?

Many well-defined and developed ideas and images that create a convincing overall picture with varieties of focus.

What does the style and accuracy mark scheme require?

Precise, well-chosen vocabulary and varied sentence structures chosen for effect; language and tone suitable for the context; and spelling, punctuation and grammar almost always accurate.

What forms may a narrative for Assignment 3 take?

Any relevant form, such as the opening or closing chapter of a longer story, or a short story in itself, but features of fiction writing should be evident and ideas explored and developed imaginatively.

What kinds of story might you be asked to write for Assignment 3?

A story that creates suspense and atmosphere, explores relationships and emotions, or deals with adventure, achievement or unexpected events.

What three qualities do the best short stories share?

They are based on a single plot idea, have a maximum of two main characters, and tend to be set in a place familiar to you.

How many paragraphs should a narrative writing response be structured into?

Five or six paragraphs.

Why is planning your narrative response essential?

You have limited time to create a cohesive plot, and an unplanned response is likely to have an abrupt ending, or no ending at all, which will not get high marks.

Name the five stages of Freytag's Pyramid.

Exposition (setting the scene), rising action, climax, falling action, and resolution or denouement.

What should happen in the exposition paragraph?

Stick to one main setting and start at the location, hook the reader with clues but not everything, choose your narrative perspective and tense, introduce no more than two characters, and use the five senses to create an atmosphere that reflects the main character's mood.

What is an 'inciting incident' in a narrative?

An event placed at the end of the exposition paragraph which prompts the rising action and moves the story forward.

What should the rising action paragraph achieve?

It should build tension, drama or interest, directly lead to the turning point (the climax), and develop your characters using dialogue, monologue, or direct or indirect characterisation.

What is the climax of a story?

The turning point: the moment everything changes that the character(s) cannot go back from. The protagonist may face an external problem or internal dilemma, and their choice is made here.

How should you write the climax paragraph for dramatic effect?

Vary your sentence structure, length and language.

What should the falling action paragraph do?

Show the consequences of the climax as a direct result of it, and focus on the characters' thoughts and feelings as a result of the climax, further developing characterisation.

What are your options for the resolution or denouement?

You can resolve your story or end on a cliff-hanger — but a cliff-hanger must be a suspenseful ending, not a sudden one. Avoid clichés such as 'I woke up and it was all a dream'.

How can the resolution create a cyclical structure?

Your setting and atmosphere could reflect a change from the opening paragraph, or refer back to the imagery used in the opening to create a cyclical structure.

Should all paragraphs in a narrative be the same length?

No. Better answers vary the lengths of their paragraphs for effect, developing separate ideas or points in each paragraph and avoiding repeating the same descriptions.

What is pathetic fallacy?

Reflecting a character's mood in the environment, so that the setting mirrors their internal or emotional state — for example, 'the lonely road'.

How should your setting change as the story progresses?

It should change to reflect your character's mood. Contrasting scenes is an effective way to convey ideas and engage the reader — for example, starting on a sunny afternoon and ending as a storm approaches.

How should you build a clear setting before introducing characters?

Allow an entire paragraph to describe the scene using sensory language (dark, light, colours, sounds, smells and weather), without confusing readers with other information like who is there.

What must you avoid when mixing descriptive language in a setting?

Mixing ideas that build different moods — for example, 'The graveyard was dark, cold and smelled like fragrant flowers' is confusing for the reader.

How is establishing a setting like the game 'Taboo'?

You describe something without stating explicitly what it is, keeping the reader guessing and asking questions such as 'What is going on?', 'Why is this like this?' and 'Who is this?'

What is the difference between direct and indirect characterisation?

Direct characterisation is the writer describing the character through narration (appearance, personality, motivations) — this is 'telling'. Indirect characterisation hints at what the character is like through speech, thoughts, feelings and interactions — this is 'showing'.

Why should you focus more on indirect characterisation than direct characterisation?

Too much direct characterisation results in superficial characters a reader cannot relate to or engage with, whereas indirect characterisation develops more complex, well-rounded characters that engage the reader.

When is describing a character's appearance usually important?

Usually when your character represents something, for example a king, a soldier or someone in trouble. Facial expressions can convey character effectively, e.g. 'her tear-stained face' or 'he frowned'.

Why is first-person narration rarely suited to describing appearance?

It is rare that we describe our own appearance; third-person perspective can describe appearance more effectively.

What is one of the most effective ways to describe a character?

Through their movements and body language, as this is how we judge people most accurately. Verbs and adverbs can be used to build characterisation, e.g. 'His head dropped'.

How can dialogue verbs reveal more about a character than what they say?

Using alternatives to 'said', such as 'shrieked', 'mumbled', 'whispered' or 'bellowed', reveals more about the character than the words they speak.

How does monologue help engage readers?

In first-person perspective, a monologue creates a personal tone and engagement with the character. You can create a character's 'voice' using punctuation, such as short sentences or questions — a short sentence may indicate nervousness.

What is the golden rule for using dialogue in a narrative?

Limit it, especially if you are not absolutely certain how to punctuate it correctly. Only include dialogue that drives forward the plot or characterisation, and punctuate speech marks accurately.

What is repetition as a narrative technique?

Repeating a word, phrase, image or idea. It is much more effective when used as a motif throughout your piece of writing.

Define alliteration and its use in narrative writing.

Repeating words starting with the same consonant sound — they do not have to be consecutive. Consider the effect you are trying to achieve through its use.

What is a metaphor, and when is it especially effective?

A figure of speech comparing one thing to another. Metaphors are especially effective where they are extended and developed, e.g. 'She was the chief lioness among us, fierce, determined and strong.'

What is personification and when is it particularly useful?

Giving human qualities to non-human things. It is a great way to create atmosphere at the start of your writing by personifying the setting, e.g. 'The weary old tree... whispered ancient wisdom to the breeze.'

How should onomatopoeia be used in narrative writing?

More sophisticated than comic-book terms such as 'boom', and never in capital letters. Consider sound as a way of evoking the senses to create atmosphere, e.g. 'the gentle pop and sizzle of the logs'.

How should similes be used in narrative writing?

Sparingly — a simple comparison using 'like' or 'as' creates more impact when not overused, e.g. 'Her smile was as radiant as the early morning sun on a summer's day.'

What is imagery?

Engaging the reader's senses by using vivid and detailed language to create an image in the reader's mind, e.g. 'The sun-kissed waves crashed against the golden shore.'

What is juxtaposition?

Placing two contrasting ideas, images or concepts side by side to highlight their differences or create a striking effect, e.g. an elegant ballroom contrasted with bare servants' quarters.

What is emotive language?

Words or phrases intentionally used to evoke a strong emotional response in the reader, e.g. 'The devastating aftermath left a trail of destruction, sorrow and misery.'

What are power verbs and why are they useful?

Deliberate, interesting choices of verb that help the reader picture what you are writing. They are especially useful for characterisation, e.g. 'The man stooped, bumbling slowly towards the entrance.'

What is the 'show, not tell' principle?

Making deliberate language choices for effect, considering the connotations of words and phrases, and bringing your writing to life in the reader's mind rather than simply stating facts.

Why should you avoid clichés in narrative writing?

Clichés and over-used narratives, such as abandoned cabins in the woods or 'I woke up and it was all a dream', weaken your writing; aim for a well organised and thoughtful interpretation of your title instead.

Why should you not just 'tell' a series of events?

Consider imaginative ways to tell your story apart from a chronological account — for example a flashback — and include your characters' thoughts and feelings, not just what happens.

What is the advice about complicating your language?

Do not over-complicate your language unnecessarily, and do not underestimate the power of simple words and sentences to create significant impact.

Where should your story start?

At your story's main setting — not in the journey or build up before the main action starts.

What should every word you choose contribute to?

The overall atmosphere and effect you want to create.

Why should you vary sentence and paragraph lengths?

To keep the style and tone dynamic.

What should you consider about the 'message' of your story?

Consider the message of your story and how your characters represent it — characters may represent an idea such as hope, strength or abandonment, or a villain may represent injustice or evil.

How should you think of your story when writing?

As a 'scene' in a film: it is not necessary to know everything about your characters. Immerse the reader with vivid 'showing' techniques such as sensory imagery and interesting vocabulary rather than 'telling' them with direct description.

What structural technique can give background information and provide context?

A flashback — and you must use past-tense verbs for it.

Which narrative perspective and tense are easiest to control?

First person 'I' and the past tense.

What character archetypes can you consider when developing characters?

Essential narrative archetypes such as 'villain', 'victim' and 'hero'. Decide how your characters fit these descriptions.

How can repeating ideas related to colour be effective?

You can repeat ideas for emphasis — for example, black and grey, or green and blue.

What is the main aim of a narrative for Assignment 3?

To entertain — a story that entertains is normally a successful one.