gcse english planning an essay

Essay Writing Tips

There are many key writing techniques required to achieve the best grades.

The video and text below look at some of the best technigues to help you achieve top marks

What are these techniques?

Introduction

• Remain focused on the question
• Clear conclusion
• Organisation/ paragraphing

Good essay practice should include:-

• Make sure you write a brief plan for your answer. In your plan you should identify very clearly around six distinct points you intend to make and the specific parts of the text that you intend to examine in some detail.
• Spend about 5 or 10 minutes planning as this will help you make sure you have chosen the right question (because then you know you have lots of material to cover).
• This should be brief; you could include what your main view is and what other ideas you have.
• Don't list the poems or ideas you are going to include in the rest of your essay as you will be repeating yourself.
• Don't begin with ‘In this essay I am going to ...' and then list ideas.
• Try to begin by addressing the question straight away.

Paragraphing

• Make sure you use them as it makes your writing clearer for you and the examiner.
• When writing your essay you should devote one or two paragraphs to each idea from your plan. Try to make smooth links between paragraphs.
• When you make a point - you must give evidence to prove it. When you make a point, refer to the text and give an example to back up what you say. The best way to do this is to use a quotation from the text.
• Remember to include quotations, but not too many and don't make them too long. A good quotation can be a line or two long or just a few words from a line.
• Do not copy out whole long sections from texts as this is wasting time.
• Don't retell the plot of the story. The important thing is to be selective in the way you use the text. Only refer to those parts of the book/poem that help you to answer the question.

Answer the question

• It sounds obvious, but it's so easy to forget the question and write the essay you did in the mock. When you have finished a paragraph read it through and ask yourself. "Am I still answering the question?" If you think you are not then you need to change it, so that you are still focussed.
• At the end, try to draw all the strands of your various points together. This should be the part of your essay that answers the question most directly and forcefully. Keep checking the question.
• Keep it formal. Try to avoid making it chatty, so avoid using abbreviations e.g. ‘don't', ‘won't' and do not call writers by their surnames so for William Golding you should call him Golding rather than William, which is too informal.

Be creative

• Remember you do not have to agree with other people's points of view about literature. If your ideas are original or different, so long as you develop them clearly, use evidence intelligently and argue persuasively, your point of view will be respected. We want literature to touch you personally and it will often affect different people in different ways. Be creative.
• There is no one correct answer to questions on English Literature, just well explored and explained ones.

CHECKLIST AFTER WRITING YOUR ESSAY

• Written a plan and stuck to it?
• Written in clear paragraphs?
• Produced evidence to prove all your points?
• Used quotations from your chosen text(s)?
• Answered the question?

Generally speaking to get good marks you have to do the following:

To get a grade 9 or A* you need to be insightful, sensitive, convincing and evaluative.

For a grade 7/8 or A you need to be analytical and exploratory.

For a 6 or B you need to sustain your answer linking details to what the writer is trying to say and thoughtfully consider the meanings of the texts.

For a 4/5 or C you need to structure your answer to the question, use details effectively to back up your ideas and make some appropriate comment on the meaning of the texts.

For a 3 or D you need to answer the question and explain your ideas with some supporting quotations from the text.

Planning Essays

Before beginning any essay, you must always plan the content of the essay. A sufficient plan leads to an effective structure and content. With a plan, your writing appears concise and to the point; without one, you risk your writing appearing inconsistent and confusing. Although different types of essays require different types of planning, the first thing you should always do when opening your exam paper is read the question first . You must have a clear idea of what is being asked of you before you begin planning your essay or analysing any text. This will save you a lot of time in the exam, especially during the analysis questions as it will avoid you having to reread the text.

In each large essay question in the exam you are recommended to spend only five minutes planning your essays, and so reading the question first will save valuable time for you in the exam.

In this chapter, we will only discuss the planning required for questions 3 and 6 of Section A. The last question of Section A (question 7) is a comparison question and so we will discuss this individually in the next chapter.

Questions 3 and 6 of the exam are short essay questions compared to the last three in the exam. Questions 3 and 6 are worth 10 marks each and solely focus on AO2:

• AO2 – Understand and analyse how writers use linguistic and structural devices to achieve their effects (makes up 20% of the overall exam).

You only need to comment on how the writer has used linguistic and structural devices to achieve their effects . The types of questions you may come across in this aspect of the exam are:

• Describe how the writer expresses his thoughts and feelings about his trip to America.
• How does the writer present her opinion on the state of UK politics?

Because these are shorter exam questions you are not expected to spend a whole five minutes planning these; however, a plan is still necessary and essential.

After reading the question carefully and picking out important aspects of it (like discussed in the previous chapter), there are a number of ways you can organise your ideas for a plan. Bullet points, for example, are good for planning and will not take up too much time. However, some students prefer to be more creative and create mind-maps for a plan as they find this an easier way to organise their thoughts. Mind-maps are not recommended for questions 3 and 6 of Section A so stick to bullet points; we will discuss the uses of mind-maps in Unit 3 of this course.

In order to illustrate planning essays, we will use the same essay question ‘How does the writer describe their thoughts and feelings about their trip to Paris?’ and the previous extract we looked at:

After thoroughly analysing the question being asked, you can just use bullet points to design your plan; however, it is a good idea to use a P E E table to plan your essays as this will ensure you properly evidence and explain your points:

Here is an example of a completed table:

Every essay should include:

• An introduction (to introduce the essay and any points that will be made)
• main body (your main points that you use to answer the question)
• conclusion (summarise your main points – it is a good idea to refer back to the question here)

Although this essay is fairly short, you must still include an introduction and conclusion. An example of how you might introduce the essay we have just planned is:

“The writer of ‘A Trip to Paris’ describes their thoughts and feelings about their trip using a number of linguistic and structural devices to achieve their effects. The writer is intending to inform the reader about their trip to Paris but the text has a satirical overtone which is created by the devices they use.”

After you have written the introduction you should then go on to explain the main points outlined in the plan you created.

Noticed how in the introduction we not only referred to the question being asked: ‘How does the writer describe their thoughts and feelings about their trip to Paris?’ but also the Assessment Objective that the examiner will be using to mark this question: ‘AO2 – Understand and analyse how writers use linguistic and structural devices to achieve their effects (makes up 20% of the overall exam)’.

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Resources you can trust

How to build an essay

A useful introduction on how to build and plan a formal essay, focused on AQA English Language GCSE English Language Paper 2, question 5. Uses a sample essay title on gender and equality and provides a planning template for students. 

Sample content:

How do you build an essay?    

• Thesis - your view: established in the introduction, built upon throughout and developed.
• Antithesis - different views which you can critique throughout the essay, at appropriate points.

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• The Best Revision Resources For Gcse English Literature

GCSE English Literature – Best revision aids for your students

Help students prepare for this half of the English exam with this collection of useful tips and tools…

Navigating the vast sea of GCSE English Literature resources can be daunting. Here we’ve curated the best revision aids to empower your students and enhance their understanding and performance. Here’s a useful video for starters…

GCSE English Literature revision resources

How to banish gcse english literature exam fears, planning and writing essays that fully demonstrate understanding, gcse english literature faqs, macbeth essay writing resource.

This free, detailed  Macbeth essay two-lesson resource pack  contains two comprehensive PowerPoints which will support KS4 students in constructing coherent and clear essay structures for an exam-style question.

We also have a free Macbeth revision download which includes 20 lessons’ worth of material, including Powerpoints and supporting resources for each session.

Macbeth/Christmas Carol walkthrough

If you’re preparing students to sit their GCSE English Literature exam, use this free AQA English Literature Paper 1 PowerPoint/PDF to walk through a past paper with them. It focuses on Macbeth and A Christmas Carol .

GCSE English Literature quote analysis guide

This free resource is a guide for GCSE English students on how to effectively analyse passages and quotes from texts.

It uses a passage from  A Christmas Carol  and includes a number of activities to try in class or at home. There is also a vocabulary list of words to use in analysis.

Analysing song lyrics as unseen poetry

This free unseen poetry GCSE lesson plan involves studying Firework by Katy Perry to support the development of key GCSE skills.

Unseen poetry scheme of work

This free scheme of work from English teacher Toby Grimmett teaches students how to analyse the language, structure and form of unseen poems using differentiated resources and extension tasks.

AQA quotation planning tests

This free 15-20 minute activity from English teacher Laura Holder asks students to plan an answer to section A and B of both GCSE English Literature papers.

Unseen poetry mock GCSE lesson plan

This free, fully differentiated lesson looks at Paper 2-style AQA English Literature unseen poetry questions for ‘Autumn’ by Alan Bold and ‘Today’ by Billy Collins. It’s easily adaptable for other exam questions and exam boards.

GCSE set text resources

We’ve rounded up resources for a number of popular KS4 novels. Check them out at the links below:

• Pride and Prejudice by Jane Austen
• Macbeth and Romeo and Juliet by William Shakespeare
• Never Let Me Go by Kazuo Ishiguro
• Animal Farm by George Orwell
• A Christmas Carol by Charles Dickens

Revision videos

Mr Bruff’s YouTube account has a nice selection of revision videos, covering topics such as avoiding common mistakes, selecting and memorising quotations, looking for patterns and full marks example answers.

• AQA paper 1
• AQA paper 2
• Full marks exam answers

Quizlet flashcards

On Quizlet you can look at free expert-verifiied flashcards to help students revise for GCSE English Literature. Simple choose your exam board, text and area of revision.

GCSE literature overview

If there’s anything we’ve not covered, there’s plenty more at Teachit English where you’ll find sections on Shakespeare , 19th-century novels , post-1914 novels , post-1914 drama , poetry and other revision resources .

English literature past papers

Looking at previous papers is an essential part of preparing for exams, so whether you want to look over some in class or direct students towards them to look at at home, you’ll find AQA, Edexcel, WJEC, OCR, Eduqas, Pearson and CIE tests at Revision World .

Nic Worgan’s GCSE revision

Nic Worgan has a whole host great literature-based videos on her YouTube channel that are well worth checking out. There’s the above video on unseen poetry, plus key quote quizzes for GCSE texts like Jekyll and Hyde , An Inspector Calls and various Shakespeare plays.

Eradicate those pre-exam fears plaguing your students with this advice from English teacher Jennifer Hampton…

If a certain type of exam response has become a threatening behemoth, break it down. Learn a set of quotations in class around a specific theme or character, perhaps with the aid of mini whiteboards , pair talk , timed conditions and/or buckets of praise.

A set of short quotations firmly lodged in students’ heads equals a win, and with every win we feel more successful, more empowered and less afraid.

We practise a similar approach when it comes to verbs that explain effect (‘emphasises’, ‘highlights’, ‘reinforces’, ‘creates’ etc.) and phrases relating to social and historical context.

We can do it with adjectives that describe character, or indeed many aspects of the complex responses our students will be required to give in the exam.

Active revision modelling

Beware those pretty notebooks and flashcards that haven’t yet become grubby through continual handling and flipping.

It’s worth reflecting on how many of our students see their studies and exam preparation as a solitary, inactive and ultimately passive activity.

I myself now know that the hours I spent studying for both GCSE and A Level exams could have been utilised so much more productively had I known just how ineffective my 1am note copying sessions really were.

As Pie Corbett – the brilliant teacher, trainer and poet behind Talk For Writing – says,‘If you can’t say it, you can’t write it’. That’s certainly something I need to consider more in my own practice.

Emphasise to your students that their beautifully neat notes are next to useless unless they’re also kept securely in their heads.

Immersion and joy

All of us will have different opinions on the texts we teach, the selections we’ve made and the factors governing those choices.

We need to recognise that at some point, we have to acknowledge the value and worth offered by even our most loathed set texts.

Select the best chapter, best act or best online poetry reading of the texts in question, and then just read and/or listen to them – potentially for the duration of a whole lesson.

Invite your students to identify their own favourite lines, or pick out a work’s most humorous moments or haunting sentences.

Try to recapture that moment when your fresh-faced Y10 students were first presented with a text’s then-new words, long before assessments, mocks and feedback began to eat away at its appeal.

Relax, immerse and do your best to help everyone enjoy those well-written texts as if PETER paragraphs had never been invented.

Pair writing

How can we turn the demands of assessment objectives on responses inside out? One way is to outline what these actually are, and ask students to co-write a single response. Two brains, one paragraph/essay.

By doing this, we’re not only facilitating the exposure of different writing styles and different interpretations, but also different sets of notes.

Needless to say, this is an activity in which students will need be matched carefully, and for which ground rules will need to be laid down.

Both students must physically contribute to the actual writing. Both sets of notes/resources will need to be accessible, and both should actually understand what it is they’re writing.

Once the activity is complete, invite your students to look back over their responses and take the best phrases and ideas from both.

Yes, it can take practice and monitoring to get this right, but even the inevitable minor disagreements between partners will help to develop their knowledge and expression.

Tentative language

‘Could’, ‘maybe’, ‘possibly’, ‘perhaps’; such tentative language (often heavily demanded at undergraduate and Master’s level) can give nervous students a renewed sense of confidence, especially when faced with previously unseen texts.

Model sentences that contain these words. Encourage their use in verbal responses during class discussion.

Explain how they’re frequently employed in academic writing, and emphasise how they can raise the intellectual bar of our writing while also, fabulously, giving us an insurance policy if we’re perhaps a little bit off.

Comprehension and the basics

As evidence mounts that students’ comprehension skills often aren’t as developed as we think, it’s worth checking to see if they really get it – especially when it comes to unseen poetry.

How often have you watched students spot a simile prior to reading the whole poem? Most of us will also have seen the detrimental effects of not truly understanding a text when devising language responses.

I sometimes wonder if we’ve successfully trained students in identifying language to the detriment of comprehending texts in their entirety, and what they’re actually about.

Equally, when it comes to other studied texts – notably Shakespeare – do students know what’s happening in any given scene and that scene’s purpose?

Sequencing and summarising exercises, quizzes, and ‘true or false’ questioning will help reveal misunderstanding.

Making revision effective

• Take time in lessons to demonstrate self-testing (even the old ‘look, say, cover, write, check’).
• Show students how to map a theme or character via colourful mind-maps, or by using images accompanied by text.
• Remind students that they can use their omnipresent phones to record verbal notes after watching online revision videos, or themselves talking through an essay before writing it.
• Encourage students to test each other, or have a family member step in. It doesn’t matter if nan doesn’t know the novel – give her a list of points on paper, and ask her to make sure you’ve said them all.

Jennifer Hampton ( @brightonteacher ) is an English teacher, literacy lead and former SLE (literacy) .  Browse great ideas to help with  GCSE English Language revision . Download our  AQA English Language Paper 1 ultimate revision booklet .

“Why on earth have they included that quote, when this one would clearly have been a much better choice?” Sound familiar? Here’s how students can avoid this and other issues, says Fiona Ritson…

Calling all English teachers: does this sound familiar? You’ve read a GCSE text with your class, and used resources you’ve painstakingly made in order to get them thinking more deeply.

As you go through extracts in the last lesson on Friday afternoon, you ask carefully crafted questions, and note with satisfaction how students shoot their hands up in a flash, like Barry Allen on the run.

You collect a pile of books containing essays, and plonk them in the boot of your car, smiling at the moments of brilliance you expect to see in your students’ work.

Later, back at home, you mark them. And that’s when your world comes to an abrupt stop. What went wrong?

Because what you are seeing doesn’t remotely resemble what you taught – were you even in the room? Why on earth have they included  that  quote, when  this  one would clearly have been a much better choice, leading to some fantastic analysis?

Could it be because you didn’t actually prepare them properly for what they needed to do?

All the way

Despite timetable constraints and pressure for schools, I strongly advise reading any GCSE text cover to cover with students.

This may sound obvious – but, blasphemous though many will find it, I’ve heard rumours of schools simply handing out extracts with summaries to bridge the gaps in missing knowledge and content.

However, the only way students will be able to write articulate essays is if they know the text inside out.

Moreover, whether we like it or not, pupils need to understand the exam specification. This doesn’t mean teaching to the test, but they do need to know what to do so that they can move up the levels on a mark scheme. This means recognising the language of that mark scheme.

Each exam board uses the same assessment objectives, but they’re weighted differently across the two papers for each board.

Some need context, some are a comparison, and so on. You and your students should know them inside out.

Plan, plan and plan

For the GCSE English Literature exam, students have to write an articulate essay to an unseen question, sustained over the whole piece, in about 30-60 mins (depending on question/exam board), showing clear understanding of the text and context, all whilst under pressure.

As teachers, we have to prepare them as much as possible. Five minutes planning an essay could ensure students don’t go off track because they’ve lost the question focus.

And teaching how to write effective introductions helps pupils not only to focus the start of the essay, but also to shape the direction and their ideas for the rest of their response.

Students need to consider the question, character or theme, at all times. A literature exam will always consider what the text is about – the actual content and themes or ideas the author is exploring.

The other consideration is how the text is written – so, the techniques used by the author through language, structural features, setting, characters etc.

Key elements to cover

Students need to consider a character from many viewpoints; are they liked/disliked, and why are they important to the novel/plot?

Is there a theme explored through a particular character? How do we feel as a reader towards them? How are they treated by other characters?

And finally, do they change – do they learn anything across the story?

Learners must understand the themes explored in a text and how they are linked to the characters and storyline, as well as contextual information at the time of writing.

This should be the easiest, the words on the page, but often students move swiftly past words or phrases, focusing on quotes that lead to poor analysis. Students need to look for key words/phrases that answer the question.

I’ve used a simple system for years. When I read the extract I begin to underline words or phrases that jump out at me.

Once I see a pattern, repetition, synonym or even antonym of a previously underlined word I circle it. This means when I get to the end I can quickly see key words/phrases and patterns across the text.

However, regardless of any little tricks they might use, students need to actually analyse the quote/words they’ve picked for meaning!

Sometimes we get students to analyse language but for them the technique is an afterthought.  Why  did an author pick a metaphor or oxymoron at that point, how is that technique effective and, for example, how does the comparison add to overall meaning?

Structure/form

Analysing structure seems to present students with an especial challenge. They need to consider paragraphs, sentence types, punctuation, word order, clause order and how the extract begins and ends.

How does the genre of the text add to meaning or contribute to author’s intent? Does the extract follow a particular character’s thoughts or feelings and if so why; and more importantly, do they change over the extract?

Here, students need to look for shifts in tone, subtle choices made by the author that carry as much impact as the words. Who is speaking and why? How does this add to overall meaning?

Where is the extract or that section set? Why is that important? How does it add to the atmosphere? Does it change the way characters think or feel?

I always advise students to pick around eight to ten quotes from across the extract or whole text covering language, techniques and structure – and remind them constantly that it’s not enough just to include a quote; they need to explain why it’s significant, too!

Finally, of course, students need to finish their essay with a conclusion that summarises the author’s intent covering the question and their initial introduction.

Additional support

For further help and guidance, try the following:

• Read  Bringing Words to Life  (Isabel L Beck, Margaret G McKeown, Linda Kucan) and  Closing the Vocab Gap  (Alex Quigley) if you haven’t already. Students need to understand tier 2 language ; how to write about it and how to analyse it. They need to signpost their essay making strong connections in the extract or whole text.
• Get yourself on Twitter and find the English community using the #teamenglish hashtag, where teachers up and down the country share resources and their time freely.
• Sign up to Litdrive , a site where English teachers share resources.

Fiona Ritson is an English teacher in the south east of England. Find her on Twitter at  @AlwaysLearnWeb.

What is English Literature GCSE?

English Literature GCSE is a qualification taken by UK secondary students, focusing on the study of literary texts like novels, plays, and poetry. It involves analysing themes, characters and literary techniques and aims to develop critical thinking and writing skills.

How many English Literature GCSE papers are there?

There are two separate English Literature GCSE papers. The themes of each paper depend on which exam board you are with:

• AQA: Shakespeare and the 19th-century novel; Modern texts and poetry
• OCR: Exploring modern and literary heritage texts; Exploring poetry and Shakespeare
• Pearson Edexcel: Shakespeare and post-1914 literature; 19th-century novel and poetry since 1789
• Eduqas: Shakespeare and poetry; Post 19-14 prose/drama, 19th-century prose and unseen poetry

Do you have to retake English Literature GCSE?

It is not compulsory for students to pass GCSE English Literature. However, students must resit GCSE English Language the following November if they did not get a grade 4 or above and are still under 18.

Is English Literature GCSE compulsory?

English Literature GCSE is not a compulsory subject. However, the majority of schools require students to take it. English Language GCSE is compulsory.

How many quotes should you learn for English Literature GCSE?

Exam board Eduqas recommends learning three or four key quotes for each main character and theme.

What books do you study at GCSE English Literature?

What book you study will depend on your particular exam board, but common options include the following:

19th-century novels and prose

• A Christmas Carol by Charles Dickens 
• Great Expectations by Charles Dickens
• Frankenstein by Mary Shelley
• Jane Eyre by Charlotte Brontë
• The Sign of Four by Arthur Conan Doyle
• The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson
• Silas Marner by George Eliot
• War of the Worlds by HG Wells

Modern prose texts

• Coram Boy by Jamila Gavin
• Boys Don’t Cry by Malorie Blackman
• Things Fall Apart by Chinua Achebe
• Lord of the Flies by William Golding
• The Power and the Glory by Graham Greene
• To Kill A Mockingbird by Harper Lee
• Of Mice and Men by John Steinbeck
• Anita & Me by Meera Syal
• Woman in Black by Susan Hill
• Paddy Clarke Ha Ha Ha by Roddy Doyle
• Heroes by Robert Cormier
• About a Boy by Nick Hornby
• Resistance by Owen Sheers
• I Know Why the Caged Bird Sings by Maya Angelou
• Ash on a Young Man’s Sleeve by Danni Abse
• Oranges are Not the Only Fruit by Jeanette Winterson
• How Many Miles to Babylon? by Jennifer Johnston
• Pigeon English by Stephen Kelman
• Chanda’s Secrets by Allan Stratton
• My Name is Leon by Kit de Waal

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Essay writing: style and substance

You have such strong words at command, that they make the smallest argument seem formidable. George Eliot

As with most subjects, the step up from GCSE to A level English literature is tough. You can get a pretty good grade at GCSE without developing a critical style or understand much about the art of constructing an academic essay. Students’ work is routinely littered with stock phrases such as “I know this because” and “this shows” all of which shift the focus from having to think about subject content in sophisticated ways to simply learning a collection of fail-safe formulas.

Of the 4 (now 5) Assessment Objectives against which students are assessed at A level, AO 1 often presents the greatest hurdle to o’erleap, so how can we teach students to “articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression?”

Here are three ideas I’ve found useful over the years:

Writing a thesis statement

Slaloming & tacking

Nominalisation

Most often students write essays in response to a question. For example,  ‘Cordelia’s death is the shocking climax of cruelty in Shakespeare’s exploration of evil.’ To what extent do you agree with this view? or, ‘Tragedies leave readers and audiences with a final sense of emptiness and disillusion.’ To what extent do you agree with this view in relation to two texts you have studied? Test designers deliberately make the questions as open as possible to allow for as great a breadth of responses as possible, but attempting an answer can seem overwhelming precisely because there are so many possibilities. The trick is to narrow the range of options by constructing a tightly focused thesis statement which sets out the terrain to be explored. In addition, a good thesis statement should present an idea which can ‘tested’ against different interpretations and aspects of the text.

In the case of the question on King Lear we might come up with something like,

Cordelia’s death, whilst shocking, has more to do with the redemption of her father than as an inevitable consequence of evil.

For the question on tragedy we might construct a statement such as,

As both Richard II and Death of a Salesman demonstrate, the aim of tragedy has always been to leave audiences with a sense of catharsis.

Both statements can be tested, both offer students a clear way into an essay, both usefully narrow the field of possible interpretations to a more manageable pool, and both demonstrate to an examiner exactly what the essay sets out to prove right from the outset. Students can easily check whether or not their ideas are helping to build a case and pursue their argument along a pre-determined path.

A line of argument should flow naturally from a well-designed thesis statement. Consider the example from King Lear above:  Cordelia’s death, whilst shocking, has more to do with the redemption of her father than as an inevitable consequence of evil.  What is the finish line? Such an essay begs for a conclusion in which death is seen in a larger context than evil, perhaps even with the sort of rhetorical flourish which links the death of Cordelia to the death of Christ, thus redeeming Lear and, by extension, the audience. Rather than setting off to stride from A to B, the path between our thesis statement and this conclusion is tacked towards indirectly.

While there’s no substitute for a thorough knowledge of texts and contexts, the use of discourse markers – words and phrases that signpost our discourse – can be a real boon both in the construction of an essay and in the ease with which it can be read. Here’s a handy collection of such markers:

Adding : and, also, as well as, moreover , too Cause & effect : because, so, therefore, thus, consequently Sequencing : next, then, first, finally, meanwhile, before, after Qualifying : however, although, unless, except, if, as long as, apart from, yet Emphasising : above all, in particular, especially, significantly, indeed, notably Illustrating : for example, such as, for instance, as revealed by, in the case of Comparing : equally, in the same way, similarly, likewise, as with, like Contrasting : whereas, instead of, alternatively, otherwise, unlike, on the other hand

A note of caution: it’s perfectly possible to include these types of marker in an essay and make it less readable. The key is to be clear about the connection between each phrase and its intended purpose. Some, like the markers for sequencing, adding and cause and effect make writing more direct. Qualifying and contrasting discourse markers – on the other hand*- allow us to tack in unexpected directions. And then illustrative and emphasising markers allow for useful slaloms.

So, not only should we select textual references and position critical perspectives which allow us to follow a course we select our language too. These act as buoys around which we must navigate, always conscious of the conclusion to which we’re building. Sometimes we need to explain away or argue against an irritatingly awkward piece of information, but that’s all part of the game in a subject like literature. It’s not true to say that style is valued over substance, you still need to know your texts inside out, but the point is not to arrive at a universal and eternal truth, it is to be both erudite and stylish in the construction of your argument.

And on that point, nominalisation is one such way students can appear more erudite and take on that all-important critical style.

This is simply the act of turning verbs into nouns. Informal communication tends to be active and depends on verbs to give a sense of immediacy and action. Academic writing is abstract and depends on nouns to convey densely packed concepts or ideas. Turning an action into a concept is to nominalise it. This is sometimes the difference between a good essay and a poor one: essays which are nominalised tend to exude confidence and authority, essays which aren’t can suffer from sounding a bit vague.

Consider these brief examples:

• Because Cordelia dies at the end of the play, many people decide that King Lear is a play about the consequences of the evil things people do. Before she dies Cordelia is ready to forgive her father and because they are reunited we think the play will end happily. This is also suggested by fact that she dies offstage and that we only learn about it when Lear enters carrying her body and howling. When he says “She’s dead as earth. Lend me a looking-glass; If that her breath will mist or stain the stone” he seems pathetic and feeble; his grieving is undignified. This could suggest not so much that evil has triumphed but that Lear has to lose the last shreds of his authority in order to be truly humbled .
• Cordelia’s death at the end of the play is often seen as evidence that the consequences of evil are inescapable. Before her death, Cordelia’s reunion with, and forgiveness of, her father is suggestive of a happy ending. The arbitrary nature of her sudden death provides further evidence of the inevitability of evil, but a different interpretation of the lines “She’s dead as earth. Lend me a looking-glass; If that her breath will mist or stain the stone” might lead to the conclusion that his grief and the pathetic desperation with which Lear clings to the possibility that she yet lives is proof not of the triumph of evil but of the need for the king to lose the last shreds of royal dignity and authority before he can truly experience humility .

Although both say pretty much the same thing, is one better than the other? Or more to the point, which better demonstrates “informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression?”

Nominalisation sometimes gets a bit of bad press and Stephen Pinker demonises it as the ‘zombification of language’ with the passive lurch of an awkward noun replacing elegantly leaping verbs. Clearly nominalisation alone is not enough to elevate an essay, but teaching A level students about how to nominalise concepts provides them with a straightforward, easy to implement strategy to shift style from the clunkily informal to the confidently academic.

But, when learning to communicate in a suitably academic style, nominalisation is a useful jumping off point. It is an easily grasped concept which, once explained, allows students to see at a glance where their prose style can be spruced up. A simple N in the margin of an essay can be sufficient to prompt an elevation in their critical perspective.

I hope these thoughts are at least marginally useful, do let me know if you have any other handy essay writing tips.

* See what I did there? Sorry.

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The PIXL6 booklet on Anantomy of Writing is helpful for providing some sentence structures and starters….a little scaffold-y still, but a start. We are looking at trying to deconstruct good examples of academic writing for new GCSES as well- giving pupils higher level vocabulary and working on their complex sentence structures and embedding quotations to increase fluency and improve style. Starting sentences using phrases such as Despite…. although…..while- to try and make writing more concise as well. Great piece by the way- am going to use with my A Level pupils. We focused on writing a good introduction last lesson- essentially, your thesis statement- as they have to be able to synthesise their understanding from different parts of the text, look for commonality and then be ready to prove it. I used the analogy of the intro being nicely gift wrapped and summarised- the essay then opens up the argument and starts examining it in detail.

I’ve developed a website to help students with essay writing that elaborates some of the ideas you mention with further topics (e.g. doing the resaearch, writng the introduction) and examples of good practice.. It’s aimed at undergraduates and A level students but teachers also find it useful. It’s at http://www.essaywritingworkshop.co.uk . John

Academic style is terrible style and you shouldn’t hold it up as something to aspire to. Your paragraph #1 above is much more vigorous and readable, and if it comes across as less “confident” (not sure about that), then the lack of confidence is merited, since it’s just one writer’s opinion. I’m also not sure about “Slaloming & tacking”. I’d have to read two paragraphs using that technique versus direct, but in general, I think you do your readers a favor by being clear and direct without being barbarous. In general, I find that good writers more often have a background in the sciences than they do in liberal arts. The sciences encourage clear communication, coherent chains of reasoning, and words with clear definitions.

Hi Martin – thanks for the pushback. I’d take issue that those with a background in the sciences produce clear writing. This is very often not the case. Stephen Pinker’s A Sense of Style provides numerous amusing examples. To say “Academic style is terrible style” is quite some generalisation. The academic requirements of different subject disciplines are, well, different. In literature, we tend to value tentativity as well as confidence. Clarity is, of course, important, but so is taking in and addressing a range of dissenting views. To be clear, a paragraph should *not* slalom – an essay should. If you were to read a paragraph that tried to tack internally it would be confused and confusing. To see the effect you’d need to read an entire essay. I’ve written about the need for clarity here: https://www.learningspy.co.uk/writing/the-value-of-clarity-precision-and-economy/

Please note that I didn’t say that “all scientists write well”, I said that good writers often have a science background. In popular writing, Paul Krugman is exemplary, yet he’s sometimes criticized for his informal writing style. Personally, I was disappointed with Pinker’s book. I was hoping for something more like “Style: Toward Clarity and Grace” by Joseph Williams, which I loved.

So, “good writers often have a science background.” Equally, good writers often don’t have a science background. Maybe having a science background is irrelevant?

“I’ve written about the need for clarity here:” I like this article.

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An Inspector Calls Essays

One of the best things you can do to revise for any english exam is to read examples of essays. below you'll find a range of essays which you can read at your leisure., though there are always benefits in reading essays, becoming use to "active reading" is also important. to do this, use one of these strategies to help:, print the essay off and highlight key phrases or pieces of analysis that you like, keep some notes on the ways the essays use key vocabulary, cherry-picking the best phrases for use yourself, note down the structures of the essays but making a note of the focus of each paragraph, remember that there are hundreds of ways to write a successful essay, as the examples below will highlight. but they all manage to link the big ideas of the play with the language and structure; they all write about priestley's intentions and the audience's responses; they all recognise that this play is written to make a political point, not just to entertain the audience., a) how does priestley explore responsibility in an inspector calls , in the play, priestly wanted the audience to take responsibility for each other, to see that society was "one body." he wanted the audience in 1945 to recognise that although there had been positive changes since 1912, he didn't want them to regress and, in fact, wanted them to demand even more social reform., firstly , priestley uses the inspector to demonstrate to his audience that morality is a much more admirable quality in a person than mr birling's selfish manner. in act 3 mr birling offers "thousands" to help eva, though the inspector tells him that he is “offering money at the wrong time.” this shows that the inspector has the moral high ground and, although from a lower class, is holding all the power over the birling's treasured reputation. to the audience it would be obvious that birling should have given the money earlier, that it was inevitable that eva would end up costing him. it is also revealing that birling wouldn't give eva smith a small pay rise as it would have meant he couldn't "lower prices" but when it came to saving his status he was prepared to “give thousands.” by this stage, mr birling seems quite flustered and somewhat embarrassed as although in the outside world his authority is growing in his own home he can't control a man of “that class.” from a psychoanalytic perspective you could argue that this reflects birlings upbringing and the values that he was taught to respect as a younger man when he worked had and was kept poor in a way that taught him the value of hard work. in this way, mr birling feels that all the people who have money deserve it while the people who don't have money clearly don't deserve it. also, it is from his background that birling being taught to prioritise materialistic things could be the root of his difficult relationship with eric; he comes across as very cold and unforgiving which possibly reflected onto his son. this could easily be a subconscious cause of eric's addiction (looking for escape and comfort in the absence of his father's approval) and be linked to why eva viewed him to be more juvenile than gerald. the need for superficial things in his life like power and wealth is portrayed in the play as quite harmful and only something which will hold a person back, the inspector seems to be free from all these hindering social constructs and is definitely a much more favourable character because of this., in spite of their strong differences in beliefs, both mr birling and the inspector are very self-assured characters who are equally set in their ways . this is not mirrored in the younger characters like eric or sheila. priestly emphasizes a message directed towards the younger generations that they are the hope for change. throughout the play birling refuses to accept the need for reform or responsibility , he represents the stereotypical man of his age and class that priestley uses to contradict sheila's growing outward-looking empathy. when she promises the inspector that she will “never never do it again to anybody” she is acknowledging her privileges and shows that she understands how people must take responsibility for each other. i would say that her materialistic upbringing and the damage that has done makes her incredibly naive and impacts hugely on her opinion of others' worth. when talking about eva smith in act 1 one of the first things she asked was “is she pretty” from this line alone it is clear to the audience where her priorities lie and what kinds of values were instilled in her from a young age probably by her shallow mother. priestly highlights that it's the duty of the young to bring about reform and for this to happen they firstly need to realise the older generations won't do it for them. he also stresses that it's not ok for people like the birlings to take credit for their achievements but never accept responsibility for the consequences of their profit., priestley uses the contrast between age groups and class to explore universal divides caused by pride, reputation and lack of accountability, things that mr and mrs birling value highly but sheila is willing to let go of by accepting her mistakes and returning gerald's engagement ring (also rejecting her father's business interest in gerald.).

Examiners commentary:

The simple, clear first paragraph is fine.

The second paragraph, however, contains some interesting points that could be related to the question but which aren't. As a result, a lot of what's good in this paragraph is lost. This could have been easily fixed if the student had remembered to continually link their points back to the question.

The third paragraph is an improvement in that it does mention responsibility more often and has some interesting observations about the generation gap.

The third paragraph feels unfinished and unclear - it sounds like it's saying that Mr and Mrs Birling value accountability highly, or that the view a "lack of accountability" highly, neither of which are true.

AO1: Lots of AO1, though it isn't connected to the question often enough

AO2: Not enough AO2 at all - hardly any specific language analysis

AO3: Nothing of note outside of the first paragraph

Grade: This is a difficult essay to grade. There are lots of interesting points, especially about how our upbringings affect our outlook, but they're not always linked to the question which means they won't score as well as they should. Also, a complete lack of AO2 causes real problems. This is probably a G5 though with a few minor changes it could easily be pushed up two grades.

B) How does Priestley explore responsibility in An Inspector Calls ?

Priestley presents a strong message about responsibility throughout the play. he wants us all to take more responsibility for each other., firstly, he uses the character of mr birling to convey the ignorance of those who refuse to take responsibility. we can see this when mr birling says, “community and all that nonsense”. the use of the noun “nonsense” shows the audience that mr birling is mocking socialists and those who believe society should be a community. you can almost hear his sarcastic tone as if ‘community’ is an absurd idea. the word “all” also highlights his belief that anything to do with community, such as helping others and being responsible for one another, is ridiculous. this links to when he says, “a man has to mind his own business and look after himself and his own.” the repetition of the pronoun “his” emphasises that he only takes care of his possessions and doesn’t think twice about others. also, it exposes to the audience his sense of higher class entitlement linked to his lack of responsibility for things that are not directly his fault. the audience of 1945 would have been shocked because by this time, after the labour movement and war, people were becoming more open-minded about mixing social classes and community responsibility. this links to priestley’s message because he was a socialist and believed people should have equal rights., in contrast to mr birling, priestley uses the character of sheila to present those who are willing to take responsibility. we see this in the line, “i’ll never, never do it again to anyone”. the repetition of “never, never” reveals that sheila feels guilty and deeply regrets her actions. it also tells the audience that she is open-minded about changing how she behaves, regardless of her social class. the use of the noun “anyone” reveals that she doesn’t care if the person is upper class or lower class. she doesn’t want to put anyone in that position again and has taken full responsibility. if this play had been shown in 1912, the audience may have been more likely to agree with the birling’s ideas and would have thought sheila may be acting foolishly. however, the audience of 1945 would have been more sympathetic towards sheila because at this time, society was shifting towards the creation of the nhs, the introduction of education for all and the building of social housing. this reflected how society was coming together more and caring more for the poor instead of brushing them aside., similarly, the character of inspector goole is the main voice of responsibility in the play and is the voice of priestley himself as he is trying to show the birling family that being upper class doesn’t make them any less responsible for the community than the next person. this sense of responsibility is also reflected in the stage directions when the light goes from “pink and intimate” and “brighter and harder”, when the inspector enters. immediately, this tells us that the i nspector has a presence on the stage and that he has come to say something important. perhaps it is about bri nging light to the things that the upper classes like to hide in the shadows, or the harsh lighting works almost like he is interrogating the family. the spotlight is now on them and what they have done., additionally, priestley conveys a message of responsibility through the inspector when he says, “we are members of one body.” the noun “members” highlights that we are all joined together and if one member falls, then it brings everything down. furthermore, it links to the idea that community is like a family who should take care of each other no matter what. it could also have religious connotations because in the last supper jesus said, “this is my body that will be given up for you, take this in memory of me.” here, jesus said that people should eat the bread because it would bring everyone together and he always believed that people should be equal. in 1912, people were very divided and the poor would rarely move up to the higher classes. priestley was aiming to ensure that the shifts in society happening in 1945 were strengthened and that everyone felt that responsibility for others was important..

Really clear structure, with a clear target for each paragraph

Doesn't make a wide range of points but has a quote to backup each point and explores the quote in depth

Each section ends with something about the context

Though each point is presented with a quote attached, this could have been improved with some other references from the play even if those quotes or references weren't analysed in depth

AO1: Not much AO1 really, no real refernces to key moments of plot

AO2: Lots of great AO2 - quotes analysed in depth

AO3: Good AO3, all key points linked to context

Grade: A really neat, clear and well organised essay. A lack of AO1 is a problem, as is the fact that although each paragraph was linked to an idea connected to responsibility the link isn't always made clear. However, there's loads of AO2 and AO3 so it would be a comfortable G7. With a couple of sentences added to each paragraph which referenced a few key moments of plot it would go up to a G8.

C) How does Priestley explore responsibility in An Inspector Calls ?

Priestley explores ideas about responsibility through the way the birlings behave towards eva smith. arthur birling explains the family’s capitalist philosophy when he says ‘a man has to mind his own business and look after himself and his own’ which suggests that he feels that he only has responsibility for his own family and himself . this is reinforced by the way the birlings treat eva smith. first of all, arthur fires her from his factory to make an example of her because she asks for higher wages and dares to take responsibility for others by speaking up on their behalf. it is revealed that arthur’s prime motive is to keep wages down so that he could make more profits. priestley reinforces this through arthur’s constant repetition of ‘hard headed man of business’, to remind the audience that he is representative of capitalism and the damage it causes. the word ‘business’ is later used by birling to refer to the death of eva smith as he states how her death is ‘horrid business’ which emphasises the message that birling only sees people’s lives in terms of profit. priestley is showing the audience that a blind belief that generating profits and prosperity for the good of everyone is fundamentally wrong as it causes innocent people to suffer tragic consequences., although all the birlings are responsible for eva’s mistreatment and death in some way, they react differently when they find this out from the inspector. mr and mrs birling do not change and are only concerned about their reputation - the possible ‘scandal’ or arthur’s ‘knighthood’. however, priestley’s intention is give the audience a message of hope as sheila and eric do recognise that they have behaved badly by the end of the play and therefore he is suggesting that it is the younger generation that have the responsibility for adopting more socialist principles. through the younger birlings’ attitudes, priestley suggests that socialism is the modern way and that it is young people who will change society for the better., this change of views in the younger generation is also shown through the play’s structure as eric dramatically exits the stage at a crucial point suggesting he is struggling to contain his guilt over his mistreatment of eva smith. likewise, sheila is struggling with her guilt and tries to show that she has changed by directing others to realise their own responsibility in eva smith’s suicide. for example, sheila warns her mother not to ‘build up a wall’ this metaphor describes the separation of the social classes as mrs birling believes she is superior to the lower classes. the irony is that the opposite is true as priestley reveals how mrs birling’s behaviour is morally wrong – she punished a pregnant girl by refusing her charity when she needed it the most just because the girl used her name and in doing so angered mrs birling., through using the form of a morality play, priestley is able to identify what each family member’s sins and how it was these sins that they demonstrated and caused their mistreatment of eva smith. for instance, eric’s lust for eva smith meant that he forced himself upon eva and then his sloth – his inability to earn his own money meant he stole money from his father instead of facing up to his responsibility and earning money himself. by the end of the play, priestley shows that eric fully accepts his responsibility and describes how he cannot even remember his assault of eva as being a ‘hellish thing’. the use of this metaphor implies he is being tortured by his own guilt and knows he has been committed to hell due to his sins., priestley constructs the inspector’s role as that of a priest as he extracts all the confessions from the birlings and attempts to force them to accept their responsibilities through asking questions which challenge their capitalist way of life and challenges their edwardian values of social class and hierarchy. in addition, the inspector’s language has religious tones to it as he warns the birlings and gerald croft that if they do not stop exploiting the poor, they will learn their lesson with ‘fire, blood and anguish’. there is an inference that they will be punished in hell for not caring about the way those less fortunate are treated. through the inspector’s voice, the audience hear the socialist message that the birlings are being taught and we left knowing that this is a warning to us all – we need to accept responsibility and take better care of others around us., how does sheila change during an inspector calls, - summary paragraph, - stage directions, - confrontation with the inspector – she takes responsibility, - standing up to her parents, - the young are more impressionable, - ending – grown up, throughout inspector calls, sheila is the character who changes the most. at the beginning of the play she is a young, naïve girl who is happy to be told what to think and do; by the end she is the only character who really takes responsibility for the death of eva and is happy to tell her parents that she thinks they are wrong., the stage directions describe her as being “very pleased with life” a phrase which reflects her luxurious upbringing. she’s also described as being “excited” an adjective that suggests she is looking forward to her life. in both these respects she could be viewed as being ignorant to the reality of what her luxury costs others, or how difficult the times ahead will be., sheila refers to her parents as “mummy” and “daddy,” nouns that are associated with young children and not young adults; she is also told off by her mother for squabbling with her brother, a fact that reinforces our vision of her as being infantilised by her parents. sheila is then given a ring by her fiancé gerald. “is it the one you wanted me to have” she asks him, a phrase that suggests she wasn’t really interested in what she wanted but only what gerald wanted her to have. throughout the opening she is presented as a child, with no real desires or wishes of her own. in many respects, she is the traditional rich young woman – without a real mind of her own by virtue of her gender., when the inspector arrives, he explains how her spoilt behaviour in a shop led to eva being sacked. “then i’m really responsible,” she accepts, quickly recognising her role in the girl’s downfall. also, she observes that the inspector is getting ready to speak to gerald next and pushes this through, asking direct questions to gerald and working out the reasons why he wasn’t where he said he was the summer before. in both these cases, she is showing independent thought – by accepting responsibility even when others don’t and by pushing gerald against his wishes., during their time with the inspector, her parents and gerald repeatedly try to send sheila out of the room to protect her from his news – her mother argues that she is “looking tired,” something that we would only really say to a very small child. sheila repeatedly refuses, arguing that she will stay until “i know why that girl killed herself.” here, she clearly shows herself standing up to her parents, sticking to her desire to discover the truth of the situation., at one point arthur argues that the inspector is making “quite an impression” on sheila, suggesting that she’s coming around to the inspector’s way of thinking. “we often do on the young ones,” the inspector replies, suggesting that his socialist values are more affective on younger people. this reflects a view of priestley’s which was that socialism and left wing values are more impactful on younger people, a fact that’s often reflected in even modern opinion polls where right wing conservatives tend to be older. this is also shown in how, by the end of the play, mr and mrs birling remain unchanged by the arrival of the inspector, while their children change – even gerald admits that the events “affected him,” before he reverts back to his old ways., even after the inspector leaves, sheila continues to push his ideas trying to make sure that her family don’t forget him. she claims they are beginning to “pretend” that nothing has happened, clearly accepting that things won’t be the same again. her use of the verb is interesting as well, as games of “pretend” are really childish things. it seems that the girl who was once infantilised is now accusing her parents of playing make-believe. she also argues that her parents “don’t seem to have learnt anything,” behaving almost like a school mistress arguing that a lesson has been missed. she also says, in response to a speech from eric in which he accepts responsibility, that he makes her feel a little less “ashamed” of them, a word which really shows just how powerfully sheila sees her parents’ remorseless behaviour., her frustration is clear throughout the ending, where she says her parents’ behaviour “scares” her. this clearly references the inspectors closing words about “fire and blood and anguish” which referenced the years of war that would follow the period between the play being written and being performed. the audience at this point would doubtless be agreeing with sheila regarding her fear. her parents continue to ignore her desire to grow up, infantilising her again by suggesting that she’s just “tired” and “hysterical,” though they can’t ignore her final words when she refuses gerald’s ring again which clearly shows that she has grown up enough to express herself completely, how does priestley present mrs birling as an unlikeable character (high level response), priestley presents mrs birling as an unlikable character as she doesn’t change throughout the play. in acts 1 and 2 she doesn’t say much about the tragic death of eva at all, showing her lack of remorse., on the other hand, characters like sheila do realise the horror of the suicide. in act 2, gerald says “sorry, i’ve just realised a girl has died”. this is ironic [sic] as he had found out in act 1, but it had only sunken in in act 2. the word “sorry” shows he feels embarrassed about his emotional side, as many men of the time (1912) did., sheila also changes throughout, creating a stark contrast to her mother. in act 1 she refers to her mother as “mummy” like when she says “mummy, isn’t it a beauty” this shows she was dependant on her and worried about material things. she later says, “but these girls aren’t cheap labour, they’re people” to mr birling, showing his daughter isn’t afraid to voice her opinion but her mother is. in act 2, sheila says, “we really must stop these silly pretences”. the inclusive pronoun “we” not only presents sheila as the family member doing the right thing and trying to influence others, as her mother should, but also involves the audience, trying to give them a message. the noun “pretences” is significant as it was mrs birling who pretended not to remember eva smith., when she was shown the photo it was evident that mrs birling didn’t change throughout as at the end of the play in act 3 gerald suggests that “he’s been had”, and the birlings are keen to accept it, whilst sheila and gerald remain guilt-stricken. the audience of the time, in 1945, would have just experienced the war and realised everyone must start taking care of one another. they may have not been so quick to change, as, at the time, only rich, most-likely capitalist, people would have gone to the theatre to see the play, whereas a modern audience is more diverse and open., priestley also presents mrs birling as an unlikable character as she is dismissive towards many different groups. for example, she says “a girl of that class” when her part in the suicide is revealed. the noun “girls” shows mrs birling’s views that working class girls are undeserving of names. this derogatory comment would have infuriated an audience of 1945 as the working class were extremely beneficial during the war, though the class divide was massive in 1912. she is even misogynist, like mr birling, who says “clothes mean something different to women”. she says “sheila and i had better go to the drawing room”, which shows her views on women’s place in society, due to gender roles. she also says men have to spend a lot of time working away, but sheila challenges it and says she won’t get used to it. it is obvious priestley has used the younger generations as a symbol for more open-minded people as eric also challenges mr birling on war. mr birling says the titanic is “unsinkable, absolutely unsinkable”. the repetition and qualifiers enhance the dramatic irony as he was wrong about both of these things. it is almost as though priestley is mocking people like mr birling., mrs birling also has capitalist views which don’t change throughout the play. she believes in a social hierarchy as seen in the stage directions before the play begin, where the characters are placed around a rectangular table which gives power to those at the top and bottom, and when she says, “be quiet and let your father think of what we should do next”. the imperative verb “be” shows how she is even being rude towards her own children., this contrast with shelia’s feminism, which was popular due to the suffragette movement in 1912, significant after 1945 as many women helped the war effort and important to a modern audience who have achieved so much. mrs birling uses her powers for bad as she “influenced” the committee to refuse eva help., priestley uses the play as an allegory for his socialist views. by inducing a sense of hatred towards mrs birling he allows the audience to see the flaws in a capitalist mind-set. priestley, having served in the war himself, developed strong socialist views. this is reflected in the inspector, who is a mouthpiece for priestley as he uses the metaphor, “we are all part of one body” to imply everyone should look after one another. priestley had a popular radio programme which was cancelled for being too “left wing” by the bbc. as time progresses, the audience becomes more socialist and the play is more effective., priestley presents mrs birling as having double standard. this can be seen in the quotation, “i’m sorry eric… didn’t know”, after finding out it was her son she was talking about when she said he should take full responsibility for eva’s pregnancy., despite stage directions calling for pink, intimate lighting at the beginning, mrs birling never seems to be intimate with her children. when the inspector asks if eric drinks, she says “of course not, he’s only a boy”, which shows she is either lying or not close with her family. however, sheila says he’s been “steadily drinking for two years”, showing she is either trying to get him into trouble or is keen to get him help. either way, she is closer with him than his own mother. the siblings also exchange comments when she calls him “squiffy”. the colloquialism has mrs birling unaware of the changes and reluctant to change her mind-set. this also foreshadows the importance of alcohol in the play as it was the cause of eric’s behaviour., how does priestley present the views of the inspector in an inspector calls (high level response), inspector goole is presented as an omnipotent, powerful figure throughout the whole play; his presence immediately has the power to change the light and cheerful atmosphere of the birlings' dinner party. the lighting changes from "pink and intimate" to "brighter and harder" once the inspector arrives. here, priestley's use of the adjectives "pink and intimate" suggests a warm and happy atmosphere whereas the adjective "harder" opposes this. priestley uses the inspector as a dramatic device. not only could it be argued that the inspector is an immensely powerful figure but also that priestley uses the stage directions that inspector goole's arrival to act as a symbol for how he wants society to improve. the lighting before the inspector arrives suggests that the birling family – who are a stereotypical portrayal of a middle class family – were happy whilst they were ignorant to the working class. the lighting change tells us how priestley wants society to change; he wants society to stop being ignorant to the working class., furthermore, j. b. priestley uses the inspector to convey that he wants society to change and become more empathetic towards the working class instead of perceiving them as being disposable. when the inspector arrives, he tells the birling family about eva smith’s suicide in which she drank a lot of strong disinfectant that “burnt her inside out”. priestley’s language persuades the audience to feel immense sympathy not only for eva smith but also for all of the working class; it could be argued that eva smith’s suffering and suicide is used as a metaphor to highlight the continuous struggled faced by the working class, throwing into relief the issues within society and how these problems are ignored by the wealthier classes. priestley’s gory imagery alternately makes the audience feel guilty because they may realise how ignorant they have been to ignore the struggles of the working class and persuade them to change by being more empathetic., priestley suggests that a pressing issue with the twentieth century society is that people are reluctant to take responsibility for their actions. this view is encapsulated through the use of the elder members of the birling family, arthur birling and his wife mrs birling – who do not take responsibility for their actions towards eva smith. however, priestley uses the inspector to try to change this. the inspector states that if we share nothing else, “we have to share our guilt”. here priestley uses the personal pronoun “we” to give society a sense of unity, implying everyone must do the same and follow the inspector’s teachings. ‘an inspector calls’ was set in 1912, a time in which society was divided by not only gender but by social class. priestley wants the middle and upper classes to transform from abusing their power to dominate and exploit the working class to instead being more responsible for their actions and treating people more sympathetically ., priestley uses the inspector to convey the consequences of what will happen if members of society do not change. he states that we will be “taught” in “fire and blood and anguish”. priestley’s use of a triplet of nouns act as metaphors for the two world wars. the entire play is used as a motif for the wars; if society proceeds to not improve the way in which members of society treat each other, the world wars will repeat in an endless cycle until we learn. here, the inspector is presented as an omnipotent being. ‘an inspector calls’ was written and first performed at the end of the second world war therefore the contemporary audience will have experienced the perpetual suffering that comes with them. priestley uses the inspector to make the audience fearful as they are persuaded to think that the inspector is a god-like character imposing judgement on society. this will persuade all audiences to change their actions and embrace socialist ideologies of caring for other members of society which is what priestley intended them to do., priestley wants the middle and upper classes to stop being selfish and exploiting the poor for their own financial gain, but instead be more generous and empathetic towards other members of the working class. the inspector is almost an impartial figure in the play because he does not fit into the distinct levels of society. this gives the audience the impression that the inspector is an unbiased figure; they will be persuaded to listen to him and change their views., compare priestley’s presentation of eva smith and shelia birling., in the play ‘an inspector calls’ we see a family called the birlings that consist of many different characters, personalities and beliefs. we only begin to see these different aspects when the family begin to learn how each one of them was involved in causing the chain of events which led a girl, eva smith to commit suicide. there are two characters in particular who are very different in the way that they live their lives and their own outlook on life. these two characters are eva smith and shelia birling., shelia is the daughter of sybil and arthur birling. they are a well-known family in brumley and are in the public eye constantly because of the position her father holds within the town as he is on the bench and the owner of the big birling and company and is due to marry gerald croft whose parents are very well-known also., eva smith is almost the opposite of the social scale to shelia. she has no friends or family to rely on and is quite an independent woman. she struggles to get by and is unable to cope with the strains that she is forced to be under at her age., at the beginning of the play we see shelia at the table with her family and how she is influenced by her family’s thoughts. she was quite childish and used petty excuses for her actions ‘i told him that if they didn’t get rid of that girl, i’d never go near the place again’. this shows that shelia had the same approach about how to treat others of the lower class as her father, which is not a good quality that shelia and arthur birling share., when we first hear of eva smith in the play we learn about the time that she experienced while working at birling and company. she was outspoken, resilient and gutsy as she led a group of workers on strike in an attempt to get higher wages ‘she’d had a lot to say-far too much- so she had to go’., there we see the huge difference in the lives that each of them live, but it is the way that shelia changes as the play goes on and learns more about eva smith’s life., once shelia knows more about the family’s effect on eva’s life she becomes more defiant, and mature. she begins to stand up to her parents who still look down on eva. she realises that there is no need to treat a person the way that the birling family did, no matter whether it was the same girl or not ‘everything we said had happened really hadn’t happened. if it didn’t end tragically, then that’s lucky for us. but it might have done.’ she has a more compassionate approach to eva and her life as she learns about the suffering that this girl the same age as herself had to go through., priestly shows the importance of caring for others within your community by showing that if the birling’s had looked after eva smith and treated her with any respect then maybe it would have prevented her suicide, because she would have been in a lot happier state of mind. this also takes place near to every one of us. if you treat one person unacceptably then you never know what effect that may have on them and others around them, if you do your bit to treat every person with decency that you meet then you will have no regrets with what you have done., priestly also shows through shelia that she was the next generation, with the new ideas of how people of another class should be treated and how the other birling’s are still living in the old, traditional frame of mind, which is harsh and uncaring to others. whereas shelia would be a middle aged woman when priestly wrote the book, he wanted to show the difference of views between the younger and older generations of 1912., shelia birling and eva smith are very different characters, but it is the effect that they can have on each other’s lives which highlights priestley’s views about community., to what extent could you argue that mr birling is the most important character in an inspector calls , as the ‘head of the household’ mr birling is, arguably, the central character to an inspector calls. throughout the beginning of the play he displays the kind of arrogance that priestley expected to see from a selfish capitalist; throughout the exchange, he is completely unapologetic about the death of eva; and after the inspector leaves, he tries his hardest to get out of trouble. also, if you argued that an inspector calls is really a morality play, then you could see mr birling as representing the deadly sins of greed and pride, both things that priestly attacked capitalists for., at the beginning of the play, mr birling is described as “heavy looking” which immediately reminds us of a large, well fed, rich man, enjoying the luxuries of life. his “easy manners” but “provincial speech” remind us that although he is now rich (as symbolised by his knowledge of manners) he is from working class roots (provincial means from the country, or of a lower class.) mr birling is one of those men who had made money during the industrial revolution and, priestley argues, was then exploiting the working classes for his own profit., during the opening exchanges over dinner, birling shows off to gerald croft – his daughter’s new fiancé – by mentioning some rather expensive port he bought, and then gives a long and stuffy speech about how lucky his children are to be born into a time of such good fortune. throughout the speech priestley uses a lot of dramatic irony as he mentions birling’s belief that there would be no labour issues (despite the fact that the russian revolution was just five years away;) there would be no war in germany (despite two being on the horizon,) and – in a moment of comedy – that the titanic was “unsinkable.” throughout this speech, audience members are reminded of how little we know about the future, and how important it is that we prepare for the unexpected. birling is shown to be arrogant, small minded, and selfish; all features that a socialist like priestley would expect to see in a capitalist like birling., priestly times the inspector’s arrival so that he cuts birling off during one of his selfish rants: “a man has to mind his own business and look after himself,” he is saying as the doorbell rings. his initial response to the inspector is immediately defensive: he delivers a short speech detailing the members of the local police force that he knows, and the fact that he used to be mayor. the inspector seems uninterested though. throughout their exchange birling makes it clear that he feels no responsibility saying a number of times that he had nothing to do with this “wretched” girl’s death. the use of this adjective is interesting as “wretched” can mean poor or downtrodden, but it can also mean disliked and disgusting; birling, we have to assume, feels both are true. at one point he argues, perfectly summarising priestley’s feelings about the attitude of people like birling: “i can't accept any responsibility. if we were all responsible for everything that happened to everybody we’d had anything to do with, it would be very awkward.”, during the remainder of the play, mr birling continues to reveal himself as being selfish and without regret. he is continually worried about the threat to his dreamt of knighthood and, when the chance arises, is even happy to direct all the blame at his young son, eric. he also tries to bribe the inspector, offering him “thousands” now it has all gone wrong, despite the fact that he wouldn’t pay her even a few shillings more at the time. throughout act 3, it is mr birling who leads the campaign to recognise the inspector as being a fraud and he is the most relieved when it turns out that there is no dead girl. however, unlike sheila, he isn’t relieved that no-one had died but is simply pleased to have saved his own hide., however, as the main character in the play mr birling receives both the opening and closing lines. in the end, it is him who is stuck, holding the phone and revealing that there is and “inspector on the way,” and in many ways it is him that the audience will be most pleased to see get his just deserts., what is the role of the inspector in an inspector calls , an inspector calls is a parable that was set during the belle époque (meaning the beautiful period) which lasted from 1870-1914. in the play, a family have their dinner party interrupted by an inspector who comes to visit. though this is a morality play in the traditional sense, its moral compass is very much set by the author’s belief in socialism ., the inspector arrives at a critical point. mr birling, the patriarch of his family, is delivering a lecture to his son and future son-in-law, about how “men must look after themselves…” in this way he is exposing his deep selfishness – one that priestly believed was at the heart of all capitalists. at this point there is a “sharp ring on the doorbell,” the adverb perhaps foreshadowing how the inspectors arrival will cut through the birlings’ veneer of respectability ., almost as soon as he arrives, mr birling reminds him of his own social standing – that he used to be mayor and has played golf with the chief inspector. the fact that mr birling is threatening the inspector is barely concealed , though the inspector brushes it aside. as a morality play, all the characters in an inspector calls represent something else - an ideal or social group or class. here, the birlings represent the wealthy and privileged elite while the inspector represents the newly educated middle classes, who would rise up and form a bridge between the elite and the working classes below them. the inspector, as becomes clear, is here to ensure that the birlings do not get away with how they treated eva smith., the inspector is described as giving an “impression of massiveness.” this is interesting as it makes it clear that he isn’t massive but should give that “impression.” as a direction this is a bit of a nightmare for a casting agent . he shouldn’t be big, but should have a gravitas that makes him seem huge. fortunately, however, priestley has written a part that gives every opportunity for moral superiority for an actor., also, from the moment he arrives the stage directions call for the lighting to change from “pink and intimate” – perhaps reflecting the rose - tinted spectacles through which the birlings view the world – and to something more “harsh.” perhaps this change is designed to highlight how the inspector’s arrival puts the birlings behaviour in the spotlight or exposes the lies they kept hidden in the shadows ., the first to fall to his inspection is mr birling, who sacked eva after she arranged for a strike amongst his workers while they demanded more pay. though birling admitted that she was a good worker, he clearly saw his profits threatened by her behaviour and made an example of her. mr birling’s children, however, do not share his selfishness and, as his son points out, “why shouldn’t they try for higher wages we try for bigger profits.” in many ways this quote exposes the selfish, unreasonable nature of capitalists : that they see their own right to desire more profits as god given , while those who resist are “troublemakers” and “cranks.”, after mr birling, the inspector turns to sheila, who had eva sacked from her job in a local department store. it is clear from the story – which sheila tells – that she was jealous of eva’s good looks. it is also clear, however, that sheila deeply regrets her actions. not long after this, mrs birling comments that sheila’s feelings have been changed and claims that the inspector has made an “impression” on her. this is a telling word – an “impression” is something that is the result of pressure, as though she’s been bullied into seeing things differently; but it is also something that often disappears over time. mrs birling’s feelings are clear: that the inspector’s ideas have affected sheila, but only fleetingly . the inspector replies dryly , acknowledging that he will often have an effect on the young. in many ways this reflects the old adage that young people are more socialist by nature, gradually turning to the more self-centred right as they grow. this is certainly the point that is being made by priestley, as the inspector affects the younger generation far more than their elders., after sheila, he turns to gerald who, again, reveals his own role in the death of eva. by this stage she is known as daisy renton – a name that perhaps reflects the fact her position: daisies are simple flowers that call to mind the innocence of daisy chains; while the appearance of “rent” in her name reminds us of what she did to her body in order to survive., the play continues to get darker as the inspector turns to mrs birling. under pressure she tells the inspector, and the audience, about how she turned away a young pregnant woman and that if the inspector was doing his job properly he should be chasing down the father. at this point, the audience know that she is talking about eric and are tensely waiting for the big reveal. in many respects it is also at this point that the audience is forced to reflect on the nature of this play: up until this moment, the action seems relatively realistic and, although the focus has been on only one character at any time, the focus has shifted around the room without any seeming construction . this time, however, the structure is too neat to be believed; it’s too well constructed to maintain the illusion of realism , and we know that we are watching a parable in which the inspector has an almost divine control over the action., after exposing the family’s “crimes” the inspector finally delivers his closing speech, which has all the hallmarks of a sermon that is delivered to the audience as much as it is to the family. in it, he reminds us of all the eva smiths and john smiths there are in the world, and that we are “one body.” here, the inspector is addressing both the audience in 1945 and the audience in 1912. the telling difference was the two world wars, during which the working classes proved themselves to be every bit as strong and resilient as their “social superiors.” the sense of national bonding that took place during the wars led to significant social changes in the uk, not least the creation of the nhs and the welfare state, and it was characters like the inspector (and priestley) who made sure this happened., his final warning, however, that “if we do not learn this lesson we will be taught it in fire and blood and anguish,” has a slightly different meaning in the two time periods. for the family in 1912 it was prophetic ; but for an audience in 1945 it would have been suggesting that the wars were almost a punishment for their behaviour, and a way of suggesting that if they didn’t embrace socialism now then the wars, and all the horrors that came with them, would return again., at the end of the play, the birlings receive a phone call which tells them that a real police inspector is on the way, to talk about a girl who has recently died. this final moment raises questions about the role of the inspector goole we’ve just watched, and it is at this point that his name seems important: is he a goole, or a ghoul, or something else from some other world is he some angelic messenger send to bring divine judgement that question is never answered, though the audience – or the young ones at least – should have no doubts that his understanding of the world is from a “higher” place., another essay on the role of the inspector in an inspector calls ., this essay's structure is as follows:, a summary paragraph, how the inspector is introduced, mr birling and the inspector – good for ao2, a “panic” paragraph – without quotes – that picks up on some key moments from the rest of the play – good for ao1, the inspector at the end, in the play an inspector calls, a police inspector brings judgement to a rich family who live in 1912. the play is a morality play, in which each of the characters represents a particular role or opinion. in this morality play, the inspector promotes a socialist understanding of the world in a way that reflects the views of the play’s author jb priestley., when the inspector arrives he cuts off mr birling’s lecture when he is saying that “ a man must look after himself and his family …” this interruption symbolises the way that inspector is going to stop mr birling’s views. also, it says that there is a “ sharp ring on the doorbell .” the word “ sharp ” suggests that the inspector will cut through mr birling’s selfish ideas. also, from the moment he arrives the stage directions call for the lighting to change from “ pink and intimate ” to something more “ harsh .” this is because the birlings see the world through as being nice and friendly while the inspector will bring a “ harsh ” judgement on them., in the play, the inspector works as a foil to mr birling’s selfish capitalism. at the beginning of the play, mr birling calls socialists “ cranks ” – which means crazy – and says that if we all listened to socialists we’d be like “ bees in a hive .” this remark criticises socialists as bees lack individuality, they work almost like a big machine, and only do what they’re told and mr birling doesn’t want the world to be like this. the inspector, however, believes that we are “ members of one body ” and that we are “ responsible for each other .” in this way, the inspector is talking about the socialist ideas which suggest that because we all live together we should look after each other. in fact, he goes on to suggest that if we don’t learn to do this we will “ taught it in fire and blood and anguish .” this is clearly a reference to the two world wars which were fought between the time the play was set and when it was written. it is also telling that mr birling didn’t think the wars would happen – he would probably have referred to that as being an idea from some kind of “ crank .”, at the beginning of the play mr birling threatens the inspector by saying that he plays golf with the chief inspector. the inspector, however, doesn’t care and carries on his investigation. throughout the play, the inspector acts like he doesn’t care about the characters social standings and only wants to focus on the facts. he is someone logical and he doesn’t care what people think of him. he just wants the truth about eva’s death. he also has a habit of looking “hard” at the person he is addressing. this is because he is inspecting them, almost as though he’s looking through them and into their soul., in the end the inspector leaves and we are left unsure as to whether he was real or not. however, because his name is inspector goole – which sounds similar to ghoul (which is a kind of spirit or ghost) – the audience would be within their rights to think of him as a kind of spiritual prophet or divine messenger., a third essay on the role of the inspector in an inspector calls , jb priestley uses the story of an inspector calls to contrast the differences between upper/upper-middle and working class people in society during the edwardian times. the inspector questions the birling family to think about the consequences of their actions on others – predominately the working class and people whom they believe to be inferior to them. priestley uses the inspector to make society question their morals and think about accepting responsibility for their actions. each character reacts differently to the inspector and priestley uses this to represent capitalist vs socialist ideals., - nice opening – clear and specific and leaves the examiner comfortable that you know what you’re doing. may be a bit long – though it is all meaningful, when the inspector enters the birling household, the stage directions states that the lights change from ‘pink and intimate’ to ‘brighter and harder’. this shows how the presence of the inspector changes the atmosphere and how he is here for a purpose. the lighting change from ‘pink and intimate’ to ‘brighter and harder’ almost shows how the inspector is going to burst the birling’s protected, capitalist bubble. the idea of the lights being ‘brighter and harder’ create the idea of a spotlight shining on the birling family and how the inspector is there to expose them to the truth. in the stage directions, it also says that the inspector ‘creates an impression of massiveness’. this shows that although the birling’s are superior to him in class, the inspector still holds the authority over them all. it could also be foreshadowing that the inspector is going to create a lasting ‘impression’ over the birling family and impact their lives hopefully for the better., - super cool lots of detail, specific things being said and focusing on sections of the text. this is what you want to do, in act one, mr birling makes several threats to the inspector about his connections with the chief constable. this shows how mr birling feels threatened and uncomfortable with the inspectors presence. he tries to assert his authority over the inspector to protect himself and his pride as he’s being questioned by someone who is inferior to himself. he doesn’t want to damage his reputation and all he is thinking about is himself. this represents the capitalist society and how they refuse to think of any but themselves and how they will go to any measure to protect their reputation. mr birling also tries to emphasise his importance to the inspector by mentioning gerald and his family name. he says, “perhaps i ought to explain first that this is mr gerald croft – the son of sir george croft – you know, crofts limited.” by mentioning gerald’s family name, it shows how mr birling is trying to intimidate the inspector. also, mr birling could be mentioning the croft name to try to make himself feel more in control of the situation and back in the superior position in the room. priestley uses the reaction of mr birling to the inspector to represent how people of the upper capitalist class use their positions of power as an excuse to be ignorant to their actions. priestley wanted make people aware of this to questions their own ignorance., - again, this is great. you show a clear understanding of the relationship between birling and the inspector and clearly explain the power dynamic in the room, at the end of the play, the inspector makes a big final speech to the birling family. it opens with a reminder that there are thousands of “john smiths and eva smiths” in the world. this reminds the audience that we all have to accept responsibility for our actions and realise it is not enough to only think of ourselves but we must think of others as well. the inspector then goes on to say that “we don't live alone. we are members of one body. we are responsible for each other.” these three concise sentences summarise the lesson priestley was trying to convey to the audience. by keeping the sentences short but powerful, it leaves a lasting impression on the birling family but more importantly, the audience. this links to the beginning stage direction of the inspector creating an ‘impression of massiveness’. he then warns the family (and audience) that if ‘men don’t soon learn their lesson they will be taught in fire and blood and anguish’. this is a reference to the many years of war that had taken place between when the play was set and when it was performed. it could be seen to be served as a warning to the people that they need to change their actions or history will repeat itself., - really good as well. you’ve focused in on specific techniques here and shown a clear understanding of how those techniques have effects., overall, this is a very good essay – it’s got a wide range of detailed quotes, points and pieces of analysis. it could be improved with a few moments where you zoom in on specific words and explore the meaning of them – think about mr birling saying he “can’t” take responsibility, or mrs birling saying she “won’t” take responsibility and the inspector saying “we are responsible.” this kind of link will push this essay up into the 8-9 category., what is the significance of the ending in an inspector calls , in effect, ‘an inspector calls’ has arguably three endings, or climaxes. the first is the final speech of the inspector, before he exits dramatically, walking ‘straight out’. the second is as the family think it all may have been a ‘fake’. the third represents the justice in the final words of the play., priestly ensures that the inspector says little in the way of moral judgment until just before he exits. this in itself increases dramatic tension – the audience is waiting for a confrontation which is dependent on all the facts of the story finally emerging. his final speech is based on the great moral authority he has gained through the entirety of the play and is in a sense cathartic. as an ‘inspector’, he is symbolic of the moral and legal authority of the police force. ‘inspecting’ carries the idea of sifting carefully though the actions of the birlings in a detailed and objective manner. priestley adds objectivity and legal precision to the inspector’s character; thus by the climax of his investigation, we, the audience, instinctively trust his moral conclusions also. there is a sense of relief in hearing the birlings finally being condemned for their actions., the inspector’s final speech is, in tone, almost a sermon. the frequent use of blunt, short diction is combined with imperatives which make him seem almost a preacher or a prophetic figure, as he tells the birlings to “remember this”, and tells them that “we are responsible for each other.” although he uses often the first person plural to emphasise their common humanity, he is also accusatory with his use of ‘you’ as he threatens them with what will come if they fail to learn this lesson. the imagery priestley draw from is biblical by nature. from the eucharist service, the inspector uses the biblical metaphor that we are all “members of one body”. the well-known nature of this metaphor makes it seemingly self-evidently true to the audience. the apocalyptic imagery that follows is equally well-known, as the inspector promises “fire and blood and anguish”. the tricolon is heavily emphatic and emotive – the birlings’ rejection of it, which follows swiftly, creates a further sense of their moral vacuity. this sermonic end to the inspector’s presence onstage makes him seem a didactic mouthpiece for the play – he speaks in effect as much to the audience as to the birlings. although it is a relatively brief and restrained speech, nonetheless it is a powerful end – it seems – to the drama., birling’s absence of moral epiphany is enacted in the second ‘ending’ of the play in the ‘huge sigh of relief’ he emits when he discovers that the inspector is not actually from the police station. he rejects the inspector’s final words through this stage direction which creates a dramatic hyperbole that it is impossible for the audience to miss. eva smith’s name suggests that she represents all of the ordinary humanity, eva suggesting eve of genesis, symbolically the mother of humanity, and smith being a stereotypical working-class surname. thus birling’s ‘huge’ indifference is, symbolically, to the suffering of any human being, particularly those who are his socially inferior. indeed, his estimations of people’s worth have been entirely based on their money or their social connections; early on in the play he attempts at first to threaten the inspector by explicitly ‘warning him that the chief constable, colonel roberts, is an ‘old friend’ of his. birling’s ‘relief’ therefore is that his place in society is not damaged after all – even though it is based on corruption and inhumanity towards whose who are weaker and more socially vulnerable than him. thus birling has learned nothing at all in the play., further, birling is ‘triumphant’ when he decides that the story is nothing more than ‘moonshine’. ‘triumph’ suggests victory and winning – birling’s delight is based on his perception that he will not be in any way held to account for his misdeeds. ‘moonshine’ is a dismissive colloquialism – priestley uses this to emphasise that there is no emotional impact whatsoever on birling for the suffering of eva smith and those whom she represents. this is accentuated by mrs birling’s suggestion that in the morning eric and sheila will be as ‘amused’ as they are. the tragedy of what happened to eva through her circumstances and through the undeserved actions of others is in effect diminished to a joke. priestley ensures that this anticlimactic interpretation of the play’s events by mrs birling is morally repugnant to the audience. the older birlings and gerald are villainesque, antagonistic figures., sheila is partly redeemed from the birling’s self-seeking immorality. sheila’s response to birling’s ‘relief’ is to accuse him of ‘pretending’ that all is well. this accusation of play-acting creates an ironic role-reversal, as though birling is the one childishly refusing to engage with reality, and she becomes the parent-figure who rebukes him for his immaturity. this childishness is not an indication of birling’s innocence, but of his lack of responsibility. sheila is the youthful one in the conversation, but she is the one who is vulnerable to the corruption of her parents, and she lacks meaningful power. partly also because of her gender, she is, like eva, the victim of birling’s philosophy of greed – and yet the awakening of her moral awareness is presented as a coming-of-age epiphany. she learns to reject the selfishness and inhumanity of her parents as she realises that all the working-class are intrinsically human beings. she absorbs the relatively complex moral didacticism the inspector represents with regards to the interconnectedness of human society. this is particularly shown by her quoting the exact words of the inspector’s apocalyptic list of consequences if the rich fail to heed the social situation: she quotes his words of ‘fire and blood and anguish’. although she shows no explicit awareness of the social apocalypse of which the inspector warns, she recalls what ‘he made me feel’. her emotional engagement is presented in ironic juxtaposition with her parents’ emotional disengagement. priestley redeems her partly to show the morally repugnant nature of the birlings’ lack of redemption, through juxtaposing their response with hers., the unrepentant birlings are presented by priestley as grotesque not only through their failure to realise their wrong-doing, but also, and more importantly in their seeking of moral superiority over eva smith and the workers she represents. the callous self-righteousness they exhibit is best portrayed in mrs birling’s rhetorical question, ‘why shouldn’t we’ when sheila asks how they possibly can continue as they were before. the fact she considers the question to need no actual answer indicates her moral blindness – it indicates her assumption that the rightr of the powerful to abuse the poor is irrefutable and self-evident. priestley, through the drama, shows how society creates moral indifference to the working-class., the superficiality is also epitomised in gerald’s statement that ‘everything is all right now.’ this bland cliché becomes ironically extremely emotive for the audience as we know that the lack of a moral compass for the birlings and gerald means that others will be treated just as eva was. the superficiality of this analysis has great dramatic power to repulse the audience – and perhaps to begin to effect the social change priestley desired., the third and final ‘ending’ is mysterious. at one level, it satisfies the audience’s hope that there will be justice for eva. by instructing the actors to look ‘guiltily’ around, priestly ensures that the moral indifference of the second ending is not the concluding note of the play. birling speaking on the phone when the person has ‘rung off’ indicates also that his social authority is over; creating the sense that there is justice has lost what he really cared about. the inspector’s semi-comical surname, ‘goole’ also seems relevant right at the play’s climax. there is the suggestion that he did indeed in some way represent supernatural forces intervening in the birlings’ lives to bring justice for eva. however, the play by its nature ends inconclusively. in effect, we are left on a cliffhanger wondering what the ‘real’ police inspector will do. perhaps this reflects priestley’s aim for the audience to think about the play’s social message. the ending of ‘an inspector calls’ is a strong statement of the responsibility of those who seek money and social rank at the expense of humanity. it is strongly didactic and powerful., check this essay.

There are drastic differences that are seen in people who are born in different generations. One may argue that the younger generations are more impressionable and naive while the older generations are very hardheaded and assertive. By creating characters like Sheila and Eric with a large age gap between Mr. and Mrs. Birling in the play An Inspector Calls, tension is created through their differences clashing. J.B. Priestley’s use of contrasting characterization within the Birling family in the play An Inspector Calls creates tension and communicates his theme that one must take into consideration the consequences of their actions and take responsibility for them.

The Birling’s children, Erica and Sheila, are presumed to be very naive and still listening and agreeing with their parent’s words due to their ages. Yet, thought the play both Eric and Sheila prove to be mentally mature and responsible while directly reflect the inspector’s message. Eric Birling was caught up in the complicated situation relating to the death of Eva Smith through his role in impregnating her. Although he is ashamed, he steps up to the plate and confesses his actions and even admits to the fact that “I wasn’t in love with her or anything”, yet he understands that his actions did produce consequences and he takes responsibility for them. He insists on giving her enough money to keep her going, even though it included stealing money from his father (Priestley 50). This action was done unjustly, yet it shows how determined Eric was in order to fix his mistake and take responsibility for his actions- exactly what the Inspector teaches. Sheila Birling, the sister of Eric, also starts out by admitting to her role in the death of Eva. She expresses her sorrow and regret for her actions stating how “It was my own fault… and if I could help her now, I would” right away (24-25). Even though she did not take action like Eric did, she still takes responsibility for her actions and shows that she really does care about the consequences she was unable to attend to. As the play continues and everyone finds out that inspector Goole was a fake, the parents of Sheila and Eric both start to downplay the events of that evening. Suddenly the tension starts to rise as soon as the children speak directly against their parents stating “if you must know it’s you two who are being childish” (55). Sheila is so disgusted by the actions of her parents, that her character takes an unpredictable turn and she evolves into a brave young woman annoyed enough to scold her own parents. Even Eric states directly to his parents that “well, I don’t blame you. But don’t forget i’m ashamed of you as well. Yes- both of you” (54). The characters Sheila and Eric create tension in the play through their differences regarding their view on taking responsibility that contrasts greatly with their parents. The fact that the younger generation is standing up to the older generation and doing unconventional actions like scolding them, the main theme of the novel is clearly represented.

The older generation in the Birling family consists of strong characters: unlikely to sway in their ideas easily, hard headed, and arrogant. Arthur too is confronted about his dealings with Eva Smith, but immediately states that “the girl has been causing trouble in the works. I was quite justified (19). Here, he is seemingly ok knowing that she was forced to kill herself all because of something that started out with him originally and a sign of regret is not to be found. The younger generation, prominently Sheila is verbally pointing out her contrasting viewpoint directly saying (to Mr. Birling) “I think it was a mean thing to do” (21). Tension is created as a result of her comment, but in a way she forces her father to re-examine at his actions by him hearing an opposite viewpoint and internally contemplate her and the Inspector’s message. Another situation that increases the tension overall is when Sheila hears her father describe Eva as cheap labour, and automatically she jumps in stating “but these girls aren’t cheap labour – they’re people” clearly showcasing the differences in the mindset of the two generations (19). Lastly, Mrs. Birling gets confronted with her mistake and does admit to her actions. Her arrogance shows through when she plainly lays out her thoughts to the inspector that “if you think you can bring any pressure to bear upon me, Inspector, you’re quite mistaken. Unlike the other three, I did nothing I’m ashamed of or that won’t bear investigation… You have no power to change my mind” and like Mr. Birling does not have a hint of regret in her (44). Sybil Birling is blinded to the problems within her household and herself, and therefore tension is created when she directly contradicts the viewpoints of her children. The theme of the play is brought out because of this, when the children start to argue their point about accepting responsibility for their actions’ consequences.

Through tension between the characters, the main theme that we don’t live alone, are members of one body, and are responsible for each other is revealed. Sadly for this to be revealed, tension is built greatly dividing the Birling family- the younger vs the older generation. The children desperately try to get their parents to accept what they believe is the inspector’s lesson and purpose for visiting, yet Arthur and Sybil are set on the idea that they are just “the famous younger generation who know it all. And they can’t even take a joke” (72). Although it may be true that the inspector is not real and the older generation will never learn, the main theme is being communicated successfully to the audience. By looking at Mr. and Mrs. Birling and the way they instigate an attack on themselves by their children, the audience feels disgusted by them and the theme reaches the audience.

How to Write an English Literature Essay?

In A-Level , GCSE by Think Student Editor August 26, 2022 Leave a Comment

Writing an English literature essay can be very stressful, especially if you have never had to write an essay for this subject before. The many steps and parts can be hard to understand, making the whole process feel overwhelming before you even start. As an English literature student, I have written many essays before, and remember how hard it felt at the start. However, I can assure you that this gets far easier with practice, and it even becomes fun! In this article, I will give you tips and tricks to write the best essay you can. As well as a simple step-by-step guide to writing one that will simplify the process.

Writing an English literature essay has 3 main parts: planning, writing and editing. Planning is the most important, as it allows you to clearly structure your essay so that it makes logical sense. After you have planned, write the essay, including an introduction, 3-4 main points/paragraphs, and a conclusion. Then check through the spelling and grammar of your essay to ensure it is readable and has hit all of your assessment objectives.

While this short explanation of the process should have given you an idea of how to write your essay, for key tips and tricks specific to English literature please read on!

Table of Contents

How to plan an English literature essay?

The most important thing in any English essay is the structure. The best way to get a logical and clear structure which flows throughout the essay is to plan before you start . A plan should include your thesis statement, 3-4 main paragraph points, key context and quotes to relate to.

A common way of structuring a plan is in the TIPE method. This involves planning each of your main points and sections on a few lines, in the structure of the main essay, making it easy to write out. Always highlight the key word in the question before you start planning, then also annotate any given extracts for ideas. If you have an extract, the main focus of your essay should be on that.

Planning should take around 10-15 minutes of your exam time for essay questions. This sounds like a lot, but it saves you time later on in writing, making it well worth the effort at the start of an exam.

Start each plan with a mind map of your key moments, quotes, context and ideas about the exam question theme, character, or statement. This helps you get all of your ideas down and figure out which are best. It also creates a bank to come back to later if you have extra time and want to write more.

Once you have created your mind map, find a thesis statement related to the question that you have 3-4 main points to support. It can be tempting to write lots of points, but remember, quality is always better than quantity in English Literature essays.

A useful method to help you plan is by creating a TIPE plan. With the following bullet points, you can now begin your own TIPE plan.

• Introduction
• Points – you should have 3-4 key paragraphs in your essay, including relevant quotes with analysis (and techniques the author is using) and context for each point
• Ending – conclusion

How to write an English literature essay introduction?

Depending on what level of literature essay you are writing, you will need different parts and depths of content . However, one thing that stays fairly consistent is the introduction. Introductions should hook the reader , literally “introducing” them to your essay and writing style, while also keeping them interested in reading on.

Some people find it difficult to write introductions, often because they have not already got into the feeling of the essay. For this, leaving space at the top of the page to write the introduction after you finish the rest of the essay is a great way to ensure your introduction is top quality. Writing essays out of order is ok, as long as you can still make them flow in a logical way.

The first line of any introduction should provide the focus for the whole essay. This is called a thesis statement and defines to the examiner exactly what you will “prove” throughout your essay, using quotes and other evidence. This thesis statement should always include the focus word from the question, linked to the view you will be arguing.

For example, “Throughout Macbeth, Power is presented by Shakespeare as a dangerously addictive quality.” This statement includes the play (or book/poem) title, the theme (or other element, such as the name of a character) stated in the question, and the focus (addiction to power). These qualities clearly show the examiner what to expect, as well as helping you structure your essay.

The rest of the introduction should include a brief note on some context related to the theme or character in question, as well as a very brief summary of your main paragraph points, of which there should be 3-4. This is unique to each essay and text and should be brief points that you elaborate on later.

How to structure an English literature essay?

As already discussed, the plan is the most important part of writing an English literature essay. However, once you start writing, the structure of your essay is key to a succinct and successful argument.

All essays should have an introduction with a thesis statement, 3-4 main points, and a conclusion.

The main part of your essay, and the most important, is the 3-4 main points you use to support your thesis. These should each form one paragraph, with an opening and a conclusion, almost like a mini essay within the main one. These paragraphs can be hard to structure, so many students choose to use the PETAL method.

PETAL paragraphs involve all of the key elements you need to get top marks in any English literature essay: Point, Evidence, Techniques, Analysis and Link.

The point should be the opening of the paragraph, stating what you are looking at within that section, related to your thesis, for example, “Shakespeare uses metaphors to show how the pursuit of power makes Macbeth obsessive and tyrannical”. Then, use a key moment in the play to illustrate the point, with a quote.

Choosing quotes is hard, but remember, quotes that are short and directly related to your thesis are best. Once you have chosen a quote, analyse it in relation to your point, then link to the question. You should also include some context and, at A-Level, different viewpoints or critics.

After these points, you should always include a conclusion. Restate your thesis, introduction and each point, but do not introduce new ideas. Explain and link these points by summarising them, then give your overall idea on the question.

If you have time, including a final sentence about wider social impacts or an overarching moral from the book is a good way to show a deep and relevant understanding of the text, impressing the examiner.

How to write an English literature essay for GCSE?

Marking for GCSE English Literature essays is done based on 4 assessment objectives. These are outlined in the table below. These are the same across all exam boards.

If you follow the structure outlined above, you should easily hit all of these AOs. The first two are the most important, and carry the most points in exams, however the others are what will bring your grade up to the best you can, so remember to include them too.

Context, or AO3, should be used whenever it is relevant to your argument. However, it is always better to include less context points on this than to try and add random bits everywhere, as this will break the flow of your essay, removing AO1 marks. For more information about the assessment objectives for GCSE English Literature, check out this governmental guide .

For more information on GCSEs, and whether you have to take English literature, please read this Think Student guide.

How do you write an English literature essay for A-Level?

Similarly, to GCSE, all A-Level papers are marked on a set of assessment objectives which are also set by Ofqual, so are the same for all exam boards. There are more than at GCSE, as A-Level essays must be in greater depth, and as such have more criteria to mark on. The table below shows the assessment objectives.

AO1 and AO2 are very similar to GCSE, however the writing needed to achieve top marks in them is much harder to reach. It must be very detailed and have a clear, distinct style to reach high marks. These skills are developed through practice, so writing lots of essays over your course will help you to gain the highest marks you can here.

AO3 and AO4 often go together, as literary and historical contexts. AO3 is again similar to GCSE, but in more depth. However, AO4 is new, and involves wider reading around your texts. Links to texts from the same author, time period, or genre make good comparisons, and you only need to make one or two to get the marks in this section.

AO5 is also one of the harder sections, which involves considering interpretations of the text that may not have been your first thought, and that you may not agree with. This can elevate your essay to much higher marks if you can achieve them.

One of the best ways to get AO5 marks is to look at critics of the book you are studying. These are academic views, and to remember quotes from them to put in when they are relevant. For more information about the assessment objectives for A-Level English Literature, check out this guide by AQA.

Which GCSE and A-Level English Literature papers have essay questions?

All GCSE and A-Level English Literature papers will have at least one essay question. Essay questions are usually the longest answers in the paper. However, sometimes other questions may require an essay style format but shorter. The exact structure of the exam paper and where essay questions are will depend on which exam board your GCSE or A-Level qualification is with .

GCSE English Literature paper 1 usually requires 2 essays . Each question in this paper is an essay, and each has an extract to be based around, so focussing your analysis on that extract is the easiest way to get marks.

The marks for these essays vary depending on exam board . However, as they are assessed on the objectives above, you don’t need to think too much about the marks, as it does not work in the same way as other subjects with a mark per point made. Instead, essays are marked cumulatively based on the general level of discussion achieved.

GCSE English Literature paper 2 usually requires 3 essays , one in each section. Sections A and B are an essay each, without an extract, then section C involves a shorter essay on unseen poetry and a short answer question. This type of question is harder, as you have to really know the book you are studying in order to get a good mark and include enough quotes.

A-Level English Literature is based entirely on essay questions. The questions are based on poetry, novels and plays, some seen and some unseen. About half of the essays have an accompanying extract, however you are expected to have very good knowledge of your texts even for extract questions, so do not rely on extracts for quotes and marks.

The information above is mainly based of the AQA exam papers, which you can find the specifications to for GCSE and A-Level by clicking here and here respectively. While this is mainly based of AQA, the exam boards all have rather similar structures and so you will still be able to use this information to get a rough idea.

Top tips for writing the best essay you can in English literature

This section will provide you with some tips to help you with your English literature essay writing. I recommend you also check out this Think Student article on how to revise for English literature. Now without further hesitation, lets jump into them.

Focus on the structure of your English literature essay

A logical and clear structure is key to allowing your essay to stand out to an examiner. They read hundreds of essays, so a good structure will let your creative analysis shine in a way that makes sense and is clear, as well as not confusing them.

The arguments you make in the essay should be coherent, directly linked to the question, and to each other. The easiest way to do this is to ensure you properly plan before you start writing , and to use the acronyms above to make the process as easy as possible in the exam.

Always use examples and quotes in your English literature essay

For every paragraph you need to have at least 1, if not more quotes and references to sections of the text . Ensure that every example you use is directly relevant to your point and to the question. For example, if you have a question about a character in the play, you should use quotes from or about them, rather than quotes about other things.

These quotes should always be analysed in detail, however, so do not use more than you can really look at within the time limit. Always aim for quality over quantity.

Leave time to edit and re-read your English literature essay

After you are finished writing, go back and re-read your essay from start to finish as many times as you can within the exam time limit. Focus first on grammar and spelling mistakes, then on general flow and coherency. If you notice that you have gone off topic, remove the sentence if you can, or edit it to be relevant.

Remember, the most important thing in the exam is that your text makes sense to the reader , so use concise, subject specific terminology, but not unnecessarily. You do not need to memorise big technical words to get good marks, as long as you can say what you mean.

Read other people’s English literature essays

One of the least understood tips for getting good marks at GCSE, A-Level and beyond is to read other people’s essays . Some students feel like reading exemplar essays or essays their classmates have written is cheating, or that it would be stealing their ideas to read their essay. However, this is not the case.

Reading someone else’s essay is a great way to begin to evaluate your own writing. By marking essays or reading others and making mental notes about them, you can begin to apply the same principals to your own essays, as well as improving your writing overall.

Look at how they use quotes, their structure, their main points and their thesis, and compare them to how you write, and to the assessment objectives. Look at their analysis and whether their writing makes sense. This sort of analysis does not involve stealing ideas, but instead learning how best to structure your writing and create an individual style , learning from both good and bad essays.

You should also read widely around your texts in general. Read as much as you can, both texts related and unrelated to the ones you read in class, to gain a wide picture of literature. This will help you in unseen prose, but also widen your vocabulary overall, which in turn will improve your essays.

For more information on why reading is so important for students, please read this Think Student guide.

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GCSE ENGLISH LITERATURE essay questions AN INSPECTOR CALLS

Subject: English

Age range: 14-16

Resource type: Assessment and revision

Last updated

13 September 2024

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AN INSPECTOR CALLS - essay questions with some indicative content provided in respect of certain of the questions

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