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IB English Paper 2 Writing Guide

Table of contents.

I’ve had many experiences helping IB students, so preparing for IB English Paper 2 can be challenging and fun. This test isn’t just about knowing about literature; it’s also about showing that you can analyze something complex quickly. In this post, I will give some essential tips and ideas to help you do well on Paper 2 English IB.

What Is IB English Paper 2?

IB English Paper 2 is a part of the English A test for the International Baccalaureate Diploma Program. This test is mostly about literature and compares two or more works to see how well students can think critically and understand what they are reading. I’ve been teaching kids about the IB program for years and have seen how Paper 2 pushes them to use what they’ve learned in profound and complex ways.

Paper 1 is an unseen textual analysis assignment. Paper 2 asks students to write articles that compare and contrast at least two literary works they have read in the course. This test assesses how well you understand the texts, how deeply you can analyze them, and how critically you can think about different types of writing.

These are some crucial parts of IB English Paper 2:

• Duration and format . The test is two hours long and has essay questions about the types of writing you’ve studied, like drama, poems, or prose.
• Comparative study . Students must show they can look at themes, characters, and literary methods to find similarities and differences between works.
• References in the text . The best papers are supported by precise textual references illustrating the points made.

I think doing well on IB English Paper 2 requires careful studying and a flexible approach to the test. According to IB standards, students should not only show that they understand the works but also that they can think deeply about how they relate to each other. From my experience, the best way to prepare for an exam is to read a lot, write compared essays repeatedly, and participate in conversations that help you better understand literary subtleties. Students can do well on Paper 2 and enjoy the art of writing if they master these skills.

What Is the Format of the IB English Paper 2 Exam?

Differences exist between SL and HL English students. SL students have 1.5 hours for the exam, whereas HL students receive 2 hours. At this time, you are tasked with composing a comparative essay. You must thoroughly understand the expectations and strive to meet them effectively.

Structure of the Exam and Time Allotment

The structure of the exam is designed to challenge your analytical and interpretative skills. I’ve seen that students who manage their time usually do well. To use a planned method, you should plan your essays for about 30 minutes and then write them for the other 90 minutes. Using this method, you can carefully arrange your ideas and craft your reasons, ensuring that each point is well-thought-out and given clearly.

Types of Questions Students Asked

The questions in IB English Paper 2 mainly involve comparing two or more literary works . These questions aren’t just about finding patterns and differences; they also ask how and why they are essential in writing. I think it’s crucial to make complicated links between ideas, people, and places. You must care about the works and know much about using literary techniques.

I highly suggest you practice with different questions to gain confidence and speed when answering them. It will help you think more critically when time is short and apply what you know to various situations. When students answer many practice questions and think about their answers, I’ve seen them build a more profound knowledge of the literature, which is essential for getting a good score on Paper 2.

How to Answer IB English Paper 2 Questions?

To correctly answer IB English Paper 2 questions, you need a plan that integrates information, research, and writing skills. As an experienced IB teacher, I know that a well-prepared student can do well on this challenging part of the IB English test by following a set of steps.

Firstly, you must understand the question entirely. Break the question into several parts to ensure you know what it wants you to do. I’ve seen that misinterpreting the question is a frequent mistake that can significantly lower your score.

Once you grasp the question, plan your response. Here’s a simple checklist to guide your planning:

• Find the central ideas or parts of the writings that the question brings out.
• Figure out what the writings have in common or what makes them different.
• Outline your case and make sure it directly answers the question.
• Pick the information from the books that most support your point of view.

When you write your essay , the thesis statement and list of things you will discuss should be apparent initially. This part is a strong base for your case. IB standards say you need a clear case that connects directly to the texts and the question.

Develop your points in a planned way in the body of your essay. As far as I know, each paragraph should be about a different part of your comparison or analysis and should connect back to your thesis. Use quotes from the texts to back up your points, and then examine these quotes to show that you have a better knowledge of the texts.

In the last part of your essay, you should restate your key points and explain how they answer the question again. This ending is critical because it strengthens your case and affects the last reviewer.

From my experience, using these techniques can make you feel more confident and help you do well on Paper 2 questions. Remember that every writing is a chance to show how well you understand and can analyze literature.

How to Prepare for IB English Paper 2?

Preparing for IB English Paper 2 is a big part of doing well in the International Baccalaureate Diploma Programme. As an experienced IB writer who has taught students for years, I’ve seen firsthand how proper planning can improve success. In this guide, I’ll give you some of my best tips on how to get the best marks.

Fully Understand the Syllabus

From what I’ve seen, it’s vital to understand the course material. Make sure you know every piece of literature that is part of your training. This knowledge will help you connect between books, a big part of Paper 2.

Learn how to Do Comparative Analysis

Paper 2 is built around comparative analysis . Find multiple works’ themes, ideas, and artistic elements and see how they relate or vary. I suggest making thorough charts that compare these things next to each other. It will help you see the links and differences more clearly.

Make Your Thesis Strong

A strong thesis statement tells your essay what it will be about. It shouldn’t just answer the question but also add something new. IB standards say writing with a precise, logical topic tends to get better grades. You should spend a lot of time working on your thesis until it clearly states your main point.

Get Help With Your Paper

Work on managing your time.

Managing your time well can make or break how well you do on a test. From what I’ve seen, practice while timed is very helpful. Stick to the time limits for planning, writing, and reading your writings, and try to make the test set as similar to the real thing as possible.

Ask for Feedback

Feedback is a great way to improve. I know that getting comments on your writing from teachers or peers daily can help you see things differently and where you need to improve. To improve at writing, make it a habit to use this feedback during your practice sessions.

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Pitfalls in IB English Paper 2 and How to Avoid Them

One big mistake is not having a clear point or case . IB rules say that an essay needs to have a focused point directly related to the question to get a good grade. I’ve seen that writings that stray too far from the main idea get lower grades. You should always start your essay with a strong, clear thesis statement to avoid this. Make sure that each piece directly supports this argument.

Another common problem is that there isn’t enough written proof . A good IB English essay uses exact quotes and thorough literary references to support its points. Some students make the mistake of making broad claims about the text without providing proof. To avoid this, always use quotes in your research and show how they help your points.

Keeping track of time is another big problem during the test. Many students have trouble finishing their essays in time , which can cause points to fall short or conclusions to be drawn too quickly. I believe it is very important to practice while timed. Regular practice sessions should be timed to look like the actual test.

Lastly, another common mistake is forgetting that the paper needs to be finished . A good ending not only restates the key points but also shows how the thesis is related to the question. You should take a few minutes at the end of your writing process to develop a thoughtful ending that will stick with the reviewer.

As we wrap up this guide, remember that you will do well on IB English Paper 2 if you prepare well and follow a plan. Have faith in your skills and feel good about taking the test. Good luck! Also, we can help you if you remain confused and need help with English Paper 2 or any other IB Student Help .

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Nick's article, featured in Routledge's " Entrepreneurship in Central and Eastern Europe: Development through Internationalization ," highlights his sharp insights and unwavering dedication to advancing the educational landscape. Inspired by his personal motto, "Make education better," Nick's mission is to streamline students' lives and foster efficient learning. His inventive ideas and leadership have contributed to the transformation of numerous educational experiences, distinguishing him as a true innovator in his field.

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Paper 2 is an excellent opportunity to be successful, since it awards 25% of the overall marks for HL students and 35% of marks for SL students for an essay about works of literature studied. Now, students can even choose which works studied can be used for this assessment - a positive change from the past.

Positives and Pitfalls of Paper 2

Paper 2 is truly an inquiry-based assessment, in which, rather than trying to double-guess the examiner as to what question will be asked about works you have studied, you instead will be posed four general questions to which you should apply knowledge and understanding of the works you have studied.

To a question, 'How is "home" depicted in two of the works you have studied and what is its signficance?' there is every chance that at least two of the works you still have available to use for Paper 2 implicitly or explicitly present or explore this concept. Thus, you will be able to define the concept, consider its nuances, and supply evidence for how it is presented and in what ways it is significant.

However, the challenge with essay writing is always to ensure that it is suitably literary in focus - analysing the literary choices and their effect on the thematic meaning, rather than talking about characters and plot as if they are real people and events - and, for this new assessment, to ensure that the essay is comparing the two works used. Thus, a strategy for essay writing and plenty of practice in advance of the final examination is imperative.

It is also crucial to look at examples of good essays.

Comparative Essay Example #1

Consider the following question:

Looking closely at how weakness and strength are represented in at least two of the works you have studied, discuss the significance of the relationship between the two.

How would you set about answering this question?

Below you will find a student response to this essay question. Read it, and, using the assessment criteria from the Subject Guide and shared in this site, award it a mark out of 30:

In works of literature, authors often develop their characters’ weaknesses and strengths separately, however, there is often a relationship between the two, with one being the cause of the other. This is the case in Arthur Miller’s play A View from the Bridge and Peter Shaffer’s Equus . Set in the mid-1950’s and 1970’s respectively, the plays explore the development of their extremely different main characters, as well as that of their similar Greek chorus-style narrators. Through Miller’s use of a Greek tragic hero, Shaffer’s use of the concept of worship and both authors’ use of staging to control time, the authors portray their characters’ strengths and weaknesses, and how one leads to the other over time.

In his play, Miller puts in place a Greek tragic hero as his main character, Eddie, with the conventions of such a hero in order to highlight his strengths, and how they lead to his tragically inevitable weaknesses, and subsequent death. As a conventional tragic hero, Eddie has a Hubris; his excessive sense of honour. This is greatly due to the context in which the story takes place, as the Italian community of Red Hook, Brooklyn has a strong sense of community and honour. This can be seen in everyone’s vivid memory of the “Vinny Bolzano” story or even when Eddie says ‘all the law is not in a book’, hinting at the unspoken law that exists within his community. Due to this context, Eddie’s Hubris is created and maintained. This excessive honour is seen as a strength in Red Hook, and Eddie is seen as an honourable man; however this strength develops into a weakness when Miller introduces another convention of the Greek tragic hero; his hamartia. Eddie’s tragic flaw, being his unauthorized feelings for Catherine, is what causes his honourable nature to turn. This flaw, being a clear weakness, is what causes him to call immigration about Marco and Rodolpho, seeing it as the only solution to stop Catherine from marrying Rodolpho, to soothe his jealousy. This transition from positively perceived Hubris to a Hamartia, a weakness by definition, shows a tightly-knit relationship between Eddie’s strengths and weaknesses, which ultimately lead to his death when he attempts to retrieve his ‘name’ and make up for his weakness.

In Equus , however, the relationship between strength and weakness is seen in the depiction of worship throughout the play. On the contrary to Miller’s play, Shaffer’s presents a weakness first, that then develops into a strength. Shaffer does this by first introducing the consequences of Alan’s worship, before revealing what it is or how it could be seen as a strength. By stating that Alan poked the eyes of six horses with  a pick, and later going through the psychiatric analysis and revealing it was due to his Equus worship, Shaffer clearly introduces this worship as a weakness, especially at the time, when in the United Kingdom responses to psychiatry were mixed. He emphasizes this through secondary characters, such as Dalton, repeating Alan is a ‘loon’ and that he ‘belongs in prison. Not in a hospital at the tax-payers’ expense,’ clearly representing the negative, anti-NHS views on psychiatry at the time. However, as Dysart’s analysis of Alan continues, in addition to his personal reflections, and the re-enacted parts of Alan’s past, Dysart perceives Alan’s Equus worship as a strength. This is seen when, in his monologues, Dysart compares Alan’s worship to his own passion for Ancient Greece, and brings attention to the fact that at least Alan practises his worship, by ‘living’ one night every week, while he does nothing. From this, develops the idea that it is better to have something to worship, even if there are bad consequences, than to not worship at all. This is illustrated through Frank, an atheist, who ends up embarrassed in a theatre, watching adult movies. The final affirmation of Alan’s worship being converted into a strength is found in Dysart’s reluctance to continue treating Alan, to make him ‘Normal’, due to the knowledge that this will destroy his religious worship of Equus, and the uncertainty that having no faith is, in fact, ‘Normal’.

What both Shaffer and Miller’s plays have in common is their unique staging that controls time, in contrasting ways, and enables the audience to follow a progression in the relationship between the strengths and the weaknesses they present. Miller’s play, staged on a claustrophobic set, where ‘the front is skeletal entirely’, quite literally opens up the flat of an average man, and allows the audience to look into his life. This set does not change over time, allowing all focus to be on the progression of events. From the very beginning, a telephone box is on stage, but never mentioned. This creates an effect of foreshadowing, as audience members know it is there for a reason, and will be used. In reality, this telephone box becomes the symbolic representation of the shift between Eddie’s strength and weakness, as it begins to ‘glow’ when Eddie decides to call Immigration. In complete contrast to this static set, Equus ’s staging is highly unique in many ways, but mostly due to the way the circle around the main square stage is used to represent time. When actions from the past are acted, the actors are often walking around the circle, almost creating a different set for actions in the past, and all others take place in the centre square. This staging technique is what allows the audience to follow the psychiatric analysis of Alan effectively, and ultimately to visualize what his weakness, his worship, was ignited by, and how, in the present, Dysart realizes it is a strength.

Whether weaknesses lead to strengths or strengths cause weaknesses, both A View from the Bridge and Equus demonstrate a significant relationship between the two. What can be said on this relationship is that it heavily relies on the perception of outsiders on the qualities in question. This is why only Dysart is able to see strength in Alan’s worship, or why Eddie continues to fight, refusing to ‘settle for half’. It is sure that the relationship between strength and weakness is what shapes these characters into what they are, much like it is what shapes people everywhere on a daily basis.

Take a look at the Assessment Criteria in  Marking Criteria  and mark the essay out of 30 according to the criteria for Paper 2.

Read the examiner's commentary below to discover how it was marked according to each assessment criterion:

This essay is sharply focused on the question, developing a thread of an argument throughout and showing sensitive interpretation of both works. Organisationally it is strong and consistent. There is clear focus on literary features, evolution of the genre and intertextuality, and both in terms of structure and ideas it is genuinely comparative.

Comparative Essay Example #2

“Tension is a necessity in all works of art.” Saying what you mean by “tension” in literature, discuss how far you agree with this view.

In works of art, such as literature, tension is an embedded necessity but only to assist the author in elevating the plot structure and highlighting the overriding message; it functions as a means to an end. In F. Scott Fitzgerald's The Great Gatsby and Arundhati Roy's The God of Small Things , tension can be described as any technique, in plot structure, word choice or characterisation, to build action leading up to a climax that is significant thematically. In both novels, narrative structure does not flow chronologically, ensuring that the reader is aware of any future failures. Although significantly more developed in the spiralling of The God of Small Things , both are laden with repetition of fragments of phrases, pessimistic symbols, or motifs which can contribute to the layering of tension. Particularly in these novels, the theme reflects a failure of society at large, either of oppressive societal rules or a foolish period of empty extravagance; both require a climax to finally reveal this to characters and the reader. Finally, this inevitable collapse, propelled by tension, is evident significantly in The Great Gatsby through characterization of Daisy, and even Gatsby, through a further mechanism of foreshadowing.

The shifts in time and varied narrative of both novels, instead of negating tension by subtly revealing future events, builds it as each subsequent mention raises the reader's interest. Nick Carraway, the first-person narrator of The Great Gatsby , presents the novel as a record of 'his time back East'. The negative tone is established by his expression that the world should 'stand to attention'; this motif of moral order builds up until later in the novel. Following the climax of Gatsby's tragic death, Nick's ultimate judgement of immorality is obvious as no one attends Gatsby's funeral, in spite of the hundreds of people who attended his parties. More intriguing is the first person reference to Gatsby, that '[he] turned out alright in the end'. By starting with Nick's reflections, the reader pays special attention to the progress and character development of Gatsby. To a much greater extent, Arundhati Roy exploits shifts in time to increase tension. Although the majority of plot action occurs in the late 1960s, the future consequences these actions reaped is revealed through descriptions of the twins, Estha and Rahel, and other assorted figures in Ayemenem in the 1990s. Narration shifts seamlessly from descriptions of a present day Estha, mute and possibly insane at 31, to discussion of his mother's death at 31: 'a viable, die-able age'. Like in The Great Gatsby , the melancholic tone of phrases like 'his head cracked open like a secret', we are between different time frames, enticing the reader's attention to what must be a tragic result.

Roy and Fitzgerald both utilise the chronological shifts mentioned to consistently reinforce specific symbols or motifs seemingly resonant of some future tragedy. 'Pappachi's Moth' is depicted by Roy as a quirky family anecdote, but it becomes a symbol for any pain or disappointment felt by the twins. Preceding Estha's disastrous naming of Velutha as the killer of their cousin, Sophie Mol, Rahel sense the 'flutter' of the moth's wings on her heart. In The Great Gatsby, Nick Carraway attempts to fulfil his promise of being 'rather literary' by an extended description of 'the valley of the ashes' at the beginning of chapter 2. In a dystopian manner, the stretch of road between West Egg and New York is labelled as 'grey', filled with 'ash-grey men' and capable of observing any unjust act from the eyes of judgement. This metaphor-laden setting must hold some significance to the story and indeed the prophecy of immorality is upheld - it is the future setting of the accidental murder of Myrtle. The most omnipresent motif in The Great Gatsby is the party; Nick mentions three in the first half of the novel. Each reflect the inane extravagance of the 1920's, as well as its superficiality - people swan around pretending to know each other and Nick wastes two pages listing names. This motif makes the reader aware that at some point the futile extravagance must reach its end, consistently building tension in the meantime. The reader is left to wonder if it will be a quick end, such as Tom rapidly breaking Myrtle's nose, or the dissipation at a party leaving Gatsby alone and friendless.

Roy, like Fitzgerald, refers back to a theme that hinges on expectant tension. The oppressive 'Love Laws', ruining lives as grand 'agents of history', are broken throughout the novel, indicating there must be fateful consequences. Roy introduces early on the importance of historical relativity, and the subsequent 'smallness' of the individual attempting to confront this. This scene, using brutal, violent imagery, of Velutha being practically beaten to death, breaks the tension after it becomes clear that Velutha and Ammu have had an affair, disobeying the hierarchical class structure. Like Gatsby meeting his end for his adherence and faith in the materialistic and worthless American Dream, Velutha faces the consequences of his actions. This parallels the other climax of Sophie Mol's drowning, clarifying the repetition of descriptions of the river and the pathetic fallacy of increasing rain, while highlighting the overriding power of 'history' or fate.

Characters, like Roy's oppressive 'Love Laws', are willed to be broken in both novels. Daisy's introduction in The Great Gatsby includes her feebly lamenting that 'the best thing a girl can be in this world is a beautiful little fool'. Additionally, Gatsby is introduced in a shroud of notorious mystery, reflecting society's mistrust of new money. Both introductions serve to build the reader's interest as to whether they fulfil their first introductions. Characterization on a more general scale builds tension at the beginning of The God of Small Things . The police are ironically drawn as corrupt, inefficient and judgemental, below a poster highlighting justice and professionalism. Like how the reader is aware of Sophie Mol's death from the start, this unkind characterisation only peaks interest concerning the actions of the police and the role they play in the unfolding tragedy. The backwards characterization of Baby Kochamma serves the same end. The future scene of her alone but for her subservient cleaner is only fully understandable at the end of the novel, when it is clear that she was a major stimulus in Velutha's death, as well as Ammu's destructive nature.

The necessity for shifts in chronological narrative in both novels only becomes clear when the effects of tension are analysed. Through repetition, of either symbols of message-driven motifs, the reader is pre-warned of future tragedies and their thematic importance. Pappachi's moth, for example, evolves from pointless addition to a key indicator of Rahel's sadness and the tragedy of Velutha's subsequent death. Furthermore, both themes rely on sustaining a dangerous and unjust status quo, until the climax when the party must end. Characterization almost acts as foreshadowing, hinting at the negative condition of the future. Ultimately, tension is used by Fitzgerald and Roy to complement their messages, as most works of art must. By enticing the reader's interest and increasing importance of future events, a novel ceases to be a plot-based story and instead becomes a deeper reflection of life.

This essay deals well with the challenges of the statement question. The student rightly defines the key terms and sets the framework of the response in the introduction. Organisationally, they have opted for the more difficult 'both works in each paragraph' structure with great effect, and the use of expert transitions ensures that the argument follows a clear thread throughout. This essay is extremely concise and precise, employing hugely detailed evidence, reference and consideration of features of the literature and evolution of the genre's style. In short, it is an excellent essay.

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We get it. Sometimes you don’t have the time to watch lots of videos and sort through lots of documents. If that describes you, then Andrew and Dave highly recommend checking out the videos below. They are short, sweet, and have loads of critical tips and tricks to help you succeed on Paper One.

Watch this before your next Paper 1 for important reminders.

Ten Tips for Paper One

Don't make these mistakes! Easy fixes that add points.

Ten Pitfalls to Avoid for Paper One

Nobody wants to sound like a robot. Add some voice, would you?

Adding Voice to Academic Writing

Start with a firm handshake and finish strong.

Sample Intro and Conclusion

Remember: Discuss HOW the author USES text to impact the READER.

Discussing Reader Effect

Criteria B demands evaluation of the effectiveness of authorial choices.

Adding Evaluation

Don't forget to read between the lines and discuss implications.

Discussing Implications

Watch this video right before your exam. Don't miss this checklist!

Paper 1 Checklist

Best of luck to May 2024. You've got this!

Exam Pep Talk

Language and Literature - Countdown to Paper 1!

Do you have a summative assessment or mock exam coming up?  Are you cramming content at the last minute?  If you are a Language and Literature student and this describes you, then you have come to the right place.  Each of the following TEN text types has CLOSE READING and SAMPLE RESPONSES WITH EXAMINER COMMENTS.  There are also documents with text type conventions and various other resources you need to achieve academic success.  Watch the videos and crush Paper 1.

TEXT TYPE 1: WEBSITE

Conventions

Stimulus Text

Student Response

TEXT TYPE 2: SPEECH

Conventions More Conventions Stimulus Text

TEXT TYPE 3: LETTER

TEXT TYPE 4: PRODUCT REVIEW

Conventions Stimulus Text

TEXT TYPE 5: COMIC

LINK: BoW Grant Snider

TEXT TYPE 6: FILM REVIEW

TEXT TYPE 7: BROCHURE

TEXT TYPE 8: PSA

TEXT TYPE 9: TRAVEL WRITING

TEXT TYPE 10: TABLOID COVER

TEXT TYPE 11: ADVERTISING

TEXT TYPE 12: INFOGRAPHICS

Political cartoons.

Political cartoons are self-contained commentaries on an important current event or key aspect of society, and they’re humorous.  Look out for colors, symbols, and other hidden ideas lurking in the subtext.  Remember: just like literary authors, cartoonists make a series of choices in their work intended to shape meaning.  Look carefully.  Detect nuances and implications.  Evaluate.  Ace Paper 1.

Learn how to deconstruct political cartoons.

Cartoon Terms

Cartoon of Cartoon Terms

Now that you’ve learned some basic terms, let’s apply them to more cartoons.

Apply your new cartoon skills to academic writing.

Cartoon and Sample Writing

Sentence Stems for Analysis

Put it all together and check out this 7.

Advertising

They’re everywhere on our phones and screens.  Advertisers work to cut through the clutter, grab our attention, and subtly influence us to make choices to buy, buy, and buy some more.  Accordingly, Dave and Andrew believe it’s essential to learn the tips and tricks companies use to manipulate our attention and persuade us to act.  Check out these videos.  Not only will you improve your Paper 1 performance, but you will also be a more skilled and savvy consumer who is attuned to the features our favorite brands employ in their ads.

Learn key terms and how to break down ads.

Features of Advertising

Mnemonic for Deconstructing Ads

There's more to learn! Add these skills to your toolbox.

15 Techniques of Advertising

More Tools of Persuasion

Put it all together and write an organized piece of academic writing.

The Model Paragraph

Opinion Articles

Whether they agree with what’s happening in our world or not, writers of opinion columns implement a series of choices in their work to maximize their persuasive effect.  A close cousin of speeches, these short and complete texts pack a punch.  Look carefully at how they’re structured, how they use rhetoric, and how they end strong.  Learn this stuff.  It’s Paper 1 gold.

What tools do these writers use? Add these terms to your list.

Persuasive Elements in Opinion Articles

Now that you’ve got some basic skills and some terms under your belt, let’s apply them to three different opinion articles and see what we can do.

Put it all together and see what it looks like.

Paper One Student Sample (original)

Paper One Student Sample (highlighted)

Literary Text Types

Regardless of the course you are enrolled in, we’re all studying literature.  How is prose fiction different than prose nonfiction?  What about drama and poetry?  Are there any special skills and tips to learn?  We’ve got the answers to these questions and more down below.  Consume these resources and become a better critical reader and writer.  

Prose Fiction

What’s prose fiction?  Think novels.  Think short stories.  Think “imaginative” writing.  It’s one of the cornerstones of the course for a reason, as it teaches us about the human condition and fosters empathy.  Learn how to be a close reader of prose fiction and let your knowledge shine when you write your Paper 1.

Literature can be tough. This acronym for deconstruction will help.

SCASNI acronym for annotating fiction

Learn more about how our SCASNI protocol can foster deeper analysis.

SCASNI applied to a Paper One Text

Put it all together and check out this full Paper 1 response.

Paper One – Full Student Response

Prose Non-Fiction

This course requires exploration of nonfiction texts as well.  So what exactly is this stuff anyway?  Think memoirs.  Think travelogues.  Think philosophy and other insightful texts that present factual information in an entertaining and literary way.  We love prose non-fiction, and so do our students.  These were our mock exams as well as former IB exams.  

Remember: Paper 1 is a reading test first. Watch this video.

Assessment Text (original) Assessment Text (annotated)

Yes, diaries show up on assessments. Familiarize yourself with this text type.

Assessment Text (original)

Assessment Text (annotated)

We love a good memoir. Another former IB Lit assessment here.

Check out what this writer does. They know what they're doing!

Student Response (original) Student Response (highlighted)

Another strong Lit response. You getting the hang of this yet?

Student Response (original)

Student Response (highlighted)

Our final mock exam in this Lit series. Another strong response.

Student Response (original and highlighted) Three Different Styles of Introductions

Sure, we understand poetry is abstract, but we promise it can be fun! It’s complex and requires deep thinking, but that’s where the magic lives.  Check out the videos and documents below.  You’ll find poetic terminology, close reading strategies, and sentence stems to guide your writing.  Watch.  Learn.  Master.  You’ve got this!  

Just like any text type, poetry has its own set of terms. Learn them!

Poetic Terms

Sample Poem with Annotations

Now you know some terms. A few more pieces and you're on your way.

How to Read a Poem

Acronym for Analyzing Poetry

Words to Describe Mood and Tone

Maya Angelou Poem For Analysis

Let's practice our new skills with a nature poem from Mary Oliver.

Mary Oliver Poem for Analysis

Mary Oliver Poem (fully annotated)

Check out this former IB Exam where we break down a great poem.

Document: Poem – “Tyre Shop” by Bob Orr

Check out the full student response and compare your work to the sample.

Document: “Tyre Shop” – Full Student Response

Andrew and Dave love drama.  But, you’ve got to remember to pay attention to the stage directions. What can you see and hear on stage?  What props do you notice?  How are costume and staging used for effect?  So many things to explore!  It’s important to learn the basics for now, but stay tuned for more content in the future.  Our students love drama, and so will you.  Immerse yourself in this text type and enjoy!

We'll add more content soon. For now, master these important conventions of drama.

Dramatic Terms Annotated Passage

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