The following information can be found on the official SQA site at http://www.sqa.org.uk/sqa/8576.html
Some facts about the paper
The Critical Essay exam paper lasts for 45 minutes.
The exam paper will have a range of essay questions on different genres of literature, film and TV drama, and the study of language. The questions will be arranged in five sections and you must answer any one question, taken from any section. (At the Academy you will not study language but you may study film.)
The questions will test your ability to select from your knowledge of a text (and the techniques used in its construction) in order to write a relevant response to the chosen question.
Your essay is marked out of 25.
The five sections are as follows:
- Section A – Drama
usually a choice of two questions
- Section B – Prose
usually a choice of two questions covering novel, short story and non-fiction
- Section C – Poetry
usually a choice of two questions
- Section D – Film and TV Drama
usually a choice of two questions
- Section E – Language (Not studied at the Academy)
usually a choice of two questions
Some general advice
It is important to allocate your time sensibly. You have 45 minutes to write your essay. You must make sure that your finish your essay in the time given.
The structure of the question
If you look at the specimen question paper, you will see that all the questions are structured in a very similar way.
There are two sentences:
- The first sentence provides the initial focus or ‘gateway’. If the text you want to write about does not meet the restriction in this part, then you are not going to be able to write a relevant essay and you will not pass. If the text does fit, then you might be able to go on to write a suitable essay. However, this is not guaranteed, because you must be able to deal with the requirements in the next sentence.
- The second sentence is the one that provides the key instruction for what you have to do, and your essay will be judged on how successfully you handle this part. You must not think that anything you write will automatically be relevant just because the text fits the definition in the first sentence. You must do exactly what is asked for in the question. Notice that the question may contain more than one instruction and that you must address the whole question.
Above all else, strive to write a relevant essay. This means you are unlikely to be able to write everything you might want to say, but it’s much better to write an essay of modest length which is clearly relevant than a long essay which covers everything you know and ignores the question. The former is likely to pass; the latter will probably fail.
It’s advisable to have at least one ‘back up’ text in case no question suits your favourite text. However, depth of preparation is every bit as important as the number of texts prepared. For example: if you prepare a suitable novel and are able to write confidently about such areas as theme, characterisation (of one or two main characters and of two minor characters), setting (in time and place), key incidents (including the opening and the conclusion), narrative technique, structure, symbolism, then it is highly unlikely that you will be stuck for a question; whereas if you prepare the same novel but are able to write about, for example, only one character, then you are very likely to have difficulty.
How to prepare/practise for the exam
Study a range of texts
The more texts you study the more likely it is that you will find ones you really enjoy and want to write about. Writing about the same text again and again from August until the exam in May is not likely to increase your understanding or appreciation of literature.
The text is what matters
Return again and again to reading and studying the text. Make notes; add to your existing notes. Learn from your successes and failures in previous essays, but never, under any circumstances, learn a previous essay by heart, no matter how good a mark it was given – it was answering one particular question; the question in the exam will be different. The secret is to have plenty to say and then to select from that in order to construct a relevant essay.
Past exam papers/SQA’s website
Because the Intermediate 1 Critical Essay paper has been re-formatted for examinations in and after 2006, the only exact model for the 2006 examination will be found in the appropriate specimen question paper on SQA’s website. However, looking at previous exam papers will allow you to see examples of the types of question which will be asked – just be careful to see them in the context of the re-formatted version. Recent past papers in Intermediate 1 English are available, published by Bright Red Publishing and can be purchased in most bookshops.
Some specific advice
Some allowance is made for the fact that because this is an examination you are writing under pressure. It is recognised that you might make one or two careless slips and that you don’t have time to redraft your work. Nevertheless, if your writing is not sufficiently accurate to meet the Performance Criterion for Technical Accuracy, you will not pass.
Common errors to be avoided are: failure to start a new sentence when required (especially using a comma when a full stop is needed), misspelling of common words, misuse of the apostrophe, confusion of ‘done/did’, ‘gone/went’ etc, and using slang or colloquial language.
‘The central concerns’
If you look at the list of Performance Criteria for Critical Essay in Intermediate 1 English you will see that in ‘Understanding’ it talks about the ‘main point(s) … of the text(s)’:
As appropriate to task, the response demonstrates understanding of the main point(s) of the text(s) through some reference to relevant areas of content.
This is of great importance. You must demonstrate to the Marker that you have a firm grasp of what the text as a whole is about. This means knowing not just what simply happens in a novel or a play or what the content of each line of a poem is. Every worthwhile text in English has an overall idea which it is exploring, and your personal understanding of this (relevant to the question you are answering) must be a key element in your essay.
The response describes some of the more obvious ways in which aspects of structure/style/language contribute to meaning/effect/impact.
One of the Performance Criteria requires that you deal with ‘aspects of structure/style/language’ and how these ‘contribute to meaning/effect/impact’. It is, therefore, important that you learn about the techniques used by the writers of the texts you study. Reference to these techniques, however, is only of value if it supports the line of thought in your essay. Read carefully the advice and information given in the specimen question paper – at the start of the paper and in the boxes in the sections.
You should not deal with techniques in isolation, and you should not structure your essay around them.
The response contains a stated or implied personal reaction to the content or style of the text, supported by some relevant textual reference.
It is important that you can write about how well the writer has engaged your interest both intellectually and emotionally. You should be able to evaluate and explain this response in terms of the features of the genre studied and the relative success achieved by the writer in using them.
The study of a short story is as valid and as valuable as the study of a novel. It should not, however, be thought of as an easier option just because it is shorter. Writers of short stories employ specific techniques associated with the genre, and it is fair to say that, because of the very specialised nature of this genre, writing well about a short story can actually be harder than writing about a novel.
Questions on non-fiction
In the prose section, as well as questions on the novel and the short story, there are questions on non-fiction. If, deliberately or by accident, you answer any of these questions using a novel or a short story, your script will be referred to the Principal Assessor, who will apply an appropriate penalty. This penalty could be the difference between your passing and failing the exam, and so you should check carefully that the text you are writing about is entirely suitable for the question.
The study of quality non-fiction is as valid and valuable as the study of prose fiction. Such works include: biography and autobiography; travel writing; essays and works on history, politics, current affairs, media issues, science and technology, religion, environmental issues, etc.
Essays on non-fiction are judged in the same way as all others, but candidates should be aware that many of the techniques used in prose non-fiction are different from those used in prose fiction.
Common problems in essays on poetry
In essays on poetry there are two common faults which you should try to avoid.
1. Don’t rely on working through a poem line-by-line. While you mustn’t ignore significant sections of the poem or distort its overall idea (see the section on ‘the central concerns’ above), your essay should be shaped to answer the question relevantly and not dominated by an insistence on examining every line in order.
2. While understanding and appreciation of poetic techniques are vital in a good essay on poetry, an exhaustive list of all the techniques used in a particular poem is not very helpful. Remember about the overall idea (see the section on ‘the central concerns’ above) and remember that techniques enhance the overall impact of a poem – they do not have a life in themselves.
Questions on film and TV drama
Questions on film and TV should be approached in exactly the same way as questions on drama or prose or poetry. The questions are structured the same way, and the warnings given above about relevance and ‘central concerns’ are just as important here. Similarly, specialised techniques such as camera angles, lighting, soundtrack and special effects have their place in an essay on film or TV drama, but only if your comments on them are relevant to the question and support your understanding of the text as a whole.
Note that the term ‘TV drama’ refers to a single play or a series or a serial.