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Guidance stresses building a clear, concise overview linked to question focus before writing, and developing a logical, ordered argument rather than listing features too early. 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It should establish the overall perspective/argument before the body paragraphs develop methods and meanings.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What common mistake do examiners report about early writing?",{"text":117,"@type":113},"Students often begin writing too soon, without a coherent sense of the extract’s overall perspective/argument or how they will work through the response logically and in order.",{"name":119,"@type":110,"acceptedAnswer":120},"Which “ways in” are suggested for analysing unseen prose?",{"text":121,"@type":113},"Suggested methods include voice, sequencing (dialogue and description), focus, setting and place, objects, physical descriptions, imagery/figurative language, agency and power, liminal spaces, and narrative arc, with some marked as especially significant.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},623273,1792525877,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":19,"category_name":20,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":81,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145,"preview_page_count":4},962090883568,"https://ap-avatar.wpscdn.com/davatar_a8503ba1806abce46bf441b54a3ca4cd","A-level  \nENGLISH LITERATURE A  \nHub school network meeting  \nResources: Moving from explanation to analysis  \nPublished: Spring 2020  \nContents  \n\n| Contents | Page |\n| --- | --- |\n| Unseen prose advice | 4 |\n| Twelve Days on the Somme by Sidney Rogerson | 8 |\n| Example response to Twelve Days on the Somme | 10 |\n| Stoner by John Williams | 12 |\n| Example responses to Stoner | 14 |\n| ‘The Going’ by Thomas Hardy | 17 |\n| ‘ In a Garden’ by Elizabeth Jennings | 19 |\n| ‘Remembrance’ by Emily Brontë | 20 |\n| Example responses to unseen poetry | 21 |\n| Modernism and postmodernism | 24 |\n\nUnseen prose  \nSome ‘ways in’ to approaching an unseen extract  \nThe starting point for your response should be a concisely articulated overview of what is happening in the extract in relation to the question focus (eg insecurity, alienation) .  \nIt is impossible to do this if you read the extract quickly and start writing straight away, picking out the first feature you spot. Take time to absorb the text and develop an overview of what the writer is doing/saying/exploring/conveying in relation to the question focus. Make sure you read the information the exam paper gives you about the extract.  \nFeedback from examiners suggests that they feel students across the country start writing too soon, without a coherent sense of their overall perspective/argument on the extract in relation to the question focus, and without a coherent sense of how they will work through their response in a logical and ordered way.  \nYour introduction articulates what is happening in the extract in relation to the particular question focus; the body of your essay should explore how the writer achieves this, ie what methods are particularly significant in enabling the writer to convey their particular approach to the question focus. ‘Significant’ here means ‘used to convey meanings’.  \nWhat might be useful, then, is to have some idea of possible methods which writers use to create meanings, ie elements of a text/textual decisions used by a writer from which meanings arise.  \nThe following tips aim to give you some ‘ways in’ to the text. Some of these ‘ways in’will be more important in creating meanings in some texts than others – ie they will be more significant in some texts than others – but having these ‘ways in’may be useful, and selecting four or five to explore in detail may provide a useful framework for your response.  \nThe tips use examples from texts that you know, so that you can see how these authorial methods can be ‘significant’.  \nSome ‘ways in’ to unseen prose  \n• Voice*  \n• Sequencing* (including dialogue and description)  \n• Focus  \n• Setting and place  \n• Objects  \n• Physical descriptions  \n• Imagery/figurative language  \n• Agency and power  \n• Liminal spaces  \n• Narrative arc  \n• Beginnings and endings  \n*The ‘ways in’marked with an asterisk are often hugely ‘significant’, but are very often ignored by students: these are key decisions made by the writer before they engage in the more localised details of language, but students often slip into just writing about individual language details.  \nSequencing (including dialogue and description)  \nHow are elements of the extract sequenced? Do we get a physical description of a person before a description of setting, or vice versa? Is the extract mostly dialogue or description, and in what order do these things occur? Is the extract chronologically linear, or is it asynchronous? Does it refer back to events in the past, or refer forward to events in the future? What effect do all these narrative and structural decisions have? Why has the writer made these decisions, and what effect do they have?  \nVoice  \nFrom which perspective is the extract being presented: is it a third person omniscient narrator; is ita first-person homodiegetic narrator? Whose thoughts do we hear (if any)? Whose don’t we hear? What effect does this have?  \nFocus  \nLike a film director, a writer needs to choose which details to focus on, wh","cbCaikCMA9LTufHT","https://ap.wps.com/l/cbCaikCMA9LTufHT","pdf",490115,26,"English","# Unseen prose advice\n## Some ‘ways in’ to approaching an unseen extract\n## Introduction and overview\n## Methods to create meanings in responses\n## Some ‘ways in’ to unseen prose\n## Sequencing (including dialogue and description)\n## Voice\n## Focus\n## Setting and place\n## Objects","[{\"question\":\"How should students structure their unseen prose introduction?\",\"answer\":\"The introduction should concisely articulate what is happening in the extract in relation to the question focus. It should establish the overall perspective/argument before the body paragraphs develop methods and meanings.\"},{\"question\":\"What common mistake do examiners report about early writing?\",\"answer\":\"Students often begin writing too soon, without a coherent sense of the extract’s overall perspective/argument or how they will work through the response logically and in order.\"},{\"question\":\"Which “ways in” are suggested for analysing unseen prose?\",\"answer\":\"Suggested methods include voice, sequencing (dialogue and description), focus, setting and place, objects, physical descriptions, imagery/figurative language, agency and power, liminal spaces, and narrative arc, with some marked as especially significant.\"}]","A-level English Literature A - Hub school network meeting - Resources: Moving from explanation to analysis - Unseen prose | PDF",1792468047,66]