a level english literature essay

How to Write a Good English Literature Essay

By Dr Oliver Tearle (Loughborough University)

How do you write a good English Literature essay? Although to an extent this depends on the particular subject you’re writing about, and on the nature of the question your essay is attempting to answer, there are a few general guidelines for how to write a convincing essay – just as there are a few guidelines for writing well in any field.

We at Interesting Literature  call them ‘guidelines’ because we hesitate to use the word ‘rules’, which seems too programmatic. And as the writing habits of successful authors demonstrate, there is no  one way to become a good writer – of essays, novels, poems, or whatever it is you’re setting out to write. The French writer Colette liked to begin her writing day by picking the fleas off her cat.

Edith Sitwell, by all accounts, liked to lie in an open coffin before she began her day’s writing. Friedrich von Schiller kept rotten apples in his desk, claiming he needed the scent of their decay to help him write. (For most student essay-writers, such an aroma is probably allowed to arise in the writing-room more organically, over time.)

We will address our suggestions for successful essay-writing to the average student of English Literature, whether at university or school level. There are many ways to approach the task of essay-writing, and these are just a few pointers for how to write a better English essay – and some of these pointers may also work for other disciplines and subjects, too.

Of course, these guidelines are designed to be of interest to the non-essay-writer too – people who have an interest in the craft of writing in general. If this describes you, we hope you enjoy the list as well. Remember, though, everyone can find writing difficult: as Thomas Mann memorably put it, ‘A writer is someone for whom writing is more difficult than it is for other people.’ Nora Ephron was briefer: ‘I think the hardest thing about writing is writing.’ So, the guidelines for successful essay-writing:

1. Planning is important, but don’t spend too long perfecting a structure that might end up changing.

This may seem like odd advice to kick off with, but the truth is that different approaches work for different students and essayists. You need to find out which method works best for you.

It’s not a bad idea, regardless of whether you’re a big planner or not, to sketch out perhaps a few points on a sheet of paper before you start, but don’t be surprised if you end up moving away from it slightly – or considerably – when you start to write.

Often the most extensively planned essays are the most mechanistic and dull in execution, precisely because the writer has drawn up a plan and refused to deviate from it. What  is a more valuable skill is to be able to sense when your argument may be starting to go off-topic, or your point is getting out of hand,  as you write . (For help on this, see point 5 below.)

We might even say that when it comes to knowing how to write a good English Literature essay,  practising  is more important than planning.

2. Make room for close analysis of the text, or texts.

Whilst it’s true that some first-class or A-grade essays will be impressive without containing any close reading as such, most of the highest-scoring and most sophisticated essays tend to zoom in on the text and examine its language and imagery closely in the course of the argument. (Close reading of literary texts arises from theology and the analysis of holy scripture, but really became a ‘thing’ in literary criticism in the early twentieth century, when T. S. Eliot, F. R. Leavis, William Empson, and other influential essayists started to subject the poem or novel to close scrutiny.)

Close reading has two distinct advantages: it increases the specificity of your argument (so you can’t be so easily accused of generalising a point), and it improves your chances of pointing up something about the text which none of the other essays your marker is reading will have said. For instance, take In Memoriam  (1850), which is a long Victorian poem by the poet Alfred, Lord Tennyson about his grief following the death of his close friend, Arthur Hallam, in the early 1830s.

When answering a question about the representation of religious faith in Tennyson’s poem  In Memoriam  (1850), how might you write a particularly brilliant essay about this theme? Anyone can make a general point about the poet’s crisis of faith; but to look closely at the language used gives you the chance to show  how the poet portrays this.

For instance, consider this stanza, which conveys the poet’s doubt:

A solid and perfectly competent essay might cite this stanza in support of the claim that Tennyson is finding it increasingly difficult to have faith in God (following the untimely and senseless death of his friend, Arthur Hallam). But there are several ways of then doing something more with it. For instance, you might get close to the poem’s imagery, and show how Tennyson conveys this idea, through the image of the ‘altar-stairs’ associated with religious worship and the idea of the stairs leading ‘thro’ darkness’ towards God.

In other words, Tennyson sees faith as a matter of groping through the darkness, trusting in God without having evidence that he is there. If you like, it’s a matter of ‘blind faith’. That would be a good reading. Now, here’s how to make a good English essay on this subject even better: one might look at how the word ‘falter’ – which encapsulates Tennyson’s stumbling faith – disperses into ‘falling’ and ‘altar’ in the succeeding lines. The word ‘falter’, we might say, itself falters or falls apart.

That is doing more than just interpreting the words: it’s being a highly careful reader of the poetry and showing how attentive to the language of the poetry you can be – all the while answering the question, about how the poem portrays the idea of faith. So, read and then reread the text you’re writing about – and be sensitive to such nuances of language and style.

The best way to  become attuned to such nuances is revealed in point 5. We might summarise this point as follows: when it comes to knowing how to write a persuasive English Literature essay, it’s one thing to have a broad and overarching argument, but don’t be afraid to use the  microscope as well as the telescope.

3. Provide several pieces of evidence where possible.

Many essays have a point to make and make it, tacking on a single piece of evidence from the text (or from beyond the text, e.g. a critical, historical, or biographical source) in the hope that this will be enough to make the point convincing.

‘State, quote, explain’ is the Holy Trinity of the Paragraph for many. What’s wrong with it? For one thing, this approach is too formulaic and basic for many arguments. Is one quotation enough to support a point? It’s often a matter of degree, and although one piece of evidence is better than none, two or three pieces will be even more persuasive.

After all, in a court of law a single eyewitness account won’t be enough to convict the accused of the crime, and even a confession from the accused would carry more weight if it comes supported by other, objective evidence (e.g. DNA, fingerprints, and so on).

Let’s go back to the example about Tennyson’s faith in his poem  In Memoriam  mentioned above. Perhaps you don’t find the end of the poem convincing – when the poet claims to have rediscovered his Christian faith and to have overcome his grief at the loss of his friend.

You can find examples from the end of the poem to suggest your reading of the poet’s insincerity may have validity, but looking at sources beyond the poem – e.g. a good edition of the text, which will contain biographical and critical information – may help you to find a clinching piece of evidence to support your reading.

And, sure enough, Tennyson is reported to have said of  In Memoriam : ‘It’s too hopeful, this poem, more than I am myself.’ And there we have it: much more convincing than simply positing your reading of the poem with a few ambiguous quotations from the poem itself.

Of course, this rule also works in reverse: if you want to argue, for instance, that T. S. Eliot’s  The Waste Land is overwhelmingly inspired by the poet’s unhappy marriage to his first wife, then using a decent biographical source makes sense – but if you didn’t show evidence for this idea from the poem itself (see point 2), all you’ve got is a vague, general link between the poet’s life and his work.

Show  how the poet’s marriage is reflected in the work, e.g. through men and women’s relationships throughout the poem being shown as empty, soulless, and unhappy. In other words, when setting out to write a good English essay about any text, don’t be afraid to  pile on  the evidence – though be sensible, a handful of quotations or examples should be more than enough to make your point convincing.

4. Avoid tentative or speculative phrasing.

Many essays tend to suffer from the above problem of a lack of evidence, so the point fails to convince. This has a knock-on effect: often the student making the point doesn’t sound especially convinced by it either. This leaks out in the telling use of, and reliance on, certain uncertain  phrases: ‘Tennyson might have’ or ‘perhaps Harper Lee wrote this to portray’ or ‘it can be argued that’.

An English university professor used to write in the margins of an essay which used this last phrase, ‘What  can’t be argued?’

This is a fair criticism: anything can be argued (badly), but it depends on what evidence you can bring to bear on it (point 3) as to whether it will be a persuasive argument. (Arguing that the plays of Shakespeare were written by a Martian who came down to Earth and ingratiated himself with the world of Elizabethan theatre is a theory that can be argued, though few would take it seriously. We wish we could say ‘none’, but that’s a story for another day.)

Many essay-writers, because they’re aware that texts are often open-ended and invite multiple interpretations (as almost all great works of literature invariably do), think that writing ‘it can be argued’ acknowledges the text’s rich layering of meaning and is therefore valid.

Whilst this is certainly a fact – texts are open-ended and can be read in wildly different ways – the phrase ‘it can be argued’ is best used sparingly if at all. It should be taken as true that your interpretation is, at bottom, probably unprovable. What would it mean to ‘prove’ a reading as correct, anyway? Because you found evidence that the author intended the same thing as you’ve argued of their text? Tennyson wrote in a letter, ‘I wrote In Memoriam  because…’?

But the author might have lied about it (e.g. in an attempt to dissuade people from looking too much into their private life), or they might have changed their mind (to go back to the example of  The Waste Land : T. S. Eliot championed the idea of poetic impersonality in an essay of 1919, but years later he described  The Waste Land as ‘only the relief of a personal and wholly insignificant grouse against life’ – hardly impersonal, then).

Texts – and their writers – can often be contradictory, or cagey about their meaning. But we as critics have to act responsibly when writing about literary texts in any good English essay or exam answer. We need to argue honestly, and sincerely – and not use what Wikipedia calls ‘weasel words’ or hedging expressions.

So, if nothing is utterly provable, all that remains is to make the strongest possible case you can with the evidence available. You do this, not only through marshalling the evidence in an effective way, but by writing in a confident voice when making your case. Fundamentally, ‘There is evidence to suggest that’ says more or less the same thing as ‘It can be argued’, but it foregrounds the  evidence rather than the argument, so is preferable as a phrase.

This point might be summarised by saying: the best way to write a good English Literature essay is to be honest about the reading you’re putting forward, so you can be confident in your interpretation and use clear, bold language. (‘Bold’ is good, but don’t get too cocky, of course…)

5. Read the work of other critics.

This might be viewed as the Holy Grail of good essay-writing tips, since it is perhaps the single most effective way to improve your own writing. Even if you’re writing an essay as part of school coursework rather than a university degree, and don’t need to research other critics for your essay, it’s worth finding a good writer of literary criticism and reading their work. Why is this worth doing?

Published criticism has at least one thing in its favour, at least if it’s published by an academic press or has appeared in an academic journal, and that is that it’s most probably been peer-reviewed, meaning that other academics have read it, closely studied its argument, checked it for errors or inaccuracies, and helped to ensure that it is expressed in a fluent, clear, and effective way.

If you’re serious about finding out how to write a better English essay, then you need to study how successful writers in the genre do it. And essay-writing is a genre, the same as novel-writing or poetry. But why will reading criticism help you? Because the critics you read can show you how to do all of the above: how to present a close reading of a poem, how to advance an argument that is not speculative or tentative yet not over-confident, how to use evidence from the text to make your argument more persuasive.

And, the more you read of other critics – a page a night, say, over a few months – the better you’ll get. It’s like textual osmosis: a little bit of their style will rub off on you, and every writer learns by the examples of other writers.

As T. S. Eliot himself said, ‘The poem which is absolutely original is absolutely bad.’ Don’t get precious about your own distinctive writing style and become afraid you’ll lose it. You can’t  gain a truly original style before you’ve looked at other people’s and worked out what you like and what you can ‘steal’ for your own ends.

We say ‘steal’, but this is not the same as saying that plagiarism is okay, of course. But consider this example. You read an accessible book on Shakespeare’s language and the author makes a point about rhymes in Shakespeare. When you’re working on your essay on the poetry of Christina Rossetti, you notice a similar use of rhyme, and remember the point made by the Shakespeare critic.

This is not plagiarising a point but applying it independently to another writer. It shows independent interpretive skills and an ability to understand and apply what you have read. This is another of the advantages of reading critics, so this would be our final piece of advice for learning how to write a good English essay: find a critic whose style you like, and study their craft.

If you’re looking for suggestions, we can recommend a few favourites: Christopher Ricks, whose  The Force of Poetry is a tour de force; Jonathan Bate, whose  The Genius of Shakespeare , although written for a general rather than academic audience, is written by a leading Shakespeare scholar and academic; and Helen Gardner, whose  The Art of T. S. Eliot , whilst dated (it came out in 1949), is a wonderfully lucid and articulate analysis of Eliot’s poetry.

James Wood’s How Fiction Works  is also a fine example of lucid prose and how to close-read literary texts. Doubtless readers of  Interesting Literature will have their own favourites to suggest in the comments, so do check those out, as these are just three personal favourites. What’s your favourite work of literary scholarship/criticism? Suggestions please.

Much of all this may strike you as common sense, but even the most commonsensical advice can go out of your mind when you have a piece of coursework to write, or an exam to revise for. We hope these suggestions help to remind you of some of the key tenets of good essay-writing practice – though remember, these aren’t so much commandments as recommendations. No one can ‘tell’ you how to write a good English Literature essay as such.

But it can be learned. And remember, be interesting – find the things in the poems or plays or novels which really ignite your enthusiasm. As John Mortimer said, ‘The only rule I have found to have any validity in writing is not to bore yourself.’

Finally, good luck – and happy writing!

And if you enjoyed these tips for how to write a persuasive English essay, check out our advice for how to remember things for exams  and our tips for becoming a better close reader of poetry .

Discover more from Interesting Literature

Subscribe to get the latest posts sent to your email.

Type your email…

30 thoughts on “How to Write a Good English Literature Essay”

You must have taken AP Literature. I’m always saying these same points to my students.

I also think a crucial part of excellent essay writing that too many students do not realize is that not every point or interpretation needs to be addressed. When offered the chance to write your interpretation of a work of literature, it is important to note that there of course are many but your essay should choose one and focus evidence on this one view rather than attempting to include all views and evidence to back up each view.

Reblogged this on SocioTech'nowledge .

Not a bad effort…not at all! (Did you intend “subject” instead of “object” in numbered paragraph two, line seven?”

Oops! I did indeed – many thanks for spotting. Duly corrected ;)

That’s what comes of writing about philosophy and the subject/object for another post at the same time!

Reblogged this on Scribing English .

• Pingback: Recommended Resource: Interesting Literature.com & how to write an essay | Write Out Loud

Great post on essay writing! I’ve shared a post about this and about the blog site in general which you can look at here: http://writeoutloudblog.com/2015/01/13/recommended-resource-interesting-literature-com-how-to-write-an-essay/

All of these are very good points – especially I like 2 and 5. I’d like to read the essay on the Martian who wrote Shakespeare’s plays).

Reblogged this on Uniqely Mustered and commented: Dedicate this to all upcoming writers and lovers of Writing!

I shall take this as my New Year boost in Writing Essays. Please try to visit often for corrections,advise and criticisms.

Reblogged this on Blue Banana Bread .

Reblogged this on worldsinthenet .

All very good points, but numbers 2 and 4 are especially interesting.

• Pingback: Weekly Digest | Alpha Female, Mainstream Cat

Reblogged this on rainniewu .

Reblogged this on pixcdrinks .

• Pingback: How to Write a Good English Essay? Interesting Literature | EngLL.Com

Great post. Interesting infographic how to write an argumentative essay http://www.essay-profy.com/blog/how-to-write-an-essay-writing-an-argumentative-essay/

Reblogged this on DISTINCT CHARACTER and commented: Good Tips

Reblogged this on quirkywritingcorner and commented: This could be applied to novel or short story writing as well.

Reblogged this on rosetech67 and commented: Useful, albeit maybe a bit late for me :-)

• Pingback: How to Write a Good English Essay | georg28ang

such a nice pieace of content you shared in this write up about “How to Write a Good English Essay” going to share on another useful resource that is

• Pingback: Mark Twain’s Rules for Good Writing | Interesting Literature
• Pingback: How to Remember Things for Exams | Interesting Literature
• Pingback: Michael Moorcock: How to Write a Novel in 3 Days | Interesting Literature
• Pingback: Shakespeare and the Essay | Interesting Literature

A well rounded summary on all steps to keep in mind while starting on writing. There are many new avenues available though. Benefit from the writing options of the 21st century from here, i loved it! http://authenticwritingservices.com

• Pingback: Mark Twain’s Rules for Good Writing | Peacejusticelove's Blog

Comments are closed.

Subscribe now to keep reading and get access to the full archive.

Continue reading

Your English Literature

we see , we read , we experience

Essay Structure – Edexcel A Level English Literature

14th June 2017

by Aimee Wright

The first thing you need to consider when writing an English essay is the structure, and how you can make sure it is one that you can remember and will give you a good grade.

• Generic Introduction :You will need to know the book , the author , the publication date and the literary period / monarchy era – g. Frankenstein , Mary Shelley, 1818, Romantic period. Then, you will need to state the genre of the book(s) – e.g. Frankenstein is a gothic novel. Lastly, you will need to briefly summarise the theme / character that the question asks of you. Below are some example generic introductions :
• (For the Prose exam): Frankenstein by Mary Shelley was published in 1818, during the Romantic Period, and The Handmaid’s Tale by Margaret Atwood was published in 1985, and is a postmodern text. Both of these texts are science fiction novels, but Frankenstein is a gothic novel, written in the first wave of gothic literature, while The Handmaid’s Tale is a dystopian novel. *The role of gender in the misuse of science* is seen in both texts in the way that the writers have used linguistic techniques and contextual factors, and this is what will be explored in this analysis.
• (For Othello ): Othello by William Shakespeare was published in 1604 during the Elizabethan era. The play is considered a tragedy, but many critics have picked up on the use of satire that Shakespeare has used, however it is not used so much that it could be seen as a comedy. In this analysis, it will be explored how Shakespeare has used his linguistic abilities and contextual factors to present the *theme of betrayal*, and subsequently how critics have viewed this.
• (For A Streetcar Named Desire ): A Streetcar Named Desire by Tennessee Williams was published in 1947, making it a modernist play. The play is a tragedy which aligns with the context of events such as World War Two, and the Great Depression, as these are very tragic. In this analysis, the *character of Blanche* will be explored, and it will be considered whether Williams uses linguistic, structural and contextual techniques to impact Blanche’s character.
• (For Post 2000 Poetry): Please Hold by Ciaran O’Driscoll is a poem that presents the themes of frustration, manipulation and irritation that the modern day society brings. As a postmodern poem, the twenty-first century challenges that the narrator undertakes align with each other. On first reading Somewhat Unravelled by Jo Shapcott, the reader can perceive that the narrator also represents strong emotions to represent how the narrator is feeling. By comparing these two poems, the analysis will explore how *strong emotions* are used in order to relay a story, such as through linguistic and structural crafting.
• (For Keats ): The Eve of St Agnes by John Keats was written in 1819, just two years before Keats’ death, in the Romantic period. The *theme of physical sensations* in this poem are represented through linguistic and structural methods, as well as contextual factors of the time. Physical sensations are not just seen in The Eve of St Agnes , however – Keats has also used this theme in La Belle Dame sans Merci , which was written in 1819 like The Eve of St Agnes . In this analysis, it will be seen whether La Belle Dame sans Merci shares a similar approach to physical sensations, and whether the time period had impact on this.

It is important to mention what you are going to be discussing in the essay. But, you do not need to use specific details in your introduction, otherwise the rest of your essay will seem sort of shallow. So, use phrases such as ‘In this analysis, the linguistic and structural crafting will be explored’, for instance.

If the question is particularly linked to a specific one contextual factor – maybe it is about monarchy or social hierarchy, or war? – you should give a brief overview of that contextual factor. E.g. “The social hierarchy in Shakespearean times was based on the chain of being , which will be discussed in this analysis.”

• In comparison essays – so the Prose and Poetry exams – it is important to highlight which text is your primary text . In the Prose exam, your primary text is Frankenstein , because it “comes first” in literary history. In Post 2000 poetry, the primary text is the poem from the anthology , accompanied by the unseen poem . In Keats, the primary text is the poem it gives you , and you “support” your points with another poem. But, it is important not to compare . So, when exploring your point further, you could say “To support this point, this is also seen in *insert other poem name* by using the same techniques.”
• In non-comparison essays – the Drama exam – you will need to write the same number of points that you would use for a comparison essay (the average is 2-3), but you may need more substance and expansive analysis. For example, if you wrote two paragraphs for one point in the Prose exam (which includes two texts ) you would still need to write two paragraphs for one point , even though you only have one text .
• So the structure of your essays need to be clear , concise and understandable . Especially for comparison essays, you will need to split up your points into more than one paragraph so that the examiner can understand your analysis more clearly.Having said this, in the Prose exam, it is important to note that you must state the points for both texts in the initial paragraph. This is so that the examiner can see where your point is going from the beginning.In the comparison essays in the Poetry exam, the first paragraph of the point should be about the primary text , which will then lead you to explore the secondary text . So, the advice for this would be: do not plan points for both poems – if you want to plan, just think of points for the primary text , and then think about how that same technique or concept is seen in your secondary text .
• Quoting / quotations: It is important to follow the succeeding points when considering the quotations that you use –
• Think about the context that you are talking about, and how you are putting the quotation in a sentence. Generally, it is better to put a quotation in a sentence like: “This is seen in the declarative sentence , ‘We are two-legged wombs.’ (p.146).” (this is a quote from The Handmaid’s Tale ). But if you are going to use the quotation like this: “The narrator said that ‘We are two legged-wombs’ to present the idea that the Handmaids are irrelevant.” you will need to think about the structure of the sentence. Instead of using the pronoun ‘We’ in the quotation, put ‘they’ in square brackets to show that you have modified the quotation . So, the sentence would look like this: “The narrator said that ‘[they] are two-legged wombs’ to present the idea that the Handmaids are irrelevant.”
• Think about the length of the quotation that you are using. If there is a long quotation – perhaps one that includes a stream of consciousness or syndetic listing , or just lengthy description – you may want to use snippets of the quotation to ensure that the examiner does not get bored. So instead of saying: “Walton (who is speaking) is seen to be a man who has power. Shelley presents this by saying, ‘One man’s life or death were but a small price to pay for the acquirement of the knowledge which I sought, for the dominion I should acquire and transmit over the elemental foes of our race.’” (This is a quotation from Frankenstein ). you could use specific words or phrases to portray the same point. For instance, if your point was: “Walton (who is speaking) is seen to be a man who has power. Shelley presents this is seen in his fourth letter with a semantic field of power and knowledge, with words such as ‘acquirement’; ‘knowledge’; ‘dominion’’ and ‘transmit’.”
• Terminology : I know that terminology is difficult to use, especially if you can’t think of the name for a technique. But, you are marked on your terminology use as it “proves” that you know what you’re talking about.
• Where to use terminology: when structuring your point, you should use terminology either before you mention the quotation – this is if you are making a point that the technique has a direct impact on the theme or character – or after you mention the quotation – this is just to show that you know what technique the author has used.Before the quotation: If you are making the point that the author uses declarative sentences to depict the theme or character, you could say: “Atwood uses declarative sentences to represent how straightforward prejudice is as a theme in society: ‘We are two-legged wombs.’ (p.146).” The idea that prejudice is ‘straightforward’ is your point .After the quotation: So, after the point made above, you could expand by saying: “Atwood uses this declarative sentence to represent that the Handmaids are discriminated against in a simple way, otherwise she may have used another sentence mood, such as exclamatory sentences . In addition, the metaphor of Handmaids being ‘two-legged wombs’ shows Atwood’s linguistic crafting to portray that Handmaids are only seen as women who give birth to children, and nothing else.” The use of further terminology in your essay – in this case ‘exclamatory sentences’ and ‘metaphor’ – will show more knowledge.
• Word Specific Analysis: Instead of using terminology for the analysis of a whole quotation , you can use Word Specific Analysis to really unpick the underlying ideas. For instance: “Atwood uses the pronoun ‘We’ to represent that the Handmaids are a collective. This shows that if one Handmaid is victimised or targeted, the whole group of Handmaids are discriminated against. In addition, the use of the noun ‘wombs’ indicates the part of the body that the Handmaids are seen as: they are just seen as being able to conceive a child, and nothing more.”

For instance: “ Bright star! would I were steadfast as thou art by John Keats uses the Petrarchan sonnet  form. Petrarch was famous for using themes such as unrequited love, and the sonnet will always use a Volta . The Volta is the beginning of the ninth line of the sonnet and, in Keats’ poetry, is often representative of his own personal change in mood or thought, so the Volta ‘No’ in Bright star! could be Keats changing his mind, or disagreeing, with his previous comments.”

In the Drama exam, it is important to know the names of speech and structure:

For instance: “ Othello by William Shakespeare uses a variety of structures to symbolise the theme of betrayal. For instance, Iago often speaks in prose when his plan is beginning to unravel. Prose, in comparison to the poetic speech that characters usually speaks in, is used to represent the unstoppable thoughts and ideas that a character may have.”

• Context: It is explicitly important to use contextual information to back up your ideas.
• The Prose Exam:The most important piece of context for this exam is about the science of the time and how it is used in your texts. This is because the section of the exam is ‘Science and Society’. This also means you have to have a substantial knowledge of the society at the time of the novels as well.
• Other exams:It is just as important to use author-personal context as well as societal This includes the author’s family, associates, events that happened to them etc.You should use a balance of societal and personal context to show your varied knowledge. In fact, you can often use a piece of context as your point e.g. “Keats wrote in the second generation of the Romantic poets, so he had influence from the work of Wordsworth and Samuel Taylor Coleridge, for instance. The Romantics have many different conventions, but to represent the theme of physical sensations in The Eve of St Agnes , Keats has employed the Romantic connection to nature.”
• Critics and Different Interpretations:The Drama exam is the only exam that you get marked on for critical analysis and using different interpretations, but it does not hurt to use them in each exam.

“In Othello , Shakespeare represents Desdemona as being associated with everyone, or having an impact on each character for a different reason.”

This can be supported by Anna Jameson , a critic of the play. You do not need to remember every detail of her critical evaluation, but you need to remember the general idea or snippets of quotes:

“To support this point, Anna Jameson said that Desdemona is the ‘source of the pathos’ of the play. This links to the idea that she is associated with everyone because she emits the ‘pathos’ and diffuses it to each character, and this is what creates the tragedy in the play.” What is important to mention , however, is that you should back up the critical reading with a quotation from the play, rather than just your “point”:

“This is seen just before Desdemona’s death when she says ‘I never did / Offend you in my life; never loved Cassio’, then Othello says ‘Honest Iago hath tane order for’t.’ This represents Desdemona’s impact on multiple characters through the possessive pronoun ‘you’ and the mention of ‘Cassio’ and ‘Iago’, and the bitter tone of these declarative sentences portrays pathos, therefore showing where Jameson got her idea from.”

To make another point, you could challenge the critic. Another point could be:

“Desdemona is seen as ‘fair’, and innocent, and Shakespeare represents this by repeatedly having Othello call her the epithet ‘gentle Desdemona’.”

Therefore, you could use Jameson’s idea to challenge this point:

“To challenge this point, Anna Jameson said that Desdemona is the ‘source pathos of the play’. If Desdemona is the ‘source pathos’, it can be analysed that she is not truly ‘gentle’, but is actually sorrowful.”

You could disagree with the critic as well, but do not use first person . Say it as though you are disagreeing on behalf of the audience:

I hope that this is all helpful for the exam, the exams start tomorrow so good luck!

Bibliography

Atwood, M. (1985). The Handmaid’s Tale. London: Vintage Random House.

Keats, J. (2007). Selected Poems. London: Penguin Classics.

Poems of the Decade: An Anthology of the Forward Books of Poetry. (2011). London: Forward Ltd.

Shakespeare, W. (1622). Othello. Cambridge: Cambridge University Press.

Shelley, M. (1818). Frankenstein (3 ed.). London: Penguin Group.

Williams, T. (1947). A Streetcar Named Desire. London: Penguin Group.

Share this:

Leave a comment cancel reply.

Website Powered by WordPress.com .

• Already have a WordPress.com account? Log in now.
• Subscribe Subscribed
• Copy shortlink
• Report this content
• View post in Reader
• Manage subscriptions
• Collapse this bar

A-Level English With Miss Huttlestone

A FULL MARK ‘The Handmaid’s Tale’ Essay

The following essay, penned by Heidi in year 12, captures the essence of the top band – it is developed, has true voice, and supports each ambitious idea with extensive textual evidence. Heidi’s knowledge of theorists, and her passion for debate adds enviable flair to the response .

‘The Handmaid’s Tale’ is not primarily about the suppression of women but about their defiance. To what extent to you agree?

‘The Handmaid’s Tale’ is a piece of speculative fiction about both the extensive oppression of women and their attempts to defy it, however their attempts exist in accordance with the misogyny that existed in the time before Gilead and this greatly limits the effectiveness of it. As philosopher Christopher Lasch would say, their protest is incurvatus in se or turned inward. This means that the protest throughout the narrative is lacklustre and far more about the actualisation of the self than the organised movement against total oppression. Atwood’s writing in the era of Reganism, where the rights of women were being pushed back against and thus the narrative reflects the internalised misogyny that each woman possessed via social conditioning that lowers one’s ability to protest effectively. Characters who defy do so by becoming more masculine as the culture hegemonic standard is that men are strong, and women are weak that existed long before Gilead came to be. Atwood seems to say with the lack of effective protest that the suppression of women existed before, it harmed women before, and it will continue to do so unless far greater pushback is made.

Firstly, the character of Serena Joy is created such that her defiance comes from her personal brutality and masculinisation of the self. She is a character who smokes, a recurring motif seen in all protesting characters, however smoking itself is seen as a masculine trait throughout history, with instances such as the Nazi regime totally banning smoking for women when they came to power. Further, the image of a cigarette is incredibly phallic, and the fact that this phallus is used as a semiotic representor of protest reflects the nature of such an act for women. They see no other alternative but this masculine object to use as their defiance, the social conditioning from year of demonisation of feminine power stemming long before Gilead has run so deeply into the psyche that the characters look for a phallic object to protest using. Serena, in her smoking is described by Offred by putting ‘the cigarette out, half-smoked, decisively one jab and one grind’, this imagery is violent, it is the pressing of the cigarette downwards and crushing of its end. The use of the repetition of the determiner ‘one’ creates the imagery of conclusion, she has done this action before and she is used to pushing the cigarette out, she needs no further courses of action. These traits embody the stereotypical masculine, she has decisiveness and not the stereotypical questioning femininity that has been so greatly propounded by wider society. This line also relates to Offred later recognition that she must ‘steel herself’ when partaking in the ceremony, Serena seems steely here, she seems solid, she seems in practise and almost robotic. Further, the way Serena acts is told to be opposing those in in the same social class as her and Offred goes on to say that they ways she puts out her own cigarette is different to the ‘many series of genteel taps favoured by many wives’. Not only does this quote indicate that there is protest and the taking up of black-market objects across the female hierarchy, but it separates Serena and solidifies her as a far more masculine and expectation defiant character. The other wives are dainty and adhere to gender norms that were present pre-Gilead, their actions are graceful and ladylike, they are far more the ‘Angel in the House’ than Serena seems to be. In addition to this, to tap a cigarette is to remove the ash, presumably a fully smoked one, since the Wives cannot work they are reliant on their husbands for the money to buy the black-market cigarettes, yet Serena disrespects this, her cigarette is wasted. She defies the view of ‘waste not want not’. Atwood has stated previously that there are droughts and struggles to get things into the regime, but Serena does not care, her protest here is one of apathy. She removes herself from the feminine doting stereotype who cares over all small details. The character of Serena Joy is one of two opposing sides, on the one hand she is the defiant strong masculine woman who acts aggressively and appositionally, yet her protest is about becoming a man more than it is becoming a defiant individual. She is far more preoccupied with masculinising herself to remove from the expectation of women than fostering true escape from Gilead. This makes her character one entangled with both the suppression of women and the feminine and the defiance of expectation. 

Moreover, ‘The Handmaid’s Tale’ presents the extent that misogyny invades the self through the internalisation of Gileadean and pre-Gileadean ideas of women and stereotypes. Throughout the novel, the ideas of Gilead are presented through the character Aunt Lydia, who remains a construct within the mind of Offred until the near end of the book. In turning the character in to a construction, Atwood is able to expertly show just how pervasive and condemning misogyny is to the minds of women, just how easily it finds itself inside the heads of those it infects. She uses no quotation marks around Aunt Lydia’s remarks to emphasise the degree at which it has been absorbed into each person. ‘Yours is a position of honour, she said’ is something Offred repeats in her internal narrative within the story. This idea has embedded itself in the protagonist and she speaks of how her ‘flesh arranges itself differently’ and she is less a woman and more of a ‘cloud’. Through this metaphorical imagery, the reader is shown the degree at which Gilead breaks the psyche of women. Offred is within Gilead to the point at which it ahs changed her flesh entirely and is no longer herself, no longer bodily autonomous. To include this detail, Atwood creates the impression that the ideas of the patriarchy imbed themselves so deeply within the women subjected to them that they gain the ability to almost change their existence and self-perception entirely. A feminist reader would conclude from this that the character of Offred is one afflicted with internalised misogyny, she becomes her own oppressor and the oppressor of those around her due to her social conditioning. This is backed up by the recollection of a session within the Red Centre that was reflective of the struggle sessions of Maoist China where in abuse was shouted at a central, labelled dissident – in this case Janine. She says that ‘We meant it’, the ‘it’ in reference to the psychological attacks levied against the rape victim, yet she refuses to label it such due to well-placed shame, replacing it with a mediator, replacing it with the innocent and decent sounding ‘it’, she attempts to remove herself from her own actions. In using a collective pronoun, she is implicating the entirety of the Handmaidens who were with her in this abuse, she acts as though she understands their thoughts and in many ways she likely does as they were all put through the same cycle of abuse. It also creates the idea of togetherness and sisterhood; however, this is sisterhood that has been manufactured by the state to abuse someone, it is sisterhood that exists because of women coming together to attack another. So often in the modern media, women are pitted against one another and there seems a great manipulation to make them hate each other. This sisterhood is contrived, it is there because Gilead understands that they must give these women a slight amount of togetherness, so long as it is to attack another individual. This defiance here is a reflection of the patriarchy.

Despite this internalisation, there are many instances of the creation of distinction between us and them within the narrative. Although much of what Aunt Lydia has told Offred is presented uncommented on and internalised, we are still seen some instances of the opposition to her word such as the criticism of her cherry picking of the Bible verse ‘Blessed are the meek’ and her decision to not ‘go on to say anything about inheriting the earth’. The Bible verse blessed are the meek was debated in DH Lawrence’s novel ‘The Rainbow’ wherein his defiant female Ursula character criticized the term due to the connotation it holds that you must be poor and weak to be ‘blessed’ by God. Her character believed that this term is used to satiate the poor and those in unfortunate positions. In many ways, Aunt Lydia’s statement of this term represents that, she is trying to say that the women are weak and must stay ‘meek’ to be drawn under God’s Grace, however Offred unpicks this and criticizes her use of the term in the fact it has so clearly been cherry picked for this purpose. It is meant to satiate the handmaids, lower their drive to protest and suppress them. Yet in Offred educated background she is aware that this is not the full quote and defies expectation by finishing it herself. A reader may believe that this means she sees a life outside of Gilead, that she believes she will ‘inherit the earth’, or rather there will be some form of balance restored. The use of ‘they’ within this recital also indicates a belief in a collective of Handmaids that will work to subvert the rule of Gilead, she does not talk about herself here and rather talks about a collective of the ‘meek’ who shall take over and repossess what they have been stripped of. Further, this idea of the collective ‘meek’ being together is emphasised in the idea that comes after Ofglen’s taking of Offred into the resistance. Offred thinks ‘there is an us then, there is a we’ before going onto say ‘what about them’. These three collective pronouns create the idea that there are two groups of people in Offred’s mind and that she is separate from the regime and its agents. The ‘them’ is in reference to the state actors that exist within Gilead and their violence. Offred separates herself from the violence in the recognition of a ‘them’, she is no longer a part of what has placed others on a wall, what has murdered those around her because she is able to self-actualise and join a group, to join a ‘we’, to join an ‘us’. and while this sentiment is incredible, it is short lived and just a few pages onward Offred reverts to the personal. The chapter ends with the pronoun ‘me’ in Offred joy that she was not taken away by the Eyes. This is a sad reflection that relates to the thesis that protest within Gilead is protest governed by laws of self-actualisation and not true revolutionary action. Offred creates an ‘us’, joins it, and, due to social conditioning, leaves it at the first sign of struggle.  

Finally, the way protest within the novel creates itself is in line with the concept of inward protest rather than outward revolutionary action. This is called incurvatus in se in the words of Christopher Lasch and generally forms itself in the self-actualisation over active opposition against injustice. One example of this is the stealing of a ‘withered daffodil’ from the kitchen by Offred. The daffodil is named after the Greek myth of narcissus and semiotically reflects narcissism. For Atwood to specify this flowers breed she creates the impression that what Offred is doing is to oppose standards of beauty set out by Gilead. However, a Laschian reader would take this symbol far differently. The fact that her protest is the taking of a symbol of narcissism is a reflection of the inability to protest non-narcissistically created in the 1980s during the creation of neo-liberalism. This phenomena praised the individuals actions over anything else and thus the individual saw themselves as more important than the collective group. Atwood, writing at a time where neoliberalism was being created, places her character past in the same time line as her own and thus Offred is afflicted by the same hegemonic standard. Offred exhibits much of the narcissistic tendencies that are noted by Lasch, namely the taking without much real action and what little action that does take place being to self-actualise. Her decision to take the Daffodil was arrived at because it ‘will not be missed’, this is an example of ‘meek’ defiance, and the aforementioned internalisation of such a thing. We have seen how Aunt Lydia wanted the handmaids to be ‘meek’ and Offred still acts in this way, she still internalises her message. The daffodil is ‘withered’, it is presumably about to be thrown out, it is dying. And Offred recognises this and takes it, because this protest is about self-actualising more than it is protest. 

Overall, ‘The Handmaid’s Tale’ is a novel that cannot be split into the suppression of women and their defiance. It must be viewed as a conjunction of the two; how the suppression of women harms their protest, how the protest of women changes their suppression. These two concepts exist in symbiosis, the protest of the female characters is in accordance to hegemonic weakening female stereotypes, the women are forced to internalise ideas about their own gender that are near impossible to refute. 

Share this:

Published by gcseenglishwithmisshuttlestone

Secondary English teacher in Herts. View all posts by gcseenglishwithmisshuttlestone

Leave a comment Cancel reply

• Already have a WordPress.com account? Log in now.
• Subscribe Subscribed
• Copy shortlink
• Report this content
• View post in Reader
• Manage subscriptions
• Collapse this bar

A-Level English Literature: A Complete Guide

Dr Rahil Sachak-Patwa

Thinking about taking English Literature as your A-Level subject? Wondering if it's the right choice for you? You're not alone in asking these questions. A-Level English Literature is more than just reading books. It's about understanding language, culture, and history and how they help us see the world. If you love literature and want to get better at understanding and discussing it, A-Level English Literature might be just what you're looking for. It opens up lots of doors for the future, making it a great choice for anyone interested in the arts and humanities.

Is A-Level English Literature worth doing?

Choosing A-Level English Literature is a decision that goes beyond a mere love for reading. According to university admissions officers, English Literature is regarded as a 'facilitating subject,' making it highly valuable for those aiming for top universities. Here's why:

• University Admissions : A-Level English Literature is respected by universities for its rigour and the critical thinking skills it develops.
• Versatile Skills : It hones analytical, writing, and comprehension skills that are transferable across numerous fields.
• Career Prospects : Studies show that English Literature graduates find employment in a diverse range of sectors, including education, media, and publishing.

Here is what an expert A-Level English Literature tutor has to say:

"To do really well in A-Level English Literature, make sure you spend a lot of time reading and thinking about Shakespeare’s plays, Sylvia Plath’s poems, and stories by Charles Dickens. Practice a lot with old exam questions from past papers to get better at writing essays and understanding these texts, and you’ll be on your way to getting that top grade."

Experts in education consistently highlight the subject's role in enhancing empathy and understanding of different cultures and historical contexts. This breadth of skills and knowledge makes A-Level English Literature not just a good subject for aspiring writers or teachers, but the perfect one for anyone looking to develop a versatile and robust skill set.

Graph showing number of students who took A-Level English Literature exams in the past 10 years in the UK

Is A-Level English Literature difficult?

The question asked the most is that is A-level English Literature hard ? A-Level English Literature is perceived as challenging and the difficulty lies in the skills and comprehension required to excel in it. Here's a snapshot of what makes it a tough but rewarding subject:

• Analytical Skills : Students must critically analyse texts, understanding themes, contexts, and literary devices.
• Extensive Reading : The course requires reading a wide range of texts from different periods and genres.
• Writing Skills : High-level writing skills are needed to construct coherent and persuasive arguments.

Table showing A-Level English Literature grades distribution

According to response to a Think Student poll, 6.27% of respondents ranked English Literature as the sixth in the list of the top 10 hardest A-Levels , with 88.2% achieving grade C or above in 2022, and 16.5% securing an A*. This indicates a demanding but attainable subject. Experts argue that the subject's complexity enhances critical thinking and communication skills, crucial for academic and professional success.

Get help with A-Level English Literature

The world's leading online A-Level English Literature tutors trusted by students, parents, and schools globally.

4.93 /5 based on 486 reviews

What does A-Level English Literature consist of?

A-Level English Literature offers a comprehensive exploration of literary texts, genres, and periods, designed to develop students' analytical and critical thinking skills. Here's a guide to what students can typically expect from the course:

• Diverse Texts : Study of prose, poetry, and drama from various historical periods, including Shakespeare, modern prose, and poetry.
• Comparative Analysis : Learners are encouraged to compare texts and understand their contextual significance.
• Critical Perspectives : Introduction to different literary theories and criticisms, enabling students to view texts through various lenses.

CIE A-Level English Literature Syllabus

The CIE English Literature A-Level syllabus offers a deep dive into diverse literary works, spanning genres and periods. It focuses on developing critical analysis, appreciation of literature, and effective communication skills.

Table showing CIE A-Level English Literature syllabus

AQA A-Level English Literature Syllabus

The AQA English Literature A-Level syllabus encourages students to explore a wide range of literary texts and genres. It emphasizes analytical skills, critical thinking, and the ability to construct coherent arguments.

AQA A-Level English Literature A

• Literary Tradition and Historical Context : This specification emphasizes the study of literature within a historical and cultural context, encouraging an exploration of how texts from different periods relate to each other and to the literary traditions they inhabit.
• Comprehensive Genre Study : Students engage with a wide range of literary genres, including prose, poetry, and drama, from Shakespeare to the modern day, focusing on the development of English literature over time.
• Critical Perspectives and Contexts : Encourages critical reading and interpretation of texts, considering various critical perspectives and the social, historical, and cultural contexts in which texts were written and received.
• Assessment Structure : Assessments are designed to test students' ability to analyze texts closely, compare texts from different periods and genres, and understand and apply critical perspectives and contexts.

Table showing AQA A-Level English Literature A syllabus

AQA A-Level English Literature B

• Thematic Studies and Contemporary Issues : Focuses on the exploration of themes such as tragedy and crime writing, allowing students to explore literature's engagement with human experiences and societal issues.
• Diverse Texts and Interpretations : Encourages the study of a broad range of texts, promoting an appreciation of diversity in literature and different interpretations, including feminist and post-colonial readings.
• Critical Debates and Theoretical Approaches : Promotes engagement with literature through critical debates and the application of theoretical approaches, encouraging students to form their own interpretations of texts.
• Assessment Structure : The assessments emphasize comparative and critical essays, requiring students to analyze texts in relation to themes, explore different interpretations, and engage with critical theories.

Table showing AQA A-Level English Literature B syllabus

Edexcel A-Level English Literature Syllabus

The Edexcel English Literature A-Level syllabus is designed to foster an in-depth appreciation and understanding of various literary texts, encouraging analytical and evaluative skills through the study of a broad spectrum of literature.

Table showing Edexcel A-Level English Literature syllabus

OCR A-Level English Literature Syllabus

The OCR English Literature A-Level syllabus encourages detailed exploration of texts within a thematic framework, promoting analytical skills and critical perspectives. It covers a broad range of literature, including poetry, drama, and prose, to develop students' understanding and appreciation of English Literature’s diversity and depth.

Table showing OCR A-Level English Literature syllabus

* Indicates synoptic assessment

Coursework and exams often require students to engage with unseen texts, demanding a high level of interpretative skill and textual analysis. According to the Joint Council for Qualifications , the structure typically involves both written exams and coursework, with an emphasis on critical essays and textual analysis. This blend of content and skills preparation aims to equip students with a deep understanding of literature and its societal impacts.

What is the A-Level English Literature exam structure?

The A-Level English Literature exam structure is designed to assess students' analytical and critical skills through various forms of assessment. While the specific format and sections can vary slightly between exam boards, the general structure includes:

• Written Exams : Typically, students sit for two or three written exams covering different components of the course. These may include unseen poetry analysis, comparative essays, and critical essays on set texts.
• Coursework : Many boards require students to complete a coursework component, which usually involves a comparative essay or critical piece on texts not covered in the exam.
• Oral Components : Some boards include an oral assessment, where students present and discuss their analyses.

CIE A-Level English Literature Exam Structure

The CIE English Literature A-Level exam structure typically includes a mix of written papers covering poetry, prose, and drama from different periods and cultures. Students are assessed on their ability to analyze, interpret, and critique literary works, demonstrating their understanding of literary techniques and contexts.

Table showing CIE A-Level English Literature exam structure

AQA A-Level English Literature Exam Structure

AQA English Literature A Exam Structure

The AQA English Literature A exam includes closed book assessments and essays focusing on analysis, comparison, and critical commentary of set texts, measuring students' understanding and argumentative skills.

Table showing AQA A-Level English Literature A exam structure

AQA English Literature B Exam Structure

The AQA English Literature B exam features comparative essays and text analysis, assessing students' insights into themes, contexts, and literary techniques across diverse genres and periods.

Table showing AQA A-Level English Literature B exam structure

Edexcel A-Level English Literature Exam Structure

The Edexcel A-Level English Literature exam structure blends coursework with examinations, focusing on critical essays, text analysis, and thematic studies to evaluate students’ comprehension and analytical abilities across a variety of literary works.

Table showing Edexcel A-Level English Literature exam structure

Note: All Edexcel A-Level English Literature exams are open book. However, the Critical Anthology from component 1 must not be taken into the examination.

OCR A-Level English Literature Exam Structure

The OCR A-Level English Literature exam structure consists of written papers that assess students on their analysis of poetry, drama, and prose, including a comparative and a contextual study. It also includes coursework, allowing students to explore texts in depth and demonstrate their critical and comparative understanding.

Table showing OCR A-Level English Literature exam structure

* Indicates synoptic assessment.

Learners who are retaking the OCR A-Level English Literature qualification may carry forward their result for the non‑exam assessment component.

The variety in assessment methods aims to give a comprehensive overview of a student's proficiency in English Literature, rewarding depth of knowledge, analytical acuity, and expressive clarity.

Choosing the Right Exam Board

Selecting the appropriate exam board for A-Level English Literature is crucial, as each board offers a slightly different syllabus and assessment style. Here are key considerations:

• CIE : Known for its international perspective, offering a wide range of texts from around the world.
• AQA : Emphasises contemporary literature and critical literary theories, making it popular for its diverse and modern selection.
• Edexcel : Focuses on a balance of classic and modern texts, with a clear structure that some find beneficial for systematic study.
• OCR : Offers a unique range of texts and is appreciated for its inclusion of spoken language study.

When choosing, consider the following:

• Content and Texts : Look at the set texts and thematic studies. Which board's selection excites you?
• Assessment Style : Understand the balance between coursework and exams. Which assessment method suits your strengths?
• Support Materials : Review the availability of past papers, study guides, and resources.

Educational experts suggest that while all boards are designed to meet rigourous academic standards, your choice personally should be ones that align with your interests and learning style. Statistics and feedback from past students can also provide valuable insight into how each board's approach has impacted their learning experience and outcomes.

How do you get an A* in A-Level English Literature?

Securing an A* in A-Level English Literature requires a blend of strategic study, deep understanding, and effective exam technique. Here are proven strategies:

• Comprehensive Reading : Beyond set texts, read widely to appreciate different genres and styles.
• Critical Analysis : Develop the ability to analyse texts in depth, focusing on themes, contexts, and literary devices.
• Effective Revision : How to revise English Literature A-Level ? Use a variety of revision techniques, including study notes, mind maps, and flashcards.
• Practise Papers : Regularly complete past papers under timed conditions to hone your exam technique.
• Study Groups : Collaborate with peers to discuss and critique literary works.
• Tutoring : Consider engaging a tutor for personalised guidance and feedback.

Graph showing grades distribution of A-Level English Literature in UK 2021-2023

Statistics show that students who engage in regular, focused revision sessions and who seek feedback on their work are more likely to achieve top grades. Experts stress the importance of understanding the marking criteria and using it to guide your study and exam responses. Additionally, well-organised study notes and a structured revision timetable are essential tools for success.

What subjects go well with English Literature A-Level?

Combining A-Level English Literature with complementary subjects can enhance your understanding and broaden your academic and career prospects. Here are some of the best A-Levels to pair with English Literature:

• A-Level History : Offers insights into the contexts of many literary works, enhancing your critical analysis.
• A-Level Languages (Modern or Classical) : Improves your understanding of language and its nuances, beneficial for literary analysis.
• A-Level Psychology : Provides understanding of human behaviour and motivations, enriching character analysis.
• A-Level Philosophy : Develops critical thinking and argumentation skills, complementary to literary critique.

Experts recommend these combinations for their synergy with English Literature, enhancing analytical skills and providing a well-rounded humanities education. According to educational data, students who choose coherent subject combinations in school are often more engaged and perform better academically. These pairings not only prepare students for a range of university courses but also equip them with versatile skills valued in various career paths.

Writing an A-Level English Literature essay

Writing a top-grade A-Level English Literature essay involves understanding the text deeply and expressing your analysis clearly. How to write an A-Level English Literature essay ? Here is a summary of key steps to crafting essays that stand out:

1. Read and Understand the Question : Make sure you grasp exactly what the question is asking, including any specific literary terms or concepts.

2. Plan Your Essay : Outline your main points and evidence from the text to support your argument. This will help structure your essay coherently.

3. Use Quotations Wisely : Integrate relevant quotations to support your points, ensuring they are seamlessly woven into your analysis.

4. Analyse, Don’t Summarise : Focus on analysing the text rather than retelling the story. Discuss how literary devices contribute to the text’s meaning and themes.

5. Critical Perspective : Incorporate different interpretations to show your understanding of the text’s complexity and nuances.

6. Conclusion : Sum up your argument, reinforcing how the evidence supports your analysis.

Experts emphasise the importance of practise and feedback. According to educational statistics, students who regularly write and revise their essays, seeking input and advice from teachers, significantly improve their writing skills and essay grades. Engaging actively with the text and articulating a clear, analytical perspective are key to achieving success in A-Level English Literature essays.

Best A-Level English Literature resources

To excel in A-Level English Literature, leveraging a variety of top-notch resources is essential. These tools should not only deepen your understanding of texts but also actively engage you and prepare you comprehensively for exams. Educators and high-achieving students recommend the following indispensable resources:

• Official Exam Board Materials : Begin with your exam board's resources, such as syllabus outlines, past papers, and examiner reports.
• Textbooks and Revision Guides : Essential textbooks and guides, offering detailed analyses and commentary on set texts such as: " Cambridge International AS & A Level Literature in English Coursebook "," AQA A Level English Literature A: Student Book "," AQA A Level English Literature B: Student Book "," VICTORIAN VERSE A Guide for Edexcel A level English Literature " and " Student Guide to Dystopia for A Level OCR ".
• Literary Journals and Websites : Regular engagement with literary journals and reputable literature websites can provide deeper insights into themes, contexts, and critical perspectives.
• Online Tutoring and Study Notes : Platforms like TutorChase offering personalised tutoring and high-quality study notes tailored to the A-Level English Literature syllabus can be incredibly beneficial.
• Discussion Forums and Study Groups : Participating in forums and study groups can help you gain different perspectives and insights from peers.

Experts advocate for a balanced approach that includes both traditional and digital resources. This strategy not only aids in grasping complex literary theories and concepts but also makes the learning process more engaging and relevant to the current literary discourse.

Common Challenges and How to Overcome Them

A-Level English Literature students encounter several common challenges, yet there are strategies to address them effectively:

• Vast Reading List : Managing the extensive reading list can seem overwhelming. Tackling this requires a structured approach, such as setting up a reading schedule that breaks down the list into manageable sections and summarising key points and themes after each text.
• Complex Text Analysis : The difficulty in analysing complex texts and deciphering literary devices can hinder understanding. Enhancing this skill involves regular practise with a variety of texts and seeking feedback on analyses to refine your approach.
• Time Management During Exams : Many students struggle to effectively manage their time in exams. Practising past papers under timed conditions can help improve time management, ensuring that all questions are answered within the allotted time.
• Critical Perspective Development : Developing a unique critical perspective is challenging for some. Engaging with a wide range of literary criticism and participating in discussion groups can provide new insights and help in forming individual viewpoints.
• Coursework Pressure : The stress of producing high-quality coursework on deadline can be significant. Starting early and breaking the work into smaller, manageable tasks can alleviate this pressure and improve the quality of work.

Adopting these strategies can not only help overcome the challenges but also enhance overall performance in A-Level English Literature.

Past Papers and Practise Questions

Incorporating past papers and practise questions into study routines offers substantial benefits for A-Level English Literature students:

• Understanding Question Types : Familiarity with the types of questions asked enables students to approach literary texts, themes, and contexts with confidence, facilitating effective essay planning and execution under exam conditions.
• Enhanced Analytical Skills : Engaging with diverse questions sharpens students' abilities to analyse texts, identify literary devices, and express interpretations succinctly and persuasively.
• Improved Critical Thinking : Regular practise promotes deeper engagement with texts and the development of well-supported arguments, essential for high-level essays.
• Effective Time Management : Practising under timed conditions helps students allocate their time wisely during exams, ensuring that all questions are answered thoroughly.
• Feedback and Revision Focus : Utilising feedback from marked past papers or practise questions allows students to identify and target specific areas needing improvement, making their revision efforts more targeted and efficient.

Experts agree and concur that students who diligently use past papers as part of their preparation not only deepen their literary analysis and critical thinking skills but also become adept at managing their time during exams, significantly enhancing their chances of achieving top grades.

Opportunities with A-Level English Literature

Taking A-Level English Literature can open up many doors for you, leading to exciting education and career opportunities. This subject teaches you a lot about different books and ideas, helping you to think deeply, communicate well, and be creative – skills that lots of jobs find very useful.

Pie chart showing gender distribution across A-Level English Literature

Majors in Higher Education :

• English and Creative Writing : Direct progression to degrees focusing on in-depth literary analysis, creative expression, and the study of various genres.
• Journalism and Media Studies : Prepares students for careers in reporting, content creation, and media communication.
• Education : Offers a pathway to teaching, enabling students to impart their love for literature to future generations.
• Law : A solid grounding in textual analysis supports studies in law and understanding complex legal documents.

Career Paths :

• Publishing and Editing : Applying literary knowledge and critical skills in the world of publishing.
• Marketing and Communications : Leveraging strong writing and analytical skills in marketing strategies and content creation.
• Arts Administration : Working within cultural institutions to promote literature and the arts.
• Literary Criticism : Writing for publications as a critic, analysing contemporary and classic literature.

Skills Development :

• Analytical Skills : Evaluating texts and theories to form coherent interpretations.
• Communication : Articulating complex ideas clearly and persuasively in both spoken and written forms.
• Creative Problem-Solving : Addressing and analysing literary and societal challenges with innovative solutions.

Pursuing A-Level English Literature not only prepares students for academic studies in related subjects but also endows them with a versatile skill set applicable in a wide range of professional fields, including but not limited to education, media, public relations, and the creative industries. This diversity of opportunities underscores the value of English Literature in fostering informed, analytical, and creatively engaged individuals.

Conclusion on A-Level English Literature

A-Level English Literature enriches students with critical thinking, empathy, and a deep appreciation for diverse perspectives, making it a vital choice for those looking to explore human experiences and societal issues. With 76% of English Literature students feeling more prepared for university and career challenges, it's clear that this A-Level offers a solid foundation for a wide range of future opportunities. It also enhances their ability to communicate and understand the world around them, proving to be a rewarding study for future academic and professional success.

Is English Literature A level respected?

Yes, A-Level English Literature is highly respected and considered a valuable qualification for university applications and beyond. It's seen as a "facilitating subject" by many top universities, including those in the Russell Group, meaning it can help students keep their degree options open. English Literature A-Level develops critical thinking, analytical skills, and a deep understanding of cultural and historical contexts, making it highly regarded in various fields, including law, journalism, education, and more.

Is English Literature A Level fun?

Absolutely ! Many students find A-Level English Literature enjoyable because it dives into diverse stories, characters, and historical periods, offering a rich exploration of human experiences and societal issues. It encourages creative thinking, lively discussions, and personal interpretation, making classes dynamic and engaging. While it demands a good deal of reading and analytical thinking, the pleasure comes from discovering new perspectives, debating interpretations with peers, and expressing your insights. Plus, studying literature can be like embarking on a new adventure with every book, making it a rewarding and stimulating experience.

What grade do you need for A-Level English Literature?

To study A-Level English Literature, most schools and colleges require at least a grade 6 (B) in GCSE English Literature or English Language. However, requirements can vary, with some institutions possibly accepting students with a grade 5 (C) if they demonstrate strong reading and analytical skills. It's essential to check specific entry requirements with the institution you're interested in attending, as they can differ. Achieving a good grade at GCSE level shows you have the foundation needed for the analytical and essay-writing skills crucial for success in A-Level English Literature.

Which is better English Literature or Language A Level?

Choosing between English Literature and English Language A-Level depends on your interests and future goals. Literature focuses on analysing texts, exploring themes, and understanding character development across various genres. It's ideal for those who enjoy reading, discussing, and interpreting literary works. English Language, on the other hand, delves into the structure, uses, and evolution of the English language itself, including linguistic theory and practical analysis of spoken and written English. It suits those interested in linguistics, creative writing, and the mechanics of language. Both are respected subjects that develop critical thinking and communication skills, so consider what aligns best with your passions and career aspirations.

How many books do you study for A level English Literature?

For A-Level English Literature, students typically study between 8 to 12 books , covering a range of prose, poetry, and drama. This includes works from different periods and cultures to provide a broad understanding of English literature. The exact number can vary depending on the exam board and the choices made by schools or teachers. This selection is designed to expose students to a variety of literary styles and contexts, from Shakespearean plays to modern novels, ensuring a comprehensive literary education.

Is there creative writing in English Literature A level?

Creative writing is not typically a core component of A-Level English Literature syllabuses. The focus is more on the analysis and critical study of literature, including novels, poetry, and plays. However, some exam boards may include creative elements or coursework that allow for creative responses to texts. For those specifically interested in creative writing, looking into English Language or English Language and Literature A-Level might be beneficial, as these can include more opportunities for creative writing and exploration of stylistic techniques.

What is the difference between GCSE and A level English Literature?

The difference between GCSE and A-Level English Literature lies in the depth of study, complexity of texts, and analytical demands. At A-Level, you'll explore a wider range of literature, including more challenging texts from various cultures and historical periods. The analysis goes deeper, focusing on themes, literary devices, and critical perspectives. A-Level also requires more independent thought and sophisticated essay-writing skills. While GCSE introduces you to literary study, A-Level prepares you for university-level analysis, demanding a higher level of engagement, critical thinking, and textual insight.

How many quotes should I learn for English literature A-level?

For A-Level English Literature, it's recommended to memorise 2-4 quotes for each main theme or character across the texts you are studying. This approach allows for a focused and manageable revision strategy, ensuring you can effectively support your analyses and arguments in essays and exams. Remember, it's not just about the quantity of quotes but understanding their significance and being able to discuss them in depth. Learning how to expand on these quotes and connect them to broader themes and literary techniques is key to demonstrating your critical thinking and analytical skills.

Is English Literature harder than language A level?

While both English Literature and English Language A-Levels are demanding, many consider English Literature to be more challenging . This is due to its extensive reading list and the depth of analysis required to understand complex texts, themes, and literary devices. English Literature demands a deeper engagement with a wide range of literature, making it tougher for those who find detailed literary analysis more demanding than the practical aspects of language study.

How long should an A-Level English literature essay be?

An A-Level English Literature essay should typically be around 1,000 to 1,500 words . Research by Cambridge Assessment found that writing more than 1,300 words does not necessarily lead to higher marks, suggesting a focus on quality over quantity. Essays should be concise and well-structured, presenting clear arguments and detailed textual analysis. It's essential to answer the question fully but succinctly, ensuring each word contributes meaningfully to your argument. The key is to express your ideas clearly and support them with relevant evidence, rather than aiming for a specific word count.

Need help from an expert?

The world’s top online tutoring provider trusted by students, parents, and schools globally.

Study and Practice for Free

Trusted by 100,000+ Students Worldwide

Achieve Top Grades in your Exams with our Free Resources.

Practice Questions, Study Notes, and Past Exam Papers for all Subjects!

Need Expert Help?

If you’re looking for assistance with your A-Levels, get in touch with the TutorChase team and we’ll be able to provide you with an expert A-Level English Literature tutor . We’ll be there every step of the way!

Professional tutor and Cambridge University researcher

Written by: Dr Rahil Sachak-Patwa

Rahil spent ten years working as private tutor, teaching students for GCSEs, A-Levels, and university admissions. During his PhD he published papers on modelling infectious disease epidemics and was a tutor to undergraduate and masters students for mathematics courses.

Related Posts

Top 10 Hardest A-Levels

Top A-Level Revision Websites

A-Levels: A Complete Guide

Hire a tutor

Please fill out the form and we'll find a tutor for you

• Select your country
• Afghanistan
• Åland Islands
• American Samoa
• Antigua and Barbuda
• Bosnia and Herzegovina
• Bouvet Island
• British Indian Ocean Territory
• Brunei Darussalam
• Burkina Faso
• Cayman Islands
• Central African Republic
• Christmas Island
• Cocos (Keeling) Islands
• Congo, The Democratic Republic of the
• Cook Islands
• Cote D'Ivoire
• Czech Republic
• Dominican Republic
• El Salvador
• Equatorial Guinea
• Falkland Islands (Malvinas)
• Faroe Islands
• French Guiana
• French Polynesia
• French Southern Territories
• Guinea-Bissau
• Heard Island and Mcdonald Islands
• Holy See (Vatican City State)
• Iran, Islamic Republic Of
• Isle of Man
• Korea, Democratic People'S Republic of
• Korea, Republic of
• Lao People'S Democratic Republic
• Libyan Arab Jamahiriya
• Liechtenstein
• Macedonia, The Former Yugoslav Republic of
• Marshall Islands
• Micronesia, Federated States of
• Moldova, Republic of
• Netherlands
• Netherlands Antilles
• New Caledonia
• New Zealand
• Norfolk Island
• Northern Mariana Islands
• Palestinian Territory, Occupied
• Papua New Guinea
• Philippines
• Puerto Rico
• Russian Federation
• Saint Helena
• Saint Kitts and Nevis
• Saint Lucia
• Saint Pierre and Miquelon
• Saint Vincent and the Grenadines
• Sao Tome and Principe
• Saudi Arabia
• Serbia and Montenegro
• Sierra Leone
• Solomon Islands
• South Africa
• South Georgia and the South Sandwich Islands
• Svalbard and Jan Mayen
• Switzerland
• Syrian Arab Republic
• Taiwan, Province of China
• Tanzania, United Republic of
• Timor-Leste
• Trinidad and Tobago
• Turkmenistan
• Turks and Caicos Islands
• United Arab Emirates
• United Kingdom
• United States
• United States Minor Outlying Islands
• Virgin Islands, British
• Virgin Islands, U.S.
• Wallis and Futuna
• Western Sahara

Alternatively contact us via WhatsApp, Phone Call, or Email

Traditional Subjects

Aptitude tests, higher learning, how to structure an english literature essay, how to structure an english literature essay (as and a-level).

Understanding how to structure an essay can be difficult so we asked Hannah one of our English Literature Tutors to guide you through the process.

1.  Introduction

• Use the opening paragraph to  frame  the project, i.e. what you intend to prove/analyse in this essay to show your individual and original perspective on the text.
• Introduce the text as a  construct  making comments about  why  the text has been written and the  context  in which it has been produced.
• Include, in a succinct manner, the following: names of text and author and dates of publication/performance, some  brief  explanation of text’s reception and its context and a concise consideration of the  relevant  themes of the text.
• The key to a successful introduction is  brevity , establishing the basic facts of the text whilst employing a clear  critical  voice: this will immediately establish an academic register in your writing.

2.   Thesis

• In this section you  outline  your argument in response to the title question, clearly  sign posting  to the reader what you intend to do in the essay.
• Acknowledge the  terms  of the question to discuss what the  implications  of the question are in terms of how you are going to write your response.
• Use this section to introduce your own  interpretation  of the question, adopting an individual critical voice to show your  engagement  with the text by expressing yourself  imaginatively  and  creatively  in your writing.
• As with the introduction, the thesis should be  brief  and  succinct , giving the reader a general but engaging  summary  of what you intend to argue throughout your essay.

3.  Main Body Paragraphs

• This will make up the majority of your essay and is where you explore each point of your argument.  You want to ensure that each paragraph has one significant point which is  supported  with evidence from the text which you then unpack, explain and explore in relation to your  thesis .  Ensure that the point you make in each paragraph is  relevant  to the argument in your thesis and  sustainable  through textual evidence.
• The following outline is a useful guideline for structuring each body paragraph: (a) Point – opening the paragraph by stating the  point  you intend to make. This needs to be one of the  ideas  that is contributing to your overall  thesis . (b) Evidence from text – this can either be an  embedded quotation  that enhances or examples the point you are making about the text OR a brief description of something from the text that  supports  your idea.  Your evidence should be carefully chosen to  clearly  and  efficiently  back up the point that you are trying to prove. (c) Exploration of evidence and idea – this element of the paragraph is crucial as you are trying to  prove  an argument by bringing your point and textual evidence together to  explore  your idea.  Explain  how  your chosen quotation demonstrates your idea and  comment  on the quotation in its context, e.g. relevant remarks about how the language used by the writer shows how they are trying to achieve a particular effect.   Justify  the credibility of your argument through a  convincing  exploration of your ideas. (d)  Refer back to the thesis – having acknowledged the terms of the question and established what your argument will be in the thesis section, you need to show  how  what you have written in the body paragraph is  relevant  to your argument.  A couple of sentences on this is effective for showing how the  analysis  you have just made is  proving  the argument of your essay.
• This section is where you lay out your argument, moving from  observation  to  analysis  to write an intelligent and convincing response to the question. Be  efficient  in your choice of quotations and textual evidence; using only what you  need  shows a succinct and thought-out response.  Within these paragraphs always  signpost  where you are going with your argument to  guide  the reader through your ideas for a clear and concise writing style.

*Improve your grades with our expert English Literature Tutors *

4.   conclusion.

• The conclusion of an essay is an opportunity for you to give a final,  original  perspective on the text. It should not be a re-iteration of the introduction or a repetition of the points of your argument.  Instead, you should briefly summarise  how  the ideas you have written about overall agree or disagree with the title question and provide your  own  definitive response to the title question.
• The conclusion is where you can demonstrate your  engagement  with the text on a personal, as well as intellectual, level; it is an opportunity to be  creative  and  inventive  in your writing by offering the reader a final  insight  that they might not have thought about.  You should ensure that what you say about the text in the conclusion is something that you haven’t had the opportunity to write about in the rest of the essay.  However, keep the conclusion in  proportion  and avoid tangents that might obscure the positive points you have made previously: be original, yet concise.
• Some ways that you can conclude an essay might be: (a) Commenting on your  personal  reaction to the text. (b) Commenting on  how  the text still holds relevance for readers in the present day. (c) Commenting on  why  the text is successful as a work of literature in terms of its characters, themes or structure.

Overall, excellent essay-writing must be logical, persuasive and creative, teaming your personal engagement with the text with the ability to observe, analyse and argue a series of coherent and concise points.  A well-written essay demonstrates a thorough understanding of the text as well as a unique perspective on a range of ideas presented in the text.  Logical argument, close knowledge of the text and an individual response will make your essay stand out from the crowd.

Contact Tavistock Tutors today for more information on how to perfect your English literature essay.

For More English Literature Tutors at a specific level see these pages:

English GCSE – English A-Level – English IB – English Postgraduate – English Undergraduate

Additional resources:

How to Write an English Essay Essay Structure Essay Structure Debunked

We Are Here To Help

We have hundreds of tutors available right now to help you improve and succeed. From a one hour session online to a full academic year of face to face lessons, all it takes is five minutes for us to take down your information. We can then find you the most suitable tutors.

Personalised lessons and regular feedback to ensure you ace your exams! Book a free consultation today

Gain hands-on experience of how physics is used in different fields. Experience life as a uni student and boost your university application with our summer programme!

• Revision notes >
• A-Level English Literature Revision Notes >

How do I structure an English literature essay at A-Level?

Structuring an English literature essay at A-Level can be broken down into the following steps:

• Understand the question and develop a thesis statement: Begin by reading the question carefully and identifying what it is asking you to do. Develop a thesis statement that clearly answers the question and sets out the main argument you will be making in your essay.
• Plan your essay: Create an outline for your essay that includes an introduction, body paragraphs, and a conclusion. Decide on the main points you want to make in each paragraph and the evidence you will use to support them.
• Write the introduction: Start with a strong opening sentence that grabs the reader’s attention and introduces the topic. Provide background information and context for the text you will be analyzing, and end with your thesis statement.
• Write the body paragraphs: Each body paragraph should begin with a topic sentence that relates to your thesis statement and introduces the main point you will be making. Use evidence from the text to support your argument, and explain how the evidence supports your point. Make sure to analyze the evidence and explain how it relates to your argument rather than just summarizing it.
• Write the conclusion: Summarize the main points you made in your essay and restate your thesis statement. End with a final thought that ties your argument together and leaves the reader with something to think about.
• Edit and proofread: Read through your essay carefully and make sure that it flows well, that your arguments are clear and supported by evidence, and that there are no grammatical or spelling errors.

Remember to also use relevant literary terms and techniques to support your analysis, and to provide quotations from the text to back up your arguments.

The key elements of a well-structured English literature essay at A-Level include a clear thesis statement, well-planned body paragraphs with topic sentences and evidence to support your arguments, and a conclusion that summarizes your main points and restates your thesis.

To develop a thesis statement for your English literature essay, begin by carefully reading and analyzing the text. Identify the key themes and literary techniques used by the author and develop a statement that clearly answers the question and sets out the main argument you will be making in your essay.

The best way to plan your English literature essay at A-Level is to create an outline that includes an introduction, body paragraphs, and a conclusion. Decide on the main points you want to make in each paragraph and the evidence you will use to support them.

To write clear body paragraphs for your English literature essay, begin each paragraph with a topic sentence that relates to your thesis statement and introduces the main point you will be making. Use evidence from the text to support your argument, and explain how the evidence supports your point.

To analyze literary texts effectively in your English literature essay at A-Level, look for literary techniques used by the author, such as imagery, symbolism, and metaphor. Use quotes from the text to support your analysis and explain how these techniques contribute to the meaning of the text.

Still got a question? Leave a comment

Leave a comment, cancel reply.

Save my name, email, and website in this browser for the next time I comment.

Let's get acquainted ? What is your name?

Nice to meet you, {{name}} what is your preferred e-mail address, nice to meet you, {{name}} what is your preferred phone number, what is your preferred phone number, just to check, what are you interested in, when should we call you.

It would be great to have a 15m chat to discuss a personalised plan and answer any questions

What time works best for you? (UK Time)

Pick a time-slot that works best for you ?

How many hours of 1-1 tutoring are you looking for?

My whatsapp number is..., for our safeguarding policy, please confirm....

Please provide the mobile number of a guardian/parent

Which online course are you interested in?

What is your query, you can apply for a bursary by clicking this link, sure, what is your query, thank you for your response. we will aim to get back to you within 12-24 hours., lock in a 2 hour 1-1 tutoring lesson now.

If you're ready and keen to get started click the button below to book your first 2 hour 1-1 tutoring lesson with us. Connect with a tutor from a university of your choice in minutes. (Use FAST5 to get 5% Off!)

Programmes & Qualifications

Cambridge international as & a level english - literature (9695).

• Syllabus overview

Learners following the Cambridge International AS and A Level English syllabus will study a range of texts in the three main forms: prose, poetry and drama. Set texts are offered from a wide range of different periods and cultures.

Learners will develop skills of reading and analysis of texts, and are encouraged to undertake wider reading to aid understanding of the texts studied. They will learn skills of effective and appropriate communication including the ability to discuss the critical context of texts.

Changes have been made to this syllabus for examination from 2021 onwards. Please see the 2021-2023 syllabus for detailed information.

The syllabus year refers to the year in which the examination will be taken.

• -->2021 - 2023 Syllabus update (PDF, 179KB)
• -->2024 - 2026 Syllabus (PDF, 523KB)

Syllabus support

• -->2023 - 2026 Grade Description A Level (PDF, 156KB)
• -->2023 - 2026 Grade Description AS Level (PDF, 149KB)
• -->Support for Literature in English (PDF, 3MB)

Syllabus updates

We worked with teachers, subject expert panels and universities around the world to update our Cambridge International AS & A Level English subject group as part of our on-going review process. Following the review, we have made some changes to Cambridge International AS & A Level Literature in English for examination in 2021, 2022 and 2023.

Many teachers told us that they offer more than one English subject from this group, so we have made some changes so that the syllabuses work together regardless of whether a student is studying one or more subject from this group. To make it clearer for teachers, we have separated this syllabus (Cambridge International AS and A Level English – Literature 9695) from our other Cambridge International AS & A Level English syllabuses.

How has the syllabus changed?

Cambridge International AS & A Level Literature in English is available for examination in 2021, 2022 and 2023.

• We have updated the aims in the syllabus, but the emphasis remains the same - to encourage learners to enjoy reading a wide range of international texts and to develop their skills in Literature.
• Interpretation.
• We have updated the list of set texts in the 'Subject content' section of the syllabus.
• A list of command words has been added to the syllabus to help teaching and learning and exam preparation.

How has the assessment changed?

• We have removed optional routes through the syllabus. There are now compulsory examination components: Paper 1 and Paper 2 at AS Level, with the addition of Paper 3 and Paper 4 at A Level.
• Paper 2: The assessment of an Unseen text has been introduced to the AS level and this provides good progression from Cambridge IGCSE.
• Coursework has been removed from the syllabus. All components are now externally assessed.
• All learners will study all three forms: poetry, prose and drama at both AS and A Level. This allows students to gain a good knowledge and understanding of Literature in all forms.
• The question paper structure has changed, as have the paper titles due to the changes made to the assessment model. However, the style of questions and presentation of the questions remains consistent with the current syllabus.
• The rubrics in all of the question papers have changed. Please see the specimen papers for further information.
• The levels-based marking criteria have been updated to maintain validity and reliability of assessment.

When do these changes take place?

The updated syllabus is for examination in June and November 2021, 2022 and 2023. It is also available in March 2021, 2022 and 2023 (India only). Please see the 2021-2023 syllabus above for full details.

Coming soon

We are developing a wide range of support to help you plan and teach the 2021-2023 syllabus.

Look out for a comprehensive range of materials to help you teach the updated syllabus including a scheme of work, Example candidate responses, Learner and Teacher Guides as well as specimen paper answers. These resources will be available from April 2019 onwards (before first teaching) through our School Support Hub .

Endorsed resources

Introduce key concepts and skills for advanced level literary study and focus on developing effective writing from the start. Give students a toolkit for responding to unseen texts and exploring the set texts in depth.

Read more on the Collins website

Through exploring wide ranging texts, students will find they are building essential skills – such as the ability to write clearly and effectively, construct an argument, manage information and analyse complex pieces.

Read more on the Cambridge University Press website

Important notices

We are withdrawing Cambridge International AS & A Level Literature in English (9695) from the March exam series. The last March series for this syllabus will be March 2026. 

From 2027, we will only offer this syllabus in the June and November exam series.

We communicated this change to schools in September 2022.

Find out more about our range of English syllabuses to suit every level and ambition.

For some subjects, we publish grade descriptions to help understand the level of performance candidates’ grades represent.

We paused the publication of grade descriptions in response to the Covid-19 pandemic and the temporary changes to the awarding standard in 2020, 2021 and 2022.

As the awarding standard has now returned to the pre-pandemic standard, we are working to produce up-to-date grade descriptions for most of our general qualifications. These will be based on the awarding standards in place from June 2023 onwards.

School Support Hub

Teachers at registered Cambridge schools can unlock over 30 000 teaching and learning resources to help plan and deliver Cambridge programmes and qualifications, including Schemes of work, Example candidate responses, Past papers, Specimen paper answers, as well as digital and multimedia resources.

Schemes of work

Example responses, past papers, specimen paper answers.

Register your interest in becoming a Cambridge School

Stay up to date

Sign up for updates about changes to the syllabuses you teach

• Past papers, examiner reports and specimen papers
• Published resources

A-Level English Literature Guide

In A-Level by Think Student Editor October 21, 2022 Leave a Comment

A-Level English Literature can be a niche or popular subject – sometimes classes have less than 10 people, sometimes classes are full. Whether you’ve picked it for A-Level or are sitting on the fence, it can be one of the hardest subjects to get right. Think you need some help? This guide is here to help answer all your questions.

In this guide I’ll be discussing whether you should take A-Level English Literature, what the course involves and what the benefits are to taking it. Keep reading to find out more!

Table of Contents

Should you take A-Level English Literature?

Personally, I feel that A-Level English Literature is one of the most creative A-Level subjects. If you enjoyed English Literature GCSE, the chances are you’ll also enjoy English Literature A-Level.

I’d only recommended taking English Literature A-Level if you are strongly passionate about it. The workload can be intense, so if you don’t enjoy the subject, you probably won’t enjoy the A-Level course.

Most schools will hold events for future sixth form students to learn more about each subject. From these you find out more about the course the school offers, or you can ask your teachers.

Alternatively, exam board websites usually post their specifications. For example, you can find the OCR specification here .

If you know what you want to pursue beyond A-Levels, you should also consider whether English Literature A-Level is necessary for future careers. This Think Student article has information on the most respected A-Level subjects.

Alternatively, read this Think Student article if you want to read more about A-Level combinations favoured by universities.

However, if you really want to take English Literature, you should choose what you’re interested in — it will make A-Levels in general more enjoyable.

Ultimately, whether you take English Literature A-Level or not is up to you. If you have a passion for the subject or think it could help you in the future, you should definitely consider choosing it.

How hard is A-Level English Literature?

Any A-Level English Literature student will tell you that it’s not an easy A-Level . In fact, this Think Student article has a list of the top 10 hardest A-Levels to take.

However, you shouldn’t let difficulty put you off. If you achieved the GCSE grades required to take the A-Level, you’re good enough to take the subject.

I would say that A-Level English Literature is moderately difficult. What many students, including myself, like about English is that there is technically no “wrong” answer. However, this also means your knowledge has to be on-point .

Still, don’t let difficulty get you down. Your school wouldn’t let you take A-Level English Literature if they thought you couldn’t handle it. Difficulty is also subjective; what other students find hard, you may find easy.

However , if you are a few weeks into the course and you decide it isn’t for you, there will still be time to switch subjects . If you have any concerns, this Think Student article offers advice on how to know if a course is right for you.

Now that we’ve established whether A-Level English Literature is right for you, let’s look at what the A-Level actually involves.

What do you do in A-Level English Literature?

The A-Level English Literature course is different depending on which exam board your sixth form uses. Even so, most of the courses have similar structures or modules.

As I mentioned earlier, if you enjoyed your GCSE English course, you’ll probably like the A-Level course too. Keep reading to find out more about the general structure of A-Level English Literature.

Exam boards provide a list of “set texts”. This means that your school has to choose a text to study from that specific list.

Exactly which texts are chosen is entirely up to your school. Meaning that you might study a different text to someone doing the same course.

What kind of work does A-Level English Literature involve?

The literature you study will cover poetry, prose and drama, and each exam board requires an NEA (non-exam assessment) project as part of the A-Level . Across the course, you’ll be analysing texts in response to questions on specific themes, ideas, characters or events.

The kinds of questions you get can vary . Sometimes, they’ll be a statement which you’ll be asked to agree or disagree with.

As well as this, you’ll be asked open-ended questions like discussing the presentation of a particular feature. This is one of the best things about A-Level English Literature: your opinion matters!

You’ll also have a lot of new and more complex terminology to learn, to help you analyse texts. This can definitely seem daunting when you first start. Although, if English is your favourite subject, then like me, you’ll learn to love it pretty quickly!

Does A-Level English Literature involve a lot of work?

I don’t think I need to tell you that A-Level English Literature is a very essay-based subject. However, this also means that you will have lots of writing to do and you will probably get set essays regularly . Your teachers may even set you an essay every week or two.

Due to this, for English literature, the jump from GCSE to A-Level is pretty noticeable. Especially as you will generally have quite a lot of work to do. If you’re worried that you aren’t prepared enough for it, this Think Student article has tips you’ll find useful.

Like I said earlier, exactly what you do, including how much work, depends on which exam board your school has chosen. Read further to find out more about the different exam boards, and what they offer as part of A-Level English Literature.

What are the exam boards for A-Level English Literature?

All 4 English exam boards – AQA, OCR, Edexcel and Eduqas – offer A-Level English Literature as a subject. Earlier in the guide , I mentioned that each exam board offers different texts and modules.

While your specific texts will depend on your sixth form, the modules are the same for everyone under the exam board. Continue reading for more information.

What is AQA A-Level English Literature like?

AQA, unlike the other exam boards, actually offers 2 different specifications: A and B .

In specification A, there are 3 compulsory modules. These are “Love through the ages”, “Texts in shared contexts”, and “Independent critical study: Texts across time”.

In specification B, there are also 3 compulsory modules. These are “Literary genres”, “Texts and genres”, and “Theory and independence”.

The texts that are part of specification A include one Shakespeare play, one pre-1900 poetry anthology and one pre-1900 prose text in one module. As well as 3 texts (one prose, one poetry and one drama) with at least one text written post-2000 in another module.

The texts that are part of specification B include one Shakespeare play and two pre-1900 texts in one module. As well as one post-2000 prose, one poetry, and one pre-1900 text in another module. As you can see, both specifications feature similar content but divide them differently .

However, this guide can only offer you a brief overview of the A-Level course. You can find the specifications for AQA A-Level English Literature here (specification A) and here (specification B).

What is OCR A-Level English Literature like?

The OCR A-Level English Literature specification is divided into 3 sections. These are “Drama and poetry pre-1900”, “Comparative and contextual study”, and “Literature post-1900”.

The latter section is a coursework module. Some exam boards require coursework as part of A-Level English Literature, but some don’t.

In the first section, you’ll study one Shakespeare play, one pre-1900 drama and one pre-1900 poetry text. In the second section, you’ll choose one theme (from a list provided by the exam board) and two texts, with at least one text from the list provided by OCR.

The third section is a coursework module, which means you don’t sit an exam for it. Instead , you produce an essay over the course which determines a percentage of your final grade . You can find the full OCR A-Level English Literature specification here .

What is Edexcel A-Level English Literature like?

Pearson Edexcel offers 4 components as part of A-Level English Literature. These are “Drama”, “Prose”, “Poetry”, and a coursework module.

As with the components and modules of other exam boards, each module has its own exam (except for coursework). For Edexcel, the “Drama” and “Poetry” exams are 2 hours 15 minutes, and the “Prose” exam is 1 hour 15 minutes .

In “Drama”, students study one Shakespeare play and critical essays related to the play, and one other drama. In “Prose”, students study two prose texts with one text written pre-1900.

In “Poetry”, students study an anthology and a range of poetry from either a specific poet or specific period. The Pearson Edexcel specification is linked here .

What is Eduqas A-Level English Literature like?

The Eduqas English Literature A-Level specification also has 4 components. These are “Poetry”, “Drama”, “Unseen Texts”, and “Prose Study”.

The “Prose Study” component is a coursework module. All 3 Eduqas A-Level English Literature exams are 2 hours long.

In total, you’ll study two selections of poetry (pre-1900 and post-1900), a Shakespeare play, two non-Shakespeare plays (pre-1900 and post-1900), and two prose texts.

Unlike the other exam boards, Eduqas dedicates a whole module to unseen texts , so you can’t directly revise for that. If you want to read the complete specification, you can do so here .

How to do well in A-Level English Literature

Every student knows there’s no set way to do well. There are way too many changing factors to offer you a fool-proof guide to success!

However , there are definitely techniques and processes to help you secure those top grades . Continue reading for my personal advice on how to succeed in A-Level English Literature.

The best advice I received while studying A-Level English Literature is to include your work in your everyday life. This could be as simple as telling your friend about a character you liked. Alternatively, you could use a key quote in a conversation.

These things both count as revision, because it helps you remember important information. For more revision techniques, see this Think Student article.

in A-Level English Literature is to take advantage of peer review . You’ll definitely make mistakes in your work, no one is perfect!

Asking a partner, friend, or family member to read your essay is a great way to pick up on things you miss. This Think Student article has some useful advice for English literature essay writing!

How to write an English literature essay for A-Level?

Sometimes, the exam system can make it feel like you don’t have much self-expression. I know I’ve certainly felt that way.

One of the great things about essays, and English literature, is that you get to voice your own opinion in your own way . I’ll take you through some general tips on what makes a good essay.

The most important thing is to perfect your spelling and grammar as much as possible. One thing I was always told in school was that if your essay is coherent, you’re halfway to a good essay. Obviously, this is harder if English isn’t your first language, but practice makes perfect!

On top of spelling and grammar, you should make your argument as clear as possible. Teachers will often refer to this as “signposting”.

It lets examiners know exactly what you’re going to talk about. It’s also useful if you run out of time, as examiners can see what you were planning to talk about; it shows you had good ideas, you were just limited by time. For tips on how to structure an English essay, check out this Think Student article.

A third, more obvious tip is to keep your assessment objects in mind as much as possible . In your essays, it’s good to mentally check off what criteria you’ve followed. This way you can keep track of the marks you’ve achieved, and the ones you still need.

What can you do with an English literature A-Level?

Being a student who took A-Level English Literature myself, one of my biggest concerns was the pathways available to me afterwards .

English is often talked about as a subject with limited options – but don’t worry! A-Level English Literature is useful for degrees in fields like English, History, Law, Politics, Philosophy and more.

It might surprise you, but English is a subject that a lot of universities and employers like . You don’t have to want to be a writer to find English A-Level useful.

The writing skills you gain are desirable to universities and employers in a range of fields . However, if you’re still uncertain, I’d recommend researching what A-Levels you need to pursue your future degree/job.

For example, if you want to be a vet , midwife , counsellor , nurse , social worker , police officer , pilot or account , you can click on their respective links to see what A-Levels you will need.

Don’t let how useful A-Level English Literature is stop you from taking it if you really want to! The most important thing about A-Levels is that you choose the subjects you like.

From personal experience, I can tell you that if you don’t care about the subject, you won’t enjoy the A-Level. If you think A-Level English Literature is right for you, choose it!

This website works best with JavaScript switched on. Please enable JavaScript

• Centre Services
• Associate Extranet
• All About Maths

AS and A-level English Literature A

• Specification
• Planning resources
• Teaching resources

Assessment resources

• Candidate record forms (4)
• Centre declaration sheets (4)
• Examiner reports (12)
• Mark schemes (21)
• Question papers (73)
• Component 3 NEA (6)
• Paper 1 (32)
• Paper 2 (72)
• Option A (28)
• Option B (28)
• June 2022 (32)
• June 2023 (32)
• November 2020 (23)
• November 2021 (13)
• Sample set 1 (6)
• A-level (89)
• Applied General (4)
• Technical Award (2)

Showing 114 results

Insert (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2023

Published 12 Jul 2024 | PDF | 181 KB

Insert (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2023

Published 12 Jul 2024 | PDF | 211 KB

Question paper (AS): Paper 2 Love through the ages: prose - June 2023

Published 12 Jul 2024 | PDF | 236 KB

Question paper (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2023

Published 12 Jul 2024 | PDF | 311 KB

Question paper (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2023

Published 12 Jul 2024 | PDF | 288 KB

Insert (Modified A4 18pt) (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2023

Published 12 Jul 2024 | PDF | 128 KB

Insert (Modified A3 36pt) (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2023

Published 12 Jul 2024 | PDF | 134 KB

Insert (Modified A4 18pt) (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2023

Published 12 Jul 2024 | PDF | 105 KB

Insert (Modified A3 36pt) (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2023

Published 12 Jul 2024 | PDF | 111 KB

Question paper (Modified A4 18pt) (AS): Paper 2 Love through the ages: prose - June 2023

Published 12 Jul 2024 | PDF | 150 KB

Question paper (Modified A3 36pt) (AS): Paper 2 Love through the ages: prose - June 2023

Published 12 Jul 2024 | PDF | 156 KB

Question paper (Modified A4 18pt) (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2023

Published 12 Jul 2024 | PDF | 169 KB

Question paper (Modified A3 36pt) (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2023

Published 12 Jul 2024 | PDF | 178 KB

Question paper (Modified A4 18pt) (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2023

Published 12 Jul 2024 | PDF | 193 KB

Question paper (Modified A3 36pt) (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2023

Published 12 Jul 2024 | PDF | 203 KB

Examiner report (AS): Paper 2 Love through the ages: prose - June 2023

Published 12 Jul 2024 | PDF | 130 KB

Question paper (AS): Paper 1 Love through the ages: Shakespeare and poetry - June 2023

Published 12 Jul 2024 | PDF | 298 KB

Examiner report (AS): Paper 1 Love through the ages: Shakespeare and poetry - June 2023

Published 12 Jul 2024 | PDF | 174 KB

Question paper (Modified A4 18pt) (AS): Paper 1 Love through the ages: Shakespeare and poetry - June 2023

Published 12 Jul 2024 | PDF | 182 KB

Question paper (Modified A3 36pt) (AS): Paper 1 Love through the ages: Shakespeare and poetry - June 2023

Published 12 Jul 2024 | PDF | 192 KB

A* A level English Literature Essay Examples

Quick Reply

Related discussions.

• english a level help
• A level combinations
• A-Level English literature (essay structure)
• Should I do A-Level English Literature?
• Plagiarism?
• A-Level combinations for history
• Is this set of A-Level choices suitable for law?
• A-Level English
• Any requirements to study Law?
• Essay help - CIE IGCSE English Literature
• A-Levels for law
• a level economics
• what to do at uni?
• A Level English Literature - Ideal Husband/Paradise Lost
• English lit Macbeth questions <3
• Liteture studies
• Questions I should ask My English Literature A-Level Teacher before start of course
• Does it matter if I didn’t study sociology at college?
• Triple Science revision

Last reply 1 week ago

Last reply 2 weeks ago

Last reply 3 weeks ago

Last reply 1 month ago

Last reply 2 months ago

Last reply 3 months ago

Articles for you

Expert tips to help you prepare for starting university

Finding a university place in Ucas Clearing 2024: 10 top tips to help you get ready

Top 10 tips for Ucas Clearing 2024

Bringing business people into the classroom: what students learn from industry professionals

Try out the app

Continue on web

• International
• Education Jobs
• Schools directory
• Resources Education Jobs Schools directory News Search

Jekyll and Hyde: A* Grade / L9 Essay Example (Tension and Mystery)

Subject: English

Age range: 14-16

Resource type: Unit of work

Last updated

8 September 2024

• Share through email
• Share through twitter
• Share through linkedin
• Share through facebook
• Share through pinterest

This is a student essay that was written outside of timed conditions. It received an A* grade at GCSE, for the AQA English Literature syllabus. Typos and grammatical errors have been left in, to show that even a top grade is achievable with minor errors.

Have a resource on us! Grab our FREE resource here: Jekyll and Hyde: Character Breakdown / Analysis

Buy our COMPLETE JEKYLL AND HYDE REVISION BUNDLE here!

Please review us! We always value feedback and are looking for ways to improve our resources, so all reviews are more than welcome.

Check out our shop for more content!

Tes paid licence How can I reuse this?

Get this resource as part of a bundle and save up to 51%

A bundle is a package of resources grouped together to teach a particular topic, or a series of lessons, in one place.

A MEGA REVISION 'JEKYLL AND HYDE' BUNDLE! (Digital + Printable PDFs, PPTs and worksheets!)

This bundle contains everything you need to teach or study Stevenson's novella 'The Strange case of Dr Jekyll and Mr Hyde' in the form of digital and printable PDF documents. It’s perfect for students aged 14+. **This bundle is currently available at a 50% discount! ** Preview this document for free, to check whether the whole bundle is right for you [Jekyll and Hyde: Character Breakdown / Analysis](https://www.tes.com/teaching-resource/resource-13110830) With this bundle, students will be able to: * Understand the structural elements and key moments of the plot * Deepen their knowledge of characters, including understanding the deeper messages behind each one * Integrate the significance of the setting into their analyses and interpretations of the play as a whole * Memorise a range of carefully chosen key quotations for use in essays and analysis * Develop their language, structure and form analysis skills, with guided support and examples * Identify and analyse the thematic and contextual details * Learn approaches to a range of essay question types: discursive, argumentative, close reading * Become confident with extract interpretation and analysis * Develop their knowledge of tragic conventions and apply them to the novella * Expand their critical aptitude via exposure to key critical frameworks and critics’ quotations (for higher-level students) * Write their essays on Jekyll and Hyde, after support with planning help and example A* / top grade model answers Reasons to love this bundle: * Downloadable PDF documents, graphically designed to a high level, PowerPoints (ppts) and worksheets * Visual aids (photographs and drawings) to support learning * Organised categories that simplify the text for students * Print and digital versions - perfect for any learning environment * The unit has everything you need to start teaching or learning - starting with the basic story summary, going right up to deep contextual and critical wider readings * Lots of tasks and opportunities to practice literary analysis skills - students will be guided through writing a literary analysis response to the novella -This is what you’ll get with this bundle: (each document includes digital + printable revision guide + PowerPoint + worksheet)- THE COMPLETE JEKYLL AND HYDE COURSE: 1. [Character Analysis / Breakdown](https://www.tes.com/teaching-resource/resource-13110830) 2. [Plot Summary / Breakdown](https://www.tes.com/teaching-resource/resource-13110836) 3. [Context Analysis](https://www.tes.com/teaching-resource/resource-13110842) 4. [Genre](https://www.tes.com/teaching-resource/resource-13110856) 5. [Key Quotations](https://www.tes.com/teaching-resource/resource-13110868) 6. [Narrative Voice](https://www.tes.com/teaching-resource/resource-13110978) 7. [Setting](https://www.tes.com/teaching-resource/resource-13110874) 8. [Themes](https://www.tes.com/teaching-resource/resource-13110893) 9. [Critical Interpretation / Critics' Quotations](https://www.tes.com/teaching-resource/resource-13110848) 10. [Essay Help](https://www.tes.com/teaching-resource/resource-13110934) 11. [Essay Planning](https://www.tes.com/teaching-resource/resource-13110950) 12. [PEE Paragraph Practise](https://www.tes.com/teaching-resource/resource-13110997) 13. [Essay Practise (Gothic Atmosphere)](https://www.tes.com/teaching-resource/resource-13110962) 14. [L9 / A* Grade vs L7 / A Grade Example Essays + Feedback (Frightening Outsider)](https://www.tes.com/teaching-resource/resource-13110990) 15. [L9 / A* Grade Essay Example (Tension and Mystery)](https://www.tes.com/teaching-resource/resource-13110904) 16. [L8 / A Grade Essay Example + Feedback (Unnatural and Threatening)](https://www.tes.com/teaching-resource/resource-13110972) 17. [L6 / B Grade Essay Example + Feedback (Suspicious Atmosphere)](https://www.tes.com/teaching-resource/resource-13110984) 18. [L4 / C Grade Essay Example (Secrecy and Reputation)](https://www.tes.com/teaching-resource/resource-13110923) 19. [Study Questions / Exercises](https://www.tes.com/teaching-resource/resource-13110884) 20. [Essay Questions + Passage-based Questions](https://www.tes.com/teaching-resource/resource-13111001) Please review our content! We always value feedback and are looking for ways to improve our resources, so all reviews are more than welcome. Check out our [shop](https://www.tes.com/teaching-resources/shop/Scrbbly) here.

Your rating is required to reflect your happiness.

It's good to leave some feedback.

Something went wrong, please try again later.

This resource hasn't been reviewed yet

To ensure quality for our reviews, only customers who have purchased this resource can review it

Report this resource to let us know if it violates our terms and conditions. Our customer service team will review your report and will be in touch.

Not quite what you were looking for? Search by keyword to find the right resource:

• Eduqas Home chevron_right
• Qualifications

AS/A Level English Language and Literature

• Key Documents
• Past Papers / Mark Schemes

Important information, past papers, marking schemes, entry/amendment uploads & make post-results enquiries.

We offer an extensive range of free digital educational resources.

Access interactive units including general data, exam questions, marking schemes & examiner comments.

Grade boundaries are the minimum number of marks needed to achieve each grade.

Order your Poetry Pre-1914 Anthology here. Please include your Centre number and number of copies required.

• Digital Resources
• Online Exam Review

Discover FREE Digital Resources!

Unlock your learners’ potential with an impressive range of FREE digital resources, teaching tools and materials.

View resources

Access a collection of interactive units that bring together a number of elements including general data, exam questions, their marking schemes and examiner comments, which will lead you through a review of exam questions.

Visit OER website

• Upcoming Courses
• On Demand Courses
• Materials from previous events

Download your free Guide to Switching! 

<p>Thanks, please download your document now</p>

This is a hidden field that will be populated via javascript in preparation for submission to Campaign Monitor letting you know the name of the document the user downloaded

Please complete the following form.