Tag Archives: Common Entrance

Interview preparation

Interview Preparation

Every year, thousands of 11+ and 13+ candidates go to what might be their very first interviews. They’re hoping for a place at their target schools, but they’ll probably be nervous about going through the whole process.

Interview prep is important to give yourself the best chance of impressing the teacher and the school. Teachers generally want to teach bright, enthusiastic, polite pupils who are interested in the world around them, so that’s the impression you want to give during your interviews!

It’s also important to do your research about possible target schools so that you can talk about the differences between them. These might involve all kinds of aspects, including the facilities, activities, curriculum, alumni and values (or ‘ethos’).

Here’s a quick guide to the right behaviour and how to create and rehearse answers to the kinds of questions you might be asked.

Let’s start with a few basics.

Appearance

You’ll probably be sent a letter before the interview telling you how you’re expected to dress. It’ll usually be just your school uniform, but it’s worth checking. You want to make the best possible first impression, so you don’t want to stand out like a sore thumb!

Manners

You should be polite, friendly and respectful. That means following any instructions you’re given and getting the basics right.

When you’re called into the interview room, you’ll probably be met by a teacher who’ll offer you a handshake. How to shake hands properly is an important social skill. You should simply grip and shake the hand firmly for a second or two and then let it go, smiling and keeping eye contact throughout. (You can probably afford to grip the hands of male teachers a bit more firmly!)

After that, the teacher might sit down, but you shouldn’t sit down yourself until you’ve been invited to do so. That’s not polite. Not everyone cares about these things, but it’s better to be safe than sorry!

After the interview, you might have to shake hands again, but you just need to follow the same procedure as before.

Body Language

The way you sit and stand and how you position your hands, arms and legs are important in making the right impression. I once starred in a Channel 4 documentary on mating habits, so I had to learn all about body language!

There are many different signs, both good and bad. Here are a few to bear in mind:

Dos

  • Keep eye contact while you’re listening to the teacher.
  • If you’re speaking yourself, you should look into the teacher’s eyes at least half the time.
  • Mirror the body position of the teacher, eg if the teacher leans forward, it’s a good idea to lean forward as well.
  • Find a neutral position for your hands, eg clasping them together and resting them in your lap.

Don’ts

  • Don’t show any bad habits, eg playing with a pencil or picking your nose.
  • Don’t cross your arms. It puts up a barrier and makes you look defensive—or just plain bored!

Questions

There are lots of questions you might be asked in an interview, but some of the most common ones crop up again and again. It’s always worth preparing and rehearsing your answers—even to the simplest of questions.

If you’re asked a difficult question, feel free to take a moment to work out what to say. A short pause is much better than ‘waffling’ vaguely without really saying anything!

Typically, you’ll be asked a mixture of ‘open’ and ‘closed’ questions.

  • Open questions invite you to provide information or your opinion on something in a sentence or two.
  • Closed questions only need a one-word answer, but you shouldn’t settle for that. For instance, if someone asks you about your favourite subject, you shouldn’t just say English or Maths. You should be prepared to explain why without any prompting. Otherwise, you might end up with a lot of awkward pauses! Instead, try to imagine that each question comes with the words ‘and why’ at the end. That will help you to remember to explain everything.

It’s worth coming up with a list of possible questions and then writing out ‘model answers’ to each of them. Here are a few that might crop up:

Personal

  • What’s your name?
  • Where do you live?
  • What close family do you have?

Academic

  • What’s your favourite subject?
  • What’s your least favourite subject?
  • Which subject do you think is most important?
  • Is there any extra subject you think should be taught?
  • What makes a good teacher?
  • What makes a good lesson?
  • Is learning facts at school more important than developing skills?
  • Is it better to be good at Maths or English?
  • How important is it to learn a foreign language?

Likes and Dislikes

  • What do you like to do outside school?
  • What are your favourite things to do with your friends?
  • Do you like sport?
  • How important is sport at school?
  • How important are music and drama at school?
  • What’s your favourite kind of music?
  • Do you play an instrument?
  • Do you have any hobbies or extracurricular activities?
  • Have you recently been to a cultural event like a play, a concert or an exhibition?
  • If you could travel anywhere in the world, where would you go?
  • If you could live abroad, which city or country would you choose?
  • If you won millions of pounds in the lottery, what would you spend it on?

Current Affairs

  • Do you ever read a newspaper or listen to the news?
  • Have you seen a news story recently that you were especially interested in?
  • What do you think are the most important issues in the world today?
  • Do you think we should try to save the planet or learn to live with climate change?
  • Which is more important, Science or the Arts?
  • What do you think of the current government?

Self-awareness

  • How would you describe yourself?
  • Do you think you are talented?
  • Why do you think you deserve a place at this school?
  • If people who know you well had to describe you in three words, what would they say?
  • What are your strengths and weaknesses?
  • Has there ever been a big challenge in your life that you’ve had to overcome?

Values

  • Is it better to be an adult or a child?
  • Is it important to be intelligent and well-educated?
  • Is it more important to be kind or clever?
  • How important is it to be creative?
  • Who are the people who inspire you?

School Choice

  • Why did you apply to this school?
  • How does it compare to other schools you know about?
  • What qualities do you think we’re looking for in potential pupils?
  • If you could change anything about your current school, what would it be?
  • Which other schools did you apply to?
  • What did you like about the other schools?

Boarding

  • What makes a good boarder?
  • What extra problems do you think you would face as a boarder?
  • What do you think are the benefits of boarding?

At the end of the interview, the teacher will usually ask if you have any questions. Interviews are a two-way street, so it’s not just a case of the school choosing the pupils—the pupils also need to choose the school!

That means it’s worth thinking of a good question to ask. It shouldn’t be too basic because that just means you couldn’t be bothered to look it up online! It should be about something important to you and relevant to your application.

Here are a few examples:

  • What do you most enjoy about this school?
  • Why do you think I should want to study here?
  • How do you think I’ll fit in with the other pupils?
  • How do you think your facilities will benefit me personally?
  • What are the opportunities for me to…? (Fill in the blank with what you’re most interested in, such as sport, music or drama.)

Practice

After you’ve done your preparation, you should rehearse by asking an adult to play the part of the teacher and conduct a mock interview. This is called rôle playing. You’re the candidate, and your mum, dad, tutor or other adult plays the part of the interviewer.

You should try to mirror the conditions of the interview as closely as possible. That means wearing the same clothes, knocking on the door, shaking hands, sitting down and answering questions just as you would in the real thing—and for the same amount of time, if possible.

Try to keep up the act. If you make a mistake, don’t say, “Sorry” or start again. Just keep going as best you can. Things always go wrong, so it’s good to practice recovering from your mistakes.

Afterwards, you can have a ‘debrief’, discussing what you think went well and what you might need to do better:

  • Did you smile?
  • Did you keep eye contact?
  • Did you offer a firm handshake?
  • Did you wait to be asked to sit down?
  • Did you answer the questions correctly?
  • Did you say what you wanted to say?
  • Were you confident, or did you keep saying, “Er” and “Erm” the whole time?

Verdict

Interview prep is important in making the best possible first impression at the school of your choice. Exams only give schools limited information about your suitability, so they have to measure your social skills and willingness to learn some other way. That’s where interviews come in.

If you prepare well and come across as polite, enthusiastic and bright, you’ll have a much better chance of being offered a place. Remember, though, the interview is not just for the school. It’s for you as well! This is your chance to find out if it’s going to be a good match, so pay attention to what you’re told and ask a question to find out whatever else you need to know.

 

 

 

 

If you’re looking for past papers with answers, especially in the run-up to 11+/13+ exams, GCSEs or A-levels, you can visit my Past Papers page and subscribe for just £37.99 a year.

How to Write a Newspaper Article

In the good old days, 11+ or 13+ candidates were simply asked to do a comprehension and write a story in their English exams. However, the creative writing papers have changed recently, and candidates might have to do a wide range of creative writing tasks, such as writing a diary entry or a newspaper article. This post should help you understand the basic format of a newspaper article enough to write your own in a convincing way.

Format

The picture above shows a typical article taken from the online edition of The Daily Telegraph. It happens to be from the sport section, but it follows a similar pattern to most articles, whether they’re in news, opinion or any other section.

Here are the basic elements that you need to copy in your own article:

  1. Headline. This says what the news item actually is and will usually have only 5-10 words in it. This one’s a little longer, but it still leaves out one or two words, in this case the ‘a’ in front of the words ‘shock call-up’. Articles such as a, an and the are normally left out of the main headline, as are auxiliary verbs such as being and having. For example, if the headline was in the passive, it would read something like ‘Josh Tongue handed shock call-up’, not ‘Josh Tongue is handed shock call-up’. Notice also that it’s in the present tense—even though the event obviously happened in the past! That’s just a convention or habit, but you need to do the same.
  2. Subheadline. This explains the main headline in a bit more detail. This is generally a bit longer, so the rules are slightly less strict on leaving out words. Notice that the word ‘an’ makes it into this one, but there’s no ‘the’ before ‘nets’.
  3. Byline. This tells the reader who’s written the article and where it was written. In this case, it’s just the journalist’s name and location, but columnists sometimes have a mini-biography.
  4. Date. This shows the date and time when the article was published.
  5. Picture. You probably won’t have to draw a picture, but you might possibly have to show where it goes in the article and say what would be in it. In this case, it’s just a picture of Josh Tongue bowling at Lord’s Cricket Ground.
  6. Caption. The line under the picture usually repeats the headline again in different words, and there’s usually a credit for the photographer who took the picture or the agency that provided it. In this case, you can see it was Philip Brown via Getty Images.
  7. Lede. The first paragraph is called the ‘lede’ for historical reasons that aren’t important now! It usually repeats the headline with a bit more explanatory detail, including the five Ws:
    Who?
    What?
    Where?
    When?
    Why?
  8. Other paragraphs. There’s no set number of paragraphs for a newspaper article, so you’ll need to check the question to work out how much to write. However, most newspaper articles include the most important information at the top of the article and less important details further down. These usually include a mix of the following:
    • Background. This is not part of the actual story, but it helps explain what’s going on. For example, in the second paragraph of this article, we find that ‘Tongue has never played at Lord’s before’.
    • Interviews. The usual sources journalists use to back up a story are interviews with the people concerned. In political stories, you might find quotations from both sides of a controversial argument. In this case, all we see is a short quotation from Chris Woakes, who ‘spoke of a “dark” summer in 2022’.
    • Statistics. Another way to confirm a story is by using numbers. This is common in articles about economics. However, in this case, we find that Woakes ‘averages 61.2 with the bat and 11.3 with the ball’.
    • Anecdotes. Journalists often try to ‘hook’ the reader or generate an emotional reaction by telling a story. In this case, we hear how Woakes ‘was sidelined by a knee injury and wondered if he would add to his 45 Test caps’.

Conventions

Every newspaper has a ‘style guide’ that helps journalists decide how to write the story. These cover all kinds of grammatical points, including such things as how to capitalise words or where to use commas. Here are a couple of common usages:

  • Use people’s full names (and titles) when first mentioning them in the article. After that, just use their surnames. In this article, for instance, it’s ‘Josh Tongue’ in the first paragraph but ‘Tongue’ after that.
  • Use ‘elegant variation’ to avoid repeating people’s names too often. It can get a bit repetitive to use people’s names all the way through an article, so it’s normal to think of different ways to refer to them. In this article, Chris Woakes is referred to as the ‘seasoned international and Lord’s specialist’.
  • Treat what interviewees say as quotations rather than speech. That means you don’t need to put a comma before the spoken words, as with the word “dark” in this example. It also means you have to put the full-stop after the speech marks and not before.
  • Don’t write in the first person. Unless you’re supposed to be a columnist writing an opinion piece, you shouldn’t use the words ‘I’ or ‘me’.

Sample Questions

  1. Write a news article about a natural disaster, such as an earthquake, volcanic eruption or tsunami.
  2. Write a sports report about a football match.
  3. Write an article about the importance of saving the planet.
  4. Write a restaurant review.
  5. Write an obituary for a famous person who’s just died. 

     

     

     

    If you’re looking for past papers with answers, especially in the run-up to 11+/13+ exams, GCSEs or A-levels, you can visit my Past Papers page and subscribe for just £37.99 a year.

Homophones

Homophones are words that sound the same even though they’re spelt differently and mean different things. Getting them right can be tricky, but it’s worth it in the end.

The reason why homophones are important is not just to do with the general need to spell correctly. Many people think getting them wrong is a ‘worse’ mistake than simply mis-spelling a word because it means that you don’t really know what you’re doing. Anyone can make a spelling mistake, but using completely the wrong word somehow seems a lot worse. That may not sound fair, but that’s just how a lot of people think, so it’s worth learning the common homophones so you don’t get caught out.

Here’s a list of the main ones:

Spellings Meanings
a lot/allot much/distribute
ad/add notice/put together
ads/adds/adze notices/puts together/type of axe
aid/aide help/assistant
ail/ale trouble (verb)/beer
air/heir atmospheric gas/inheritor
aisle/isle/I’ll corridor/island/I will
all ready/already everything set/by a certain time
all together/altogether everyone in the same place/absolutely
all/awl totally/piercing tool
allowed/aloud permitted/out loud
alter/altar change/church table
ant/aunt insect/parent’s sister or brother’s wife
arc/ark part of circle/Biblical boat
assent/ascent agreement/rise
assistance/assistants help/helper
ate/eight consumed/8
aural/oral to do with hearing/to do with mouths
away/aweigh off/up (eg anchors aweigh)
ay/aye/eye/I yes/yes/organ of sight/1st person
bail/bale scoop water out/jump out
bait/bate food on hook/hold (eg bated breath)
ball/bawl sphere/
band/banned group/illegal
bard/barred poet/banned
bare/bear naked/tolerate or grizzly
baron/barren lord/arid
base/bass foundation/low note
be/bee exist/flying insect
beach/beech sandy area/type of tree
beat/beet hit/beetroot
beau/bow male admirer/bend down or front
bell/belle musical instrument/pretty girl
berry/bury fruit/inter
berth/birth sleeping place/arrival of baby
billed/build invoiced/construct
bite/byte nibble/unit of data
blew/blue forced air/colour
bloc/block group of countries/cuboid
boar/bore wild pig/boring person
board/bored flat object/weary
boarder/border lodger/edge
bode/bowed imply/curved
bolder/boulder braver/rock
born/borne created/tolerated
bough/bow branch/bend down or front of ship
boy/buoy male child/floating marker
brake/break slow down/shatter
breach/breech gap/part of gun
bread/bred food made with yeast/brought up
brewed/brood fermented/family
brews/bruise ferments/scar
bridle/bridal leather strap/to do with brides
broach/brooch open (a question)/piece of jewellery
browse/brows look through/hair above the eyes
but/butt although/water tank
buy/by/bye purchase/by means of/goodbye
cache/cash hidden hoard/notes and coins
callous/callus heartless/blister
cannon/canon gun/collection of artistic works
canvas/canvass sail fabric/ask questions of
capital/capitol upper case or city/government building
carat/carrot/caret/karat weight/vegetable/arrow/share of gold
carol/carrel song/cubicle
cast/caste thrown/social class
cede/seed give up/reproductive unit
ceiling/sealing roof/making watertight
cell/sell part of body/exchange for money
cellar/seller basement/person selling
censor/sensor ban (film etc)/measurement device
cent/scent/sent US penny/perfume/dispatched
cents/scents US pennies/perfumes
cereal/serial breakfast dish/TV show
cession/session giving up/period of course
chance/chants luck/songs
chased/chaste pursued/like a virgin
cheap/cheep inexpensive/bird sound
chews/choose nibbles/select
chilly/chilli cold/hot food
choir/quire group of singers/unit of paper
chord/cord group of notes/string
chute/shoot disposal passage/take shot at goal
cite/sight/site quote/seeing/location
clause/claws paragraph/talons
coarse/course rough/track or route
colonel/kernel army rank/stone in fruit
complement/compliment go well with/say something nice
coo/coup sound of dove/revolution
core/corps centre/army unit
correspondence/correspondents letters/letter-writers
council/counsel governing body/advice
councillor/counsellor governor/advisor
creak/creek whine/stream
crews/cruise teams/voyage
cue/queue snooker tool/line of people waiting
currant/current dried fruit/electric flow
cymbal/symbol musical instrument/icon
dam/damn river barrier/damnation
days/daze 24-hour periods/confuse
dear/deer expensive/type of mammal
defused/diffused made safe/circulated
desert/dessert sandy zone/pudding
dew/do/due water on grass/finish/owed
die/dye expire/colour (verb)
discreet/discrete not talkative/separate
doe/dough/doh female dear/unbaked bread/oh, no
done/dun finished/grey-brown
draft/draught practise writing/on tap (eg beer)
dual/duel in two parts/fight with swords etc
earn/urn/ern or erne make money/vase/type of bird
ewe/you/yew female sheep/2nd person/type of tree
faint/feint lose consciousness/fake attack
fair/fare just/food
fated/feted destined/celebrated
faun/fawn rural god/beige or young deer
faze/phase  disturb/stage
feat/feet achievement/plural of foot
find/fined seek/told to pay money
fir/fur type of tree/animal hide
flair/flare talent/bullet making bright light
flea/flee type of insect/run away
flew/flu/flue past tense of fly/influenza/chimney
flocks/phlox herds/type of plant
flour/flower ingredient for bread/plant
for/four/fore to the benefit of/4/in front
fort/forte castle/speciality
forth/fourth forwards/4th
foul/fowl disgusting/birds
friar/fryer  monk/pan
gait/gate way of walking/door outside
gene/jean DNA unit/trousers
gild/guild cover in gold/organisation
gilt/guilt covered in gold/having done wrong
gored/gourd holed/fruit or water container
gorilla/guerrilla type of ape/freedom fighter
grate/great fireplace/grand
grease/Greece lubrication/a country
groan/grown moan/past tense of grow
guessed/guest past tense of guess/invitee
hail/hale celebrate/healthy
hair/hare strands growing on head/rabbit
hall/haul room/pull
hangar/hanger storage for aircraft/hook in wardrobe
hay/hey dried grass/oy
heal/heel/he’ll make well/back of foot/he will
hear/here listen/in this place
heard/herd past tense of hear/group of animals
heed/he’d pay attention to/he would or he had
hertz/hurts frequency unit/causes pain
hew/hue/Hugh cut/colour/a name
hi/high hello/raised
higher/hire more raised/rent
him/hymn a pronoun/religious song
hoard/horde collection/mass of people
hoarse/horse rough (of voices)/an animal
hoes/hose garden tools/tube
hold/holed keep or carry/past tense of hole
hole/whole space/entire
holey/holy/wholly with holes/sacred/completely
hour/our 60 minutes/a pronoun
humorous/humerus funny/arm bone
idle/idol lazy/religious statue
illicit/elicit illegal/draw out
in/inn inside/hotel
instance/instants example/moments
intense/intents fierce/purposes
it’s/its it is/belonging to it
jam/jamb fruit spread/door frame
kernel/colonel core/army rank
knap/nap crest/doze
knead/kneed/need mix dough/hit with knee/require
knight/night warrior/dark time
knit/nit fit together/egg of louse
knot/not tied rope/negative
know/no/Noh be aware of/negative/type of drama
knows/nose is aware of/facial feature
laid/lade past tense of lay/load ship
lain/lane past participle of lay/alley
lay/lei place/flower necklace
leach/leech leak/blood-sucking worm
lead/led heavy metal/past tense of lead
leak/leek drop out/vegetable
leased/least past tense of lease/superlative of less
lee/lea shadow of wind/meadow
lessen/lesson make less/teaching session
levee/levy embankment/tax
liar/lyre person who lies/musical instrument
license/licence permit (verb)/permission
lichen/liken mould/compare
lie/lye falsehood/alkali solution
links/lynx connections/wild cat
load/lode put into/vein of metal in ground
loan/lone lending/single
locks/lox secures/smoked salmon (American)
loot/lute money/musical instrument
made/maid created/young woman
mail/male post/masculine
main/mane/Maine chief/hair/state in USA
maize/maze corn/labyrinth
manner/manor way/lord’s house
mantel/mantle mentalpiece/coat
marshal/martial army rank/to do with war
massed/mast brought together/upright post on ship
maybe/may be perhaps/might be
meat/meet/mete type of food/get together/distribute
medal/meddle award/interfere
metal/mettle shiny material/spirit
might/mite may/tiny spider
mince/mints ground beef/plural of mint
mind/mined brain/dug up
miner/minor/mynah digger/junior/type of bird
missed/mist past tense of miss/fog
moan/mown groan/past participle of mow
mode/mowed way/past tense of mow
moose/mousse elk/foam
morn/mourn morning/regret
muscle/mussel part of body/sea creature
mustard/mustered spicy dressing/broughted together
naval/navel to do with the navy/belly button
nay/neigh no (dated)/sound of horse
none/nun not one/female monk
oar/or/ore blade/alternatively/metal source
ode/owed poem/due
oh/owe/o ah/have a debt of/oh (poetic)
overseas/oversees foreign/manages
pail/pale bucket/faint
pain/pane ache/window panel
pair/pare/pear couple/shave/type of fruit
palate/palette/pallet part of mouth/artist’s tray/platform
passed/past past tense of pass/in the past
patience/patients tolerance/people in hospital
pause/paws break/animal hands and feet
pea/pee vegetable/urinate
peace/piece harmony/bit
peak/peek/pique summit/look quickly/annoyance
peal/peel sound of bells/take skin off
pearl/purl precious stone/knitting stitch
pedal/peddle foot lever/sell
pedalled/peddled cycled/sold
peer/pier look carefully/jetty
per/purr for each/sound of a cat
pi/pie 3.14/dish topped with pastry
plain/plane unexciting/2D object
pleas/please requests (noun)/if it pleases you
plum/plumb type of fruit/measure water depth
pole/poll rod/election or survey
pore/pour concentrate on/flow
practice/practise rehearsal/rehearse
pray/prey talk to God/victim
presence/presents being somewhere/gifts
prince/prints son of monarch/printed photographs
principal/principle main/rule of conduct
profit/prophet money made/religious seer
rack/wrack wire tray/shipwreck
rain/reign/rein water from clouds/rule/control strap
raise/rays/raze lift/plural of ray/destroy
rap/wrap hit/pack up (eg a present)
rapped/rapt/wrapped past tense of rap/spellbound/past tense of wrap
read/red past tense of read/scarlet
read/reed study/type of plant
real/reel genuine/cylinder for fishing line etc
reek/wreak smell bad/cause
rest/wrest relax/wrench away
retch/wretch vomit/poor soul
review/revue look over/stage performance
right/rite/write correct/ritual/form Leopardtters
ring/wring sound of bell/squeeze out water
road/rode/rowed street/past tense of ride/past tense of row
roe/row female deer/use oars
role/roll part in play/type of bread
root/route part of plant/roads to take
rose/rows type of flower/tiers
rote/wrote repetition/past tense of write
rough/ruff coarse/Elizabethan collar
rung/wrung past tense of ring/squeezed water out
rye/wry cereal plant/mocking
sail/sale canvas propulsion/selling
scene/seen situation/past tense of see
scull/skull row alone/head of skeleton
sea/see ocean/be aware of
seam/seem sewn connection/appear
seas/sees/seize oceans/is aware of/grab
serf/surf agricultural worker/waves
sew/so/sow connect with thread/thus/plant
shear/sheer cut/complete
shoe/shoo footwear/chase away
side/sighed edge/past tense of sigh
sighs/size breathes out/dimensions
slay/sleigh kill/sled
sleight/slight deceptive skill/faint
soar/sore rise/painful
soared/sword past tense of soar/bladed weapon
sole/soul only/spirit
some/sum a few/total
son/sun male child/star in the sky
staid/stayed unadventurous/past tense of stay
stair/stare step/look hard
stake/steak wooden post/joint of meat
stationary/stationery motionless/writing materials
steal/steel run off with/metal compound
step/steppe stair/European plains
stile/style fence steps/manner
straight/strait not bending/narrow strip of water
suite/sweet hotel rooms/sugary
summary/summery brief account/to do with summer
surge/serge rush/type of cloth
tacks/tax nails/levy
tail/tale back end/story
taught/taut past tense of teach/tight
tea/tee meal/golf ball holder
team/teem group of players/swarm
tear/tier teardrop/row
tern/turn type of bird/go round a corner
their/there/they’re belonging to them/in that direction/they are
theirs/there’s the one belonging to them/there is
threw/through past tense of throw/in and out of
thrown/throne past participle of throw/royal chair
thyme/time type of herb/progress of days or years
tic/tick habit/mark (if correct)
tide/tied flow of water/past tense of tie
to/too/two towards/as well/2
toad/towed frog/past tense of tow
toe/tow part of foot/pull
told/tolled past tense of tell/rang
trussed/trust bound (with rope)/belief
vain/vane/vein proud/fin/artery
vale/veil valley/lace face covering (for brides etc)
vial/vile test tube/evil
wade/weighed walk in water/past tense of weigh
wail/whale howl/type of ocean mammal
waist/waste middle of body/use carelessly
wait/weight delay or stay/mass
waive/wave give up/breaker
ware/wear/where pottery/put on clothes/which place
way/weigh/whey manner/measure weight/part of milk
ways/weighs manners/measures weight
we/wee pronoun/urination or little
weak/week feeble/seven days
weather/whether climatic conditions/if
we’d/weed we would or we had/unwanted plant
we’ll/wheel we will or we shall/round component
wet/whet liquid/sharpen
we’ve/weave we have/make cloth
which/witch pronoun/wizard
while/wile as/ruse or cunning plan
whine/wine whimper/alcoholic grape drink
who’s/whose who is or who has/of whom the
wood/would tree material/conditional marker
yoke/yolk part of plough/yellow part of egg
yore/your/you’re former times/belonging to you/you are
you’ll/Yule you will or you shall/Christmas

 

 

 

 

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Verbal Reasoning

Verbal Reasoning

Verbal Reasoning (VR) tests were invented to test pupils’ logic and language skills – although they do sometimes includes questions about numbers. In order to do well in a VR test, the most important thing is to be systematic, to have a plan for what to do if the question is hard.

Fortunately, there are plenty of past papers available online (including on this website!), so the types of question are well known. Here is a guide to the different kinds of problems and the best ways to approach them. I’m sorry that there are so many, but it’s best to be ready for anything…!

First of all, let’s just talk briefly about exam technique. Verbal Reasoning tests are always multiple choice, so it’s very important to answer every question. If you don’t know the answer, you should work by process of elimination until you have as few options left as possible and then guess.

Guessing is fine in Verbal Reasoning: the only thing worse than a wrong answer is no answer at all! You can then mark those questions by circling or underlining the question numbers or putting an asterisk next to them so that you can easily review your guesses if you have any time left after finishing the paper.

It’s very tempting to give up when you see a difficult question, but that won’t get you any marks. Having said that, you shouldn’t spend too long on the hardest questions. In general, you get around 40-60 seconds for each question, so you should be prepared to guess after roughly that amount of time. 

Another part of exam technique is to read the questions carefully. You’re never going to get the right answer to the wrong question, so feel free to read the question again if you’re not quite sure what it means.

Muddled Words (Anagrams)

Anagrams are words in which the letters have been muddled up. A typical question asks you to complete a sentence by putting the letters of one of the words in the correct order.

The easiest way to do this is to write out all the letters in a three-by-three grid (or a circle). That way, you force your brain to look for new possibilities rather than focusing too much on what’s there already.

For example, if you’re told that ‘A hammer is used to drive in SLAIN’, you don’t want to think about the word ‘SLAIN’ because you know it’s not the right answer, so you should write the letters out in a grid like this:

     A
S   N    L
      I

Write the letters out in pairs from the original word, making sure each pair is on opposite sides of the grid, ie the S and L are on the left and right, the A and I are top and bottom and the N is on its own, so you can put it in the middle. Obviously, there might be gaps in the grid, but that’s fine.

Once you’ve completed the grid, think about the context of the sentence. What would make sense? In this case, what would a hammer be hitting? Sometimes, it’s so obvious you don’t need to worry about the anagram, but if it’s not, try to think of words that would make sense beginning with each possible letter. 

Insert a Letter

One common type of question asks you to say which letter will start and finish two pairs of words, eg PRES( )TAND and WIND( )TAIN. Sometimes the answer is obvious (‘S’ in this case), but, if it’s not, the best thing to do is to look at all four words one after the other to see which letter might fit and then try that letter in the other words.

If that doesn’t work, you should at least be able to work out if it’s a vowel or a consonant that’s missing, and it’s also useful to know the most common letters in the English language, which are (in order) E, T, A, O, N, I, R, S and H.

Finally, you might just have to go through every letter of the alphabet, but there are only 26, so it shouldn’t take too long! Bear in mind that there are different ways of pronouncing letters and different places to put the emphasis, so try writing down the likely options as well as saying them in your head.

Find the Odd Words

In this kind of question, you’re given five words, and you have to spot the two that don’t fit with the others, eg Lorry, Helicopter, Taxi, Bus, Plane. The best way is to try and find the three words that go together – whatever is left must be the odd ones out.

Don’t just try to find a pair of words that go together. If you do, you might get the answer wrong if there’s another word that goes with them. You might also get it wrong because the ‘odd ones out’ don’t have anything in common. In this case, ‘Helicopter’ and ‘Plane’ ARE related, but they don’t have to be.

If there are one or more words you don’t know, you can at least work out which parts of speech they are. Once you know that, you will probably be able to see which ones belong together. For example, look at this list of words: spade, dig, cultivate, grow, bulb.

If you don’t know what ‘cultivate’ means, you should write down ‘noun’ next to spade and bulb and ‘verb’ next to dig and grow. After that, you can ask yourself if spade and bulb have anything in common. They don’t, but dig and grow do, so that means ‘cultivate’ must belong with them, and the odd ones out must be spade and bulb.

Alphabet Codes/Code Words

Here, you’ll be asked either to put a word into code or to decode a word. To do that, you’ll be given a word and the coded version, and it’s up to you to work out how the code works, eg STRAW might become UVTCY.

Normally, you just have move one or two spaces forwards or backwards in the alphabet (in this case, it’s +2), but look out for other combinations. They might involve changing direction or a change to the number of spaces or a combination of both, eg -1, +2, -3, +4.

The good news is that you’ll usually have an alphabet printed next to the question, so you can put your pencil on a letter and ‘walk’ forwards or backwards to get the coded version, but you can also write down the code underneath the word and write down how to get each letter with a positive or negative number – just make sure you don’t get confused between coding and decoding!

Synonyms (Similar Meaning)

Synonyms are words that have similar meanings, such as cold and chilly. In synonym questions, you’re given two groups of three words, and you have to find two synonyms, one from each group, eg (FILTER MATCH BREAK) (DENY DRAIN CONTEST).

The first thing to do is to have a quick look at all the words to see if the answer’s obvious (MATCH and CONTEST, in this case). If it is, write it down. If it’s not, you have to be systematic: start with the first word in the first group and compare it with the first, second and third words in the other group. If that doesn’t work, repeat for the second and third words of the first group.

Just be careful to think about ALL the possible meanings of a word, eg ‘minute’ can mean 60 seconds, but it can also mean very small! If you still can’t do the question (because you don’t know one or more of the words), try to work by process of elimination.

That means narrowing down the options by getting rid of any pairs of words that definitely don’t mean the same. Once you’ve done that, feel free to guess which one of the leftover pairs is the answer.

One way of checking words mean the same thing is to think of a phrase or sentence containing one of them and then try substituting all the other options. For example, if the words are (cook, meal, room) and (oven, space, eat), start with ‘I like to cook dinner’ and then try all three of the other words.

Does ‘I like to oven dinner’ mean the same? What about ‘I like to space dinner’ or ‘I like to eat dinner’? If none of the words fits exactly, then move on to the next word in the left-hand bracket and then the last one, if necessary. In the end, you should find the answer, which in this case is ‘room’ and ‘space’.

You can also narrow down the options by checking the parts of speech. If you’re looking for a word that means the same, it will have to be the same part of speech as the other word, eg a noun, verb or adjective.

Hidden Words

These questions ask you to find ‘hidden’ four-letter words between two other words in a sentence, using the last few letters from one word and the first few from the next, eg ‘The bird sat on the roof’.

Again, scan the sentence quickly to see if the answer’s obvious. If it is, write it down. If it’s not, check every possibility by starting with the last three letters of the first word and the first letter of the second word, moving forward one letter at a time and then checking the next pair of words.

You might want to put your fingers on each pair of words with a four-letter gap in the middle so that you can see all the options as they appear just by moving your fingers along the line. In this example, the possible words are theb, hebi, ebir, irds, rdsa, dsat, sato, aton, tont, onth, nthe, ther, hero and eroo, so the answer is obviously ‘hero’, but note that ‘tont’ is spread over three words (sat, on and the), and some words are not long enough to have the usual number of possibilities.

Find the Missing Word

These questions ask you to find a missing set of three letters that make up a word, eg There is an INITE number of stars in the sky. First of all, look at the word in capitals and try to work out what it’s meant to be in the context of the rest of the sentence.

If it’s not obvious, try working out where the letters might be missing – is it after the first letter or the second or the third etc? Sometimes you might not know the word (‘INFINITE’ and therefore ‘FIN’ in this case), but, again, it’s worth a guess – just make sure your made-up word sounds reasonable!

Algebra (Calculating with Letters)

This is one type of question that’s easier if you’re good at Maths! Algebra uses letters to stand for numbers and is a way of creating useful general formulas for solving problems. In Verbal Reasoning tests, you’ll generally have to add, subtract, multiply and/or divide letters, eg A = 1, B = 2, C = 3, so what is A – B + C?

The first step is to convert the letters to numbers, and then you can simply work out the answer as you would in Maths. Just make sure you’re aware of BIDMAS/BODMAS. This is an acronym that helps you remember the order of operations: Brackets first, then Indices/Order (in other words, powers such as x squared), then Division and Multiplication and lastly Addition and Subtraction.

Note that addition doesn’t actually come before subtraction – they belong together, so those sums should be done in the order they appear in the question, eg in this case, A – B must be done first (1 – 2 = -1) and then C added on (-1 + 3 = 2).

Antonyms (Opposite Meaning)

Antonyms are words that have opposite meanings, such as hard and soft. In antonym questions, you’re given two groups of three words, and you have to find two antonyms, one from each group, eg (GROW WATER WILD) (SLICE FREE TAME).

The first thing to do is to have a quick look at all the words to see if the answer’s obvious (WILD and TAME, in this case). If it is, write it down. If it’s not, you have to be systematic: start with the first word in the first group and compare it with the first, second and third words in the other group.

If that doesn’t work, repeat for the second and third words of the first group. Just be careful to think about ALL the possible meanings of a word, eg ‘minute’ can mean 60 seconds, but it can also mean very small!

If you still can’t do the question (because you don’t know one or more of the words), try to work by process of elimination. That means narrowing down the options by getting rid of any pairs of words that definitely don’t mean the opposite to each other. Once you’ve done that, feel free to guess which one of the leftover pairs is the answer.

Complete the Calculation

This is another number question, and it again means you need to know BIDMAS/BODMAS. You’ll be given an equation (or number sentence), and you just have to fill in the missing number to make sure it balances, eg 24 – 10 + 6 = 8 + 7 + ( ).

First of all, work out what the complete side of the equation equals, and then add, subtract, divide or multiply by the numbers in the other side to work out the answer (in this case, 24 – 10 + 6 = 20, and 20 – 8 – 7 = 5, so 5 is the answer). Don’t forget you’re working backwards to the answer, so you have to use the opposite operators!

Rearrange to Make Two New words

In these questions, you’re given two words, and you have to take a letter from the first word and put it in any position in the second word to leave two new words, eg STOOP and FLAT.

Again, check first to see if the answer’s obvious, but then work through systematically, picking letters from the first word one by one and trying to fit it into each position in the second word. (In this case, the answer is STOP and FLOAT.) Remember that both the new words must make sense!

Number Relationship

This is another Maths question in which you’ll be given three sets of numbers in brackets with the middle one in square brackets. The middle number in the final set is missing, though, so you have to calculate it using the two on either side, based on what happens in the first two sets, eg (3 [15] 5) (2 [8] 4) (7 [ ] 3).

The calculation will only involve the four basic operations (addition, subtraction, multiplication and division), but it gets much harder when the numbers appear more than once!

In this example, all you need to do is multiply the outside numbers to get the answer (3 x 5 = 15 and 2 x 4 = 8, so 7 x 3 = 21), but you might get more complicated questions like this one: (16 [40] 8) (11 [27] 5) (4 [ ] 11). Here, you have to add the first number to itself and then add the other one (16 + 16 + 8 = 40 and 11 + 11 + 5 = 27, so 4 + 4 + 11 = 19).

These kinds of questions can be very difficult, so try not to spend too long on them. If it takes more than a minute or so to answer a question, it’s time to move on. You can always come back later if you have time at the end of the test.

Alphabet Series/Sequence

These questions are a variation on number sequences in Maths – except using letters – and you answer them in the same way. You’re presented with several pairs of letters, and you have to fill in the blanks by working out what the patterns are, eg AB BD CF ??.

The best way to do this is to focus on the first and second letters of each pair separately as there will always be a pattern that links the first letters of each pair and a pattern that links the second letters of each pair, but there usually won’t be a pattern that links one letter to the next.

There’ll be a printed alphabet next to the question, so just do the same as you would for a number sequence question in Maths, drawing loops between the letters and labelling the ‘jump’ forwards or backwards in the alphabet, eg +1 or -2. Once you know what the pattern is, you can use it to work out the missing letters.

Just watch out for sequences with two patterns mixed together, eg CD TS GH RQ KL PO ?. Here, the first, third and fifth pairs of letters make up the sequence (with two letters missing between each pair), so the answer is OP. 

Analogies (Complete the Sentence)

In this type of question, you’re given a sentence that includes three possibilities for two of the words. You have to use logic and common sense to work out what the two other words should be, eg Teacher is to (bus, school, kitchen) as doctor is to (office, train, hospital).

This is known as an analogy: you have to work out the relationship of the first word to one of the words in the first set of brackets in order to find the same relationship in the second half of the sentence.

Again, the best way to do it is to have a quick scan to see if the answer’s obvious. If it is, write it down. If it’s not, go through the possibilities one by one, making sure to put the relationship into words. In this example, a teacher ‘works in a’ school, and a doctor ‘works in a’ hospital, so ‘school’ and ‘hospital’ are the answer.

Word Codes

These are complicated! You are given four words and three codes, and you have to find the code for a particular word or the word for a particular code, eg TRIP PORT PAST TEST and 2741 1462 1851.

Unfortunately, there’s no set way of doing these kinds of questions, so you just have to use a bit of logic and common sense. It’s useful to remember that each letter is always represented by the same number, so you can look for patterns in the letters that match patterns in the numbers, eg a double T in one of the words might be matched by a double 3 in one of the codes, so that means T = 3, and you can also find out the numbers for all the other letters in that word.

In this example, TEST starts and finishes with the same letter, and 1851 starts and finishes with the same number, so TEST = 1851, which means T = 1, E = 8 and S = 5. You can then fill in those numbers for each of the remaining words, so TRIP = 1???, PORT = ???1 and PAST = ??51.

Next, you should be able to see that the letter R is the second letter in TRIP and the third in PORT, and that’s matched by the number 4, which is the second number in 1462 and the third in 2741.

That means R = 4, which means TRIP = 14??, PORT = ??41 and PAST = ??51. The only code starting with 14 is 1462, so TRIP = 1462, and the only code ending with 41 is 2741, so PORT = 2741 and the only code ending with 51 is 2351, so PAST = 2351. If PAST = 2351, that also tells us that A must equal 3, so you now know what each letter stands for, and you can answer any possible question they might throw at you. Phew!

Complete Word Pairs

These questions are similar to word codes but, fortunately, much easier! You are given three pairs of words in brackets, and you have to work out the missing word at the end by what has gone before, eg (SHOUT, SHOT) (SOLDER, SOLE) (FLUTED, ).

The best way to go about it is to write down the position of the letters in the second word of the first two sets of brackets as they appear in the first.

In other words, the letters from SHOT appear in positions 1, 2, 3 and 5 in the first word, and the letters from SOLE also appear in positions 1, 2, 3 and 5 in the first word, so the missing word must consist of the same letters from FLUTED, which means it must be FLUE.

Now, you may not know that a flue is a kind of chimney, but don’t let that put you off. Just make sure you’ve got the right letters, and the answer must be right – even if you’ve never heard of it!

Another variation on this type of question contains a string of letters that appears in both words of each pair, just with a different letter or letters to start, eg (BLOAT, COAT) (CLING, DING) (SHOUT).

The easy bit is to find the repeated set of letters (in this case OAT) and to see that the second letter is dropped each time, but you still need to work out why the first letter changes (from B to C and then C to D).

That shouldn’t be too hard to work out, though, if you just go through the alphabet to find how many positions forwards or backwards you have to go (in this case, it’s +1, so the answer is TOUT).

Number Series/Sequences

These questions provide you with a series of numbers and ask you to fill in the blanks, which might be anywhere in the sequence, eg 1, 3, 5, 7, ?, ?. As with alphabet series, the best way to find the answer is to draw a loop between each pair of numbers and write down the change in value.

In this case, it’s simple (+2 each time), so the answer is 9 and 11, but look out for more complicated sequences. It’s worth knowing the most common sequences, just so you can recognise them at once and don’t have to work them out. Here are a few of the commonest ones:

Even numbers: 2, 4, 6, 8 etc… Rule: 2n
Odd numbers: 1, 3, 5, 7 etc… Rule: 2n – 1
Powers of 2: 2, 4, 8, 16 etc… Rule: 2ⁿ
Prime numbers: 2, 3, 5, 7 etc… Rule: n/a (each number is only divisible by itself and one)
Square numbers: 1, 4, 9, 16 etc… Rule: n²
Triangular numbers: 1, 3, 6, 10 etc… Rule: sum of the numbers from 1 to n
Fibonacci sequence
: 1, 1, 2, 3 etc… Rule: n₋₂ + n₋₁ (ie each successive number is produced by adding the previous two numbers together, eg 1 + 1 = 2, 1 + 2 = 3)

Things get trickier when the sequence is actually a mixture of two separate sequences, eg 1, 3, 2, 5, 3, ?, ?. Here, the integers (1, 2, 3 etc) are mixed in with odd numbers starting with 3 (3, 5 etc), so you can’t simply find the difference between one number and the next – you have to look at every other number.

In this example, the first missing number is the next integer after 1, 2 and 3, which is 4, and the second one is the next odd number after 3 and 5, which is 7.

Compound Words (Form New Word)

Here, you’re given two groups of three words, and you have to make a word by adding one from the first group to one from the second, eg (sleek pain seek) (search green killer).

Again, it’s important to be systematic, so you have to start with the first word in the first group and try to match it with each word in the second group. If that doesn’t work, repeat as necessary for the next two words in the first group. In this case, ‘pain’ goes with ‘killer’ to make ‘painkiller’.

Create a Word (from the Letters of Two Others)

These questions give you two groups of three words with the middle one in brackets in the first group and missing in the second, eg arise (rage) gears paste ( ) moans. What you have to do is work out what the missing word is by finding where the letters in the word in brackets in the first group come from.

They are all taken from the words outside the brackets, so it’s just a case of working out which letter in the words outside the brackets matches each letter in the word inside the brackets. Your best bet is to write down the second group of words underneath the first and go through each letter one by one.

Just look out for letters that either appear twice in one of the words or letters that appear in both words outside the brackets. Those will obviously give you two different possible letters for the answer word, so you should probably write both of them one above the other until you’ve worked everything out and then simply choose the one that makes a proper word.

In this example, the R from ‘rage’ might come from ‘arise’ or ‘gears’, so the first letter of the answer word is going to be either the second letter of ‘paste’ (A) or the fourth letter of ‘moans’ (N). The same is true of the A and E in ‘rage’. Once you work it all out, the letters are a or n, p or a, m and e or o, and the only sensible word is ‘name’.

Similar Meaning

These questions are slightly different from the synonym questions in that you have to choose a word out of five that has some similarity to or relationship with two pairs of words in brackets, eg (alter, amend) (coins, money) repair, trial, revue, change, passage.

The two pairs of words in brackets usually have different meanings, so you have to look for a word with a double meaning. Again, have a quick look at all the words to see if the answer’s obvious. If it is, write it down. If it’s not, go through the five words one by one, comparing them to the words in brackets.

It’s important to be open to the possibility of different meanings, so try to think laterally. In this example, for instance, the answer is ‘change’ as it can work as a verb meaning ‘alter’ or ‘amend’ but also as a noun meaning ‘coins’ or ‘money’.

Letter Relationships

For these questions, you’re given a sentence that describes the relationship between two pairs of letters – a little bit like the sentence analogies earlier. The final pair of letters is missing, so you have to work out what they are by finding the relationship between the first two pairs, eg CG is to ED as BW is to ( ).

You should see an alphabet line to help you. The first relationship to look at is between the first letter of the first two pairs. In this case, you get from C to E by moving forward two places in the alphabet.

That means you need to move two places on from B to get the first letter of the missing pair, which is D. Repeat this for the second letters, and you’ll find the other half of the answer. In this case, you get from G to D by going back three places, so you have to go back the same three places from W to get T. The overall answer is therefore DT.

Comprehension

The exact format of comprehension questions differs, but you’ll usually be given a lot of information about different people, and you’ll have to find the missing data. The subject could be people’s heights or ages, or it could be a schedule of events.

For example, three children – Susan, George and Ryan – all left school at 1515 and walked home. Susan arrived home first. George arrived home five minutes later at 1530. It took Ryan 10 minutes longer than Susan to walk home. What time did Ryan get home?

The way to approach any of these questions is to build a complete picture of the situation by starting with something you know and then working from there – a bit like building a jigsaw. Start with the absolute data (about heights, ages or times) and then move on to the relative data (comparing other people’s heights, ages or times).

One thing that often helps is to draw a timeline or simply write down the names of the children in order (of height, age etc). In this example, a timeline is probably your best option, starting at 1515 when the children left school and including George getting home at 1530. You can then add in Susan’s arrival time of 1525 (as she arrived five minutes before George) and finally Ryan’s arrival time of 1535 (as he arrived 10 minutes after Susan.

 

 

 

 

If you’re looking for past papers with answers, especially in the run-up to 11+/13+ exams, GCSEs or A-levels, you can visit my Past Papers page and subscribe for just £37.99 a year.

 

Non-verbal Reasoning

Non-verbal reasoning tests are commonly found in Common Entrance exams at 11+ and 13+ level, and they’re designed to test pupils’ logical reasoning skills using series of shapes or patterns. It’s been said that they were intended to be ‘tutor-proof’, but, of course, every kind of test can be made easier through proper preparation and coaching.

Bond produces a lot of useful books of past papers, and there is also a Bond guide on How To Do Non-verbal Reasoning available from Amazon for £8.98. This article is partly a summary of that book, but it’s useful to know how Bond thinks pupils should be doing the questions as they’re the ones producing most of them!

The first thing to do is to describe the kind of questions that are involved. Here is the list taken from the back of one of the Bond papers:

  • Finding the most similar shape
  • Finding a shape within another shape
  • Finding the shape to complete the pair
  • Finding the shape to continue the series
  • Finding the code to match the shape
  • Finding the shape to complete the square
  • Finding the shape that is a reflection of a given shape
  • Finding the shape made when two shapes are combined
  • Finding the cube that cannot be made from a given net

Bond divides the questions into four different types:

  • Identifying shapes
  • Missing shapes
  • Rotating shapes
  • Coded shapes and logic

Each of these types is divided into various subtypes.

Identifying Shapes

Types of question

  • Recognise shapes that are similar and different
  • Identify shapes and patterns
  • Pair up shapes

Sample Questions

  • “Which is the odd one out?”
  • “Find the figure in each row that is most unlike the other figures.”
  • “Which pattern on the right belongs with the two on the left?”
  • “Which pattern on the right belongs in the group on the left?”
  • “Which shape is most similar to the shapes in the group on the left?”

Missing Shapes

Types of Question

  • Find shapes that complete a sequence
  • Find a given part within a shape
  • Find a missing shape from a pattern

Sample Questions

  • “Which one comes next?”
  • “Which pattern completes the sequence?”
  • “Choose the shape or pattern the completes the square given.”
  • “In which larger shape or pattern is the small shape hidden?”
  • “Find the shape or pattern which completes or continues the given series.”

Rotating Shapes

Types of Question

  • Recognise mirror images
  • Link nets to cubes

Sample Questions

  • “Work out which option would look like the figure on the left it it was reflected over the line.”
  • “Work out which of the six cubes can be made from the net.”

Coded Shapes and Logic

Types of Question

  • Code and decode shapes
  • Apply shape logic

Sample Questions

  • “Each of the patterns on the left has a two-letter code. Select the correct code for the shape on the right following the same rules.”
  • “Select the code that matches the shape given at the end of each line.”
  • “Which one comes next? A is to B as C is to ?”
    “Which pattern on the right completes the second pair in the same way as the first pair? A is to B as C is to ?”

Hints and Tips

The Bond book goes into great detail about how to answer each individual type of question, but here we’ll only look at a few key things to look for:

  • Function
  • Location
  • SPANSS
  • Story
  • Symmetry
  • Nets
  • Process of elimination

When looking for similarities between shapes, one thing to think about is the ‘function‘ of the objects shown. In other words, what are they for? If all but one of the drawings show kitchen equipment, then the bedside lamp must be the odd one out.

Another way of looking at it is to think about the ‘location‘ of the objects shown. Where would you usually find them? If there is a rolling pin together with a lot of tools you’d find in the garage, then the tools ‘belong’ together in the same set.

Another useful way of working through a question is to use ‘SPANSS‘, which stands for Shape, Position, Angle, Number, Shading and Size (NOT ‘sides’, as some people have written online!). This is a list of all the possible things that can change in a diagram.

Non-verbal Reasoning questions demand that you’re very disciplined, logical and systematic when working through all the possibilities, so it’s useful to have a mnemonic such as SPANSS to help you tick off all the options.

If none of those works, another thing you can look for is a ‘story‘? For example, do the pictures show the steps you take to get ready for school in the morning, such as getting up, brushing your teeth, getting dressed and having breakfast?

You should also look out for ‘symmetry‘. Could the images be reflections of each other, or could they show rotational symmetry – in other words, has one pattern simply been turned upside-down or turned 90 degrees?

When trying to work out which two-dimensional nets could form which three-dimensional cubes, here are a few tips:

  • If the net has four squares in a row, try to imagine those wrapping round the four sides of a cube with top and bottom flaps that need to be folded over.
  • If the squares on the net share a long edge, they have to share the same edge in the cube (and vice versa).
  • You don’t always need to work out every side. If the question asks which cube can be made from a net (or vice versa), all you need is one side that doesn’t work to cross it off the list.

Finally, it’s a good idea to work by process of elimination. Just cross off all the answers that can’t be right until you’re left with only one. As Sherlock Holmes once said to Doctor Watson, “When you have eliminated the impossible, whatever remains, however improbable, must be the truth.”

I hope this brief outline has been useful. Beyond that, practice makes perfect, and a few lessons with a private tutor wouldn’t go amiss either…!

 

 

 

 

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Creating Off-the-shelf Characters

Common entrance exams have a time limit. If they didn’t, they’d be a lot easier! If you want to save time and improve your story, one thing you can do is to prepare three ‘off-the-shelf’ characters to choose from.

You can work on them beforehand, improving them and memorising them as you go. By the time the exam comes around, it’ll be easy to dash off 8-10 lines about one of your favourite characters without having to spend any time inventing or perfecting them.

Here’s what you need to do.

The first thing to say is that you need your characters to be a little out of the ordinary. Most pupils writing stories tend to write about themselves. In other words, 10-year-old boys living in London tend to write stories about 10-year-old boys living in London!

Now, that’s all very well, and the story might still get a good mark, but what you want to try and do is stand out from the crowd. Why not write a story about an 18-year-old intern at a shark research institute in the Maldives?!

To decide which one you’d rather write about, you just have to ask yourself which one you’d rather read about. One thing you can do to make sure your characters are special is to give them all what I call a ‘speciality’ or USP (Unique Selling Proposition).

It might be a superpower such as X-ray vision or mind-reading, or it might be a special skill such as diving or surfing, or it might be a fascinating back-story such as being descended from the Russian royal family or William Shakespeare – whatever it is, it’s a great way to make your characters – and therefore your stories – just that little bit more interesting.

Secondly, you should also make sure all your characters are different. Try to cover all the bases so that you have one you can use for just about any story. That means having heroes that are male and female, old and young, from different countries and different historical periods and with different looks, personalities and USPs.

For instance, Clara might be the 18-year-old intern at a shark research institute in the Maldives, Pedro might be the 35-year-old Mexican spy during the Texas Revolution of 1835-6, and Kurt might be the 60-year-old Swiss inventor who lives in a laboratory buried deep under the Matterhorn! Who knows? It’s entirely up to you.

Thirdly, creating an off-the-shelf character is a great way to force yourself to use ‘wow words’ and literary techniques such as metaphors and similes. You may have learned what a simile is, but it’s very easy to forget to use them in your stories, so why not describe one of your heroes as having ‘eyes as dark as a murderer’s soul’?

If you use the same characters with similar descriptions over and over again, it’ll become second nature to ‘show off’ your knowledge, and you can do the same with your vocabulary. Again, why say that someone is ‘big’ when you can say he is ‘athletic’, ‘brawny’ or ‘muscular’?

Fourthly, try to stick to what you know. If you’ve never even ridden on a horse, it’s going to be quite tough to write a story about a jockey!

Alternatively, if you’ve regularly been to a particular place on holiday or met someone you found especially interesting, then use what you know to create your characters and their backgrounds. It’s always easier to describe places if you’ve actually been there, and it’s easier to describe people if you know someone similar.

So what goes into creating off-the-shelf characters? The answer is that you have to try and paint a complete picture. It has to cover every major aspect of their lives – even if you can’t remember all the details when you come to write the story. I’d start by using the following categories:

  • Name
  • Age
  • Job or education
  • Looks
  • Home
  • Friends and family
  • Personality
  • USP (or speciality)

Names are sometimes hard to decide on, so you might want to leave this one to last, but you just need to make sure it’s appropriate to the sort of character you’re creating. It wouldn’t be very convincing to have a Japanese scientist called Emily!

Age is fairly easy to decide. Just make sure your three characters are different – and not too close to your own age!

Job or education goes a long way to pigeon-holing someone. You can tell a lot from what someone does for a living or what they are doing in school or at university. You can include as much or as little detail as you like, but the minimum is probably the name and location of the school or college and what your characters’ favourite subjects are. You never know when it might come in handy!

Looks includes hair, eye colour, build, skin colour and favourite clothes. The more you describe your heroes’ looks, the easier it’ll be for the reader to imagine them.

Home can again be as detailed as you like, but the more specific the better. It’s easier to imagine the captain of a nuclear submarine patrolling under the North Pole than someone simply ‘living in London’…

Friends and family are important to most people, and it’s no different for the heroes of your stories. We don’t need to know the names of all their aunts, uncles, cousins and grandparents, but we at least need to know who they live with and who their best friends are.

Personality covers many things, but it should show what your characters are ‘like’ and what their interests are. Again, you don’t have to go into enormous depth, but it’s good to introduce the reader to qualities that might be needed later on in the story, such as athleticism or an ability to sail a boat.

USP stands for Unique Selling Point. It’s used in business to describe what makes products likely to succeed, from cars to Coke. When it comes to characters, the USP can be anything that makes them worth reading about. One of the reasons Superman is so popular is his superpowers: his ability to fly, his X-ray vision and the fact that he’s invulnerable. His greatest weakness is also important: Kryptonite. It’s the same for your characters. What can they do that most people can’t? What qualities can they show off in your stories? What will make them people we admire, respect and even love?

If you wanted to make Superman one of your off-the-shelf characters, this is what your notes might look like:

  • Name: Superman (or Clark Kent, Kal-El, The Man of Steel, The Last Son of Krypton, The Man of Tomorrow)
  • Age: Early 20s (when he first appears)
  • Job or education: News reporter at The Daily Planet in Metropolis
  • Looks: Tall, with a muscular physique, dark-haired, blue eyes
  • Home: Krypton, then the Kents’ farm in Smallville, Kansas, then Metropolis (or a fictionalised New York), where he lives in a rented apartment
  • Friends and family: Jor-El and Lara (biological parents)/Jonathan and Martha Kent (adoptive parents), Lois Lane (colleague, best friend, girlfriend), Jimmy Olsen (colleague), Perry White (boss as editor of The Daily Planet)
  • Personality: Noble, honest, caring, gentle, resolute, decisive
  • USP (or speciality): Superpowers, including invulnerability, super strength, X-ray vision, super hearing, longevity, freezing breath, ability to fly (but vulnerable to Kryptonite!)

Once you’ve created the notes for your three characters, you can write a paragraph of 8-10 lines about each of them. This is your chance to create something that you can easily slot into any of your stories, so use the past tense and stick to what the characters are like, not what they’re doing. That will be different in each story, so you don’t want to tie yourself down.

Here’s an example using Superman again:

Clark Kent led a double life. He wasn’t happy about it, but he needed his secret identity so that no one would find out who he really was. He might have been a mild-mannered reporter for The Daily Planet with a crush on his partner, Lois Lane, but he was also a crime-fighting superhero: he was Kal-El, Superman and The Man of Steel all rolled into one!

His secret was that he’d actually been born on Krypton and sent to Earth as a baby to protect him from the destruction of his home planet. He’d been found by a childless couple living on a farm in Smallville, Kansas, and Jonathan and Martha Kent had adopted him as their own.

They didn’t know where he’d come from, but they’d provided him with a loving home as they watched him grow into a blue-eyed, dark-haired, athletic young man with a passion for ‘truth, justice and the American way’.

And they soon realised he was special when they saw him lifting a tractor with one hand…! He was faster than a speeding bullet, more powerful than a locomotive and able to leap tall buildings in a single bound!
“Look! Up in the sky!”
“It’s a bird!”
“It’s a plane!”
“It’s Superman!”

Try using your characters for stories you’re asked to write by your English teacher (or tutor, if you have one). The more often you use them, the better they’ll get as you change things you don’t like about them, bring in new ideas and polish the wording.

If it helps, you could even do what one or two of my clients did for their sons, which was to feed their descriptions into an AI model to make pictures from them!

Next Steps

Try to create three off-the-shelf characters. Make them different ages, male and female and from different parts of the world. Start with the notes and then create a paragraph of 8-10 lines for each one in the past tense, ready to drop into any story…

If it helps, you could also print out a picture from the internet and put it on your wall, adding notes to it to describe all the details of the character. For example, if you like fantasy tales of ‘swords and sorcery’ and want a hero to match, you could find a warrior from a film such as The Lord of the Rings and scribble down words like ‘helm’, ‘scabbard’ and ‘jerkin’. You could even add poetic devices to describe your hero’s main characteristics, such as his ‘arms of wrought iron’ or his ‘eyes as green as emeralds’.

 

 

 

 

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John McEnroe

Describing Feelings

In many 11+ and 13+ exams, you have to talk about feelings. Yes, I know that’s hard for most boys that age, but I thought it might help if I wrote down a list of adjectives that describe our emotions. Here we go…

A bloke called Bob (actually Robert Plutchik) thought that people only ever felt eight different emotions:

His list is shown in this ‘wheel of emotions’. The basic eight feelings are:

  • Ecstasy
  • Admiration
  • Terror
  • Amazement
  • Grief
  • Loathing
  • Rage
  • Vigilance

If we had a think about all the adjectives that are associated with these categories (and sub-categories), we might come up with a list like this one:

Ecstasy

crazy
delirious
ecstatic
elated
enthusiastic
euphoric
fervent
glad
happy
joyful
joyous
mad
overjoyed
rapturous
rhapsodic
serene
thrilled
upbeat

Admiration

accepting
admiring
adoring
appreciative
loving
respectful
trustful
trusting

Terror

afraid
aghast
alarmed
apprehensive
awed
frightened
frozen
scared
submissive
terrified

Amazement

amazed
astonished
astounded
awe-struck
bewildered
dazed
distracted
dumbfounded
flabbergasted
impressed
perplexed
shocked
staggered
startled
stunned
surprised
unprepared

Grief

bitter
grief-stricken
grieving
heart-broken
melancholy
mournful
pensive
pessimistic
sad
somber
sorrowful
sorry
unhappy
wistful

Loathing

appalled
bored
disapproving
disgusted
outraged
queasy
tired
weary

Rage

angry
aggressive
annoyed
contemptuous
enraged
exasperated
furious
heated
impassioned
indignant
irate
irritable
irritated
offended
resentful
sullen
uptight

Vigilance

anxious
aware
cautious
circumspect
expectant
interested
keen
observant
optimistic
vigilant
wary

 

 

 

 

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How to Write a Letter

Writing a letter is not as easy as it might seem—especially if you have to do it during a Common Entrance exam! In this post, I’d like to explain the traditional format of formal and casual letters and the decisions on wording that you’ll have to make.

(Note that letters can also be written in various other ways, including block format. This involves aligning everything to the left and skipping a line between each paragraph.)

First of all, here’s a quick list of the main parts of a letter that the examiner will be looking at:

  • Sender’s address
  • Date
  • Greeting
  • Text
  • Sign-off
  • Signature

Sender’s Address

It’s important to put the address of the sender (not the recipient!) at the top right of the letter (see above). The postman obviously doesn’t look inside the letter, so the address of the recipient needs to go on the envelope instead!

The only exception is if it’s a business letter intended to be posted in a window envelope. In that case, it needs to have the recipient’s address positioned above the sender’s address at just the right height so that it shows through the window when an A4 sheet is folded in three.

The address should really be aligned right, so you must remember to leave enough space for yourself when you start writing each line. Otherwise, it’ll look a bit of a mess…

Note that you no longer need any punctuation in the address, either after the flat or house number or after each line. 

Date

The date should be placed two or three lines below the sender’s address (again aligned right) in the traditional long format rather than just in numbers, eg 31 May 2023 rather than 31/5/23 (or 5/31/23 if you’re American!). Just make sure you don’t put the month first, which is the style in American English, eg October 7, 2018.

Note that you should write the date using cardinal numbers (1, 2, 3 etc) but read it using ordinal numbers (1st, 2nd, 3rd etc), adding the words ‘the’ and ‘of’, eg what you write is 31 May 2023, but what you read is ‘the 31st of May 2023’.

Including the day of the week is optional, but if you do, you should put a comma after it, eg Monday, 7 October 2018.

Greeting (or Salutation)

Which greeting you use depends on the recipient. If you know the name of the person you’re writing to, then you should use ‘Dear’ rather than ‘To’, eg ‘Dear Mr and Mrs Dursley’. ‘To’ is fine for Christmas cards, but not for letters. You should also put a comma afterwards.

If you’re writing to a company or an organisation and you don’t know the name of the person, you have two options: you can either start the letter off with ‘Dear sir/madam’ or write ‘To whom it may concern’. This works better when it’s a reference for a job or a formal letter that may be circulated among several people.

Body

The body of the letter can obviously be whatever you like, but just make sure you start it underneath the comma after the greeting. You should also use paragraphs if the letter is more than a few lines.

The traditional way to start each paragraph is to ‘indent’ or push in the first word by a centimetre or so, and the traditional way to end each paragraph is to move to the next line—without skipping a line.

Sign-off (or Closing or Complimentary Close)

The sign-off is just the phrase you put at the end of the letter before your signature. If the letter is to a friend or relative, there aren’t any rules. You can say anything from ‘Love’ to ‘Best regards’ or ‘Yours ever’.

Note that they all start with a capital letter (though only for the first word) and should be followed by a comma. If it’s a business letter, the sign-off depends on the greeting: if you’ve used someone’s name, you should use ‘Yours sincerely’, but if you haven’t, it’s ‘Yours faithfully’.

Signature

The signature is very important in letter-writing as it’s a simple way of ‘proving’ who you are, so you should develop one that you’re happy with. It should include your first name or your initial(s) and your surname, eg Nick Dale, N Dale or NW Dale.

Your signature should be special, so it doesn’t need to be ‘neat’ or ‘clear’ like the rest of the letter. In fact, the prettier and the more stylish, the better!

And there you have it. This is only one way of writing a letter, and there are other ways of formatting the information, but these rules will at least give you the best chance of getting full marks in your Common Entrance exam!

 

 

 

 

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Simultaneous Equations

Simultaneous equations help you work out two variables at once.

Why do we have simultaneous equations? Well, there are two ways of looking at it.

  1. The first is that it solves a problem that seems insoluble: how do you work out two variables at once? For example, if x + y = 10, what are x and y? That’s an impossible question because x and y could literally be anything. If x was 2, then y would be 8, but if x was 100, then y would be -90, but if x was 0.5, then y would be 9.5 and so on.Simultaneous equations help us solve that problem by providing more data. Yes, we still can’t solve each equation individually, but having both of them allows us to solve for one variable and then the other.
  2. The second way of looking at simultaneous equations is to imagine that they describe two lines that meet. The x and y values are obviously different as you move along both lines, but they are identical at the point where they meet, and that is the answer to the question.

The next question is obviously ‘How do we solve simultaneous equations?’ The answer is simple in theory: you just have to add both equations together to eliminate one of the variables, at which point you can work out the second one and then put it back into one of the original equations to work out the first variable.

However, it gets more and more complicated as the numbers get less and less ‘convenient’, so let’s take three examples to illustrate the three different techniques you need to know.

Simple Addition and Subtraction

The first step in solving simultaneous equations is to try and eliminate one of the variables by adding or subtracting them, but you can only do that if the number of the variable is the same in both. In theory, you could choose the first or the second term, but I find the one in the middle is the easiest, eg

4x + 2y = 10

16x – 2y = 10

Here, the number of the variables in the middle of the equations is the same, so adding them together will make them disappear:

20x = 20

It’s then simple to divide both sides by 20 to work out x:

x = 1

Once you have one variable, you can simply plug it back into one of the original equations to work out the other one, eg

4x + 2y = 10

4 x 1 + 2y = 10

4 + 2y = 10

2y = 6

y = 3

Answer: x = 1, y = 3

Multiplying One Equation

If the number of variables in the middle is not the same, but one is a factor of the other, try multiplying one equation by whatever number is needed to make the number of the variables match, eg

4x + 2y = 10

7x + y = 10

Multiplying the second equation by 2 means the number of the y’s is the same:

4x + 2y = 10

14x + 2y = 20

The rest of the procedure is exactly the same, only this time we have to subtract rather than add the equations to begin with:

10x = 10

x = 1

The next part is exactly the same as the first example as we simply plug in x to find y:

4x + 2y = 10

4 x 1 + 2y = 10

4 + 2y = 10

2y = 6

y = 3

Answer: x = 1, y = 3

Multiplying Both Equations

If the number of variables in the middle is not the same, but neither is a factor of the other, find the lowest common multiple and multiply the two equations by whatever numbers are needed to reach it, eg

4x + 2y = 10

x + 3y = 10

The lowest common multiple of 2 and 3 is 6, which means we need to multiply the first equation by 3:

12x + 6y = 30

…and the second by 2:

2x + 6y = 20

As the number of variables in the middle is now the same, we can carry on as before by subtracting one from the other in order to find x:

10x = 10

x = 1

Again, the final part of the technique is exactly the same as we plug x into the first of the original equations:

4x + 2y = 10

4 x 1 + 2y = 10

4 + 2y = 10

2y = 6

y = 3

Answer: x = 1, y = 3

Practice Questions

Job done! Now, here are a few practice questions to help you learn the rules. Find x and y in the following pairs of simultaneous equations:

  1. 2x + 4y = 16
    4x – 4y = 8
  2. 3x + 2y = 12
    5x + 2y = 16
  3. 12x – 4y = 28
    3x – 2y = 5
  4. 2x – y = 12
    3x – 2y = 17
  5. 4x + 3y = 24
    5x – 2y = 7
  6. 4x + 3y = 31
    5x + 4y = 40
  7. x + 4y = 23
    5x – 2y = 5
  8. 4x + 3y = 37
    2x – 3y = -13
  9. 2x + 4y = 16
    3x – 5y = -9
  10. 2x + 4y = 20
    3x + 3y = 21 

     

     

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Descriptive Writing

Exams at 11+ and 13+ level always let you tell a story in the writing section, but they sometimes provide a picture and simply ask you to describe it or to ‘write about it in any way you like’. Writing a description is obviously different from writing a story, so it’s worthwhile pointing out the differences and the similarities.

When you write a story, the best way of doing it is probably to follow the five-step process that I outline in Story Mountains:

  1. Choose the title
  2. Brainstorm for ideas
  3. Plan your work
  4. Write it
  5. Check it

You can use a similar basic method for doing a description – except the planning stage obviously doesn’t involve creating a story mountain! – but what are the differences? Steps 1, 4 and 5 are pretty much the same, but you might want to have a look at these tips for the brainstorm and planning.

Brainstorm

When you’re brainstorming for a story, you have to think about characters, genre, period, setting and plot, and you also have to make sure there’s a ‘problem’ to solve so that your idea fits into a story mountain. However, descriptions don’t necessarily have all of those things in them, so you have to think about it in a different way.

The simplest form of description would simply involve describing what’s in a picture (or imagining what’s there if you’re just given the title). That might result in some very imaginative creative writing and open up the possibility of using some great vocabulary and all the poetic devices you can think of, including similes and metaphors.

However, the very best descriptions have to have some kind of ‘hook’ to grab the reader’s attention, and that usually means a central character, situation or even a mini ‘plot’. You obviously need to describe exactly what’s in the picture, but what if you want to say more? What if the picture doesn’t have the things in it that you want.

That’s a bit tricky, but you can always ask questions or just ask the narrator to imagine things.

Hal Morey’s picture of New York’s Grand Central Station is a good example. The shot has lots of elements to it, including the architecture, the people and the beams of light from the windows, so you could easily spend your whole time going over the picture in great depth, picking out each detail and thinking up the best words and metaphors to describe it.

One way of doing that is to make sure your paragraphs are Mutually Exclusive and Collectively Exhaustive (or MECE). That just means the things you describe in each one have to be different (like trees and houses), but your whole description has to cover everything in the picture. That means being as observant and descriptive as you can, noting down the ‘male passengers in fedoras and grey, woollen overcoats’ in the station rather than just ‘people’.

Vocabulary is important here, so you might make a list of the words that you planned to use. One good way of organising this is to think about the five senses: sight, hearing, taste, smell and touch. It’s sometimes difficult to get beyond the visual when you’re analysing a picture, so this method just forces you to think of the other aspects of a scene. Try to make separate lists for each of the senses. The visual vocabulary might include the following:

  • columns (not just walls)
  • vaulting (not just roof)
  • passengers (not just people)
  • spotlights (not just light)
  • cathedral (not just station)
  • nave (not just hall)
  • balustrade (not just railing)

It’s not enough to use words like ‘roof’ when more imaginative synonyms exist such as ‘vaulting’, so try to think of the very best words to use. After all, the examiner can’t tell that you know a word unless you use it! And the same goes for metaphors.

Where did the word ‘cathedral’ come from? Well, the shape of the hall and all the windows are similar to what you’d find in a cathedral or a large church, so why not use that in a kind of ‘extended metaphor’?

An extended metaphor takes a comparison and uses it more than once, so the main part of the hall might be the ‘nave’, the two large arched windows might be the ‘west windows’ and the people might be the ‘congregation’.

Even better would be to link the metaphor to the purpose of the other building by saying something like this: “The congregation bustled to find their seats in the pews as they made their daily act of worship to the god of commerce.”

Suddenly, you’ve gone from a bland description of what you can see for yourself to a new and imaginative way of looking at the world.

The other category of words on your checklist should be feelings. Why simply describe what people look like and not examine how they feel? As an example, use the context of Grand Central Station to imagine what’s going through the passengers’ minds? Are they bored, are they reluctant to go to work, or are they happy to be bunking off for a day at the beach?!

So what else can you do to take your writing to the next level?

The answer is to introduce a main character or some kind of situation or miniature plot. You’re hardly ever ‘banned’ from using a plot in this kind of question, so there’s no problem with introducing one, but let’s stick with the idea of doing a description rather than a story.

The Grand Central picture is again a good example. What would be the character or the situation or the plot here? Well, the obvious idea is to pick is a commuter who’s late for his train. You could introduce the description by focusing on one individual in the picture and explaining why he’s in a hurry.

You could then have a kind of countdown clock as you described all the people and objects he sees as he rushes to make his train:

     Lionel Carey was in a hurry. He only had five minutes to make his train to get to the most important meeting of his life! He struggled along with his precious, old, leather briefcase, catching his fedora as it was blown off his head and cursing the long overcoat he had chosen to wear as it made him sweat uncomfortably and almost tripped him over. Now, what platform did he need?
     Four minutes to go…

And so on. This gives the passage a clearer focus and a sense of tension, excitement and mystery. Will Lionel catch his train? Where is he going? What is the meeting about? It just adds another layer to the description – and ideally leads to higher marks!

Alternatively, you can talk about things that are not in the picture by doing one of the following:

  • ask questions, eg if the picture was of the Colosseum in Rome, you could ask questions like Was this where the Roman gladiators stood before they made their way to their deaths in the arena?
  • create a section in which the narrator imagines objects or events, eg It was here that the emperor would stand before giving the thumbs-up or thumbs-down sign that would signal the fate of the gladiators.

Planning

It’s fairly obvious how to plan for a story because it has to have a plot, but how do you plan for a description? Do you just describe what’s in the picture, starting perhaps on the left and working  your way across? Or do you separate your work into five different paragraphs on each of the senses, with perhaps an extra one for the feelings of the travellers? Or can you introduce a timeline, charting the progress of an imaginary character – such as Lionel Carey, hurrying to catch his train?

Each one might work, but you’ll probably get the best marks for something that engages the reader, and the best way of doing that is to have a central character and a carefully selected situation to place him in:

Lionel Carey in a hurry – needs to catch train for meeting, looks for platform

4 mins

Describe Lionel – importance of what’s in briefcase, mysterious ‘she’ he’s meeting
Describe station – architecture, light, people

3 mins

Describe people he sees
Bumps into coffee cart
Argues with staff
Will he ever see ‘her’?

2 mins

Describe trains – steam, smoke, whistle
Wrong platform – needs to run to Platform 16

1 min

Describe running, bumping into people, curses

Time’s up!
Too late – but wait! Train is delayed. He can give daughter Xmas present after all!

Whatever the picture or title, try giving this method a try. If you brainstorm and plan correctly, focusing on all five senses and people’s feelings and using a central character to add excitement and mystery, I’m sure you’ll do a good job.

Sample Questions

Write a description based on one of the following images.

Useful links

Interview preparation

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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What is a Full Sentence?

Teachers often tell pupils to use a ‘full sentence’ in their answers, but what is a full sentence?

Parts of a Sentence

First of all, it’s important to know what all the words in the picture mean. (Note that the parts of a sentence are not always individual words, though they can be. For example, ‘she’ is the subject, but ‘a hot dog’ is the direct object even though it is three words.)

Subject

The subject of the sentence performs the action of the verb, in other words, “who’s doing the doing”. The girl in the picture is obviously the one doing the eating, not the hot dog!

Verb

The verb is often called the ‘doing word’, although some verbs like ‘being’ and ‘having’ don’t really involve much ‘doing’! Again, what’s being done is obviously shown by the word ‘ate’. There are two kinds of verb:

  • Transitive verbs need a direct object, like the word ‘ate’ in the picture
  • Intransitive verbs don’t need an object, like the word ‘swim’ in ‘They swim’.

Object

There are two kinds of object:

  • Direct objects are directly affected because they ‘suffer the action of the verb’. In other words, they have something done to them, like the hot dog in the picture.
  • Indirect objects are only indirectly affected, for example if they benefit from the verb like the teacher receiving an apple in the picture below.

Types of Sentence

Now we know what the parts of a sentence are, we can talk about all the possible kinds of full sentence.

  1. Verb only
    Strictly speaking, all you really need to make a full sentence is a verb. For example, ‘Sit!’ is a full sentence, even though it only has one word in it. That only works when you’re telling a dog – or a person! – what to do. Most of the time, you need a subject as well.
  2. Subject-Verb
    ‘He swims’ is a full sentence because it has a subject and a verb, but this only works because the verb is intransitive, which means it doesn’t need an object.
  3. Subject-Verb-Object
    The picture above shows the main parts of a simple sentence, which are the subject (S), the verb (V) and the object (O). The initial letters give us a typical pattern for a sentence, which is SVO. In this case, the object is a direct object, which means it’s directly affected but it can also be an indirect object, which may benefit indirectly. Here, the hot dog is the one that has to suffer being eaten – not the girl! – but it’s slightly different in the next picture. _
  4. Subject-Verb-Indirect Object-Direct Object (or Subject-Verb-Direct Object-Indirect Object)
    Here, the apple is being ‘given’, so the apple is the direct object, but the teacher also benefits indirectly, so she is the indirect object.

Common Mistakes

  1. Punctuation
    Every sentence should end with either a full-stop, a question mark or an exclamation mark, but one common mistake is to put a comma in between sentences instead, eg He loved pizza, he always chose pepperoni. This is called the ‘comma splice’.
  2. Fragments
    A sentence that doesn’t have a subject, verb or object when it needs one is called a ‘sentence fragment’, eg Gave his teacher an apple. It’s obvious that it doesn’t make sense without the word ‘He’, but it’s easily done.
  3. Starting with conjunctions
    Teachers often tell their pupils not to start a sentence with ‘because’. When asked a question like ‘Why is Jack sad?‘, it’s easy to write ‘Because his dog died‘. That’s all right when you’re speaking in class – when people don’t care as much about their grammar – but not when you’re doing your homework. It’s not always wrong to do it, though. If you use ‘because’ to link two sentences together, that’s fine, eg Because it was so sunny, I had to wear sun cream.

If you think you’re ready, here are a few sample questions. Which of these is a full sentence?

  1. Because I’m cold.
  2. From front to back.
  3. Ran down the road.
  4. The girl brushed.
  5. He always did.
  6. Yes.
  7. Hello.
  8. Why is the sky blue?
  9. Shut the door!
  10. He tapped. 

     

     

     

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Algebra

Nothing makes the heart of a reluctant mathematician sink like an algebra question.

Algebra is supposed to make life easier. By learning a formula or an equation, you can solve any similar type of problem—whatever the numbers involved. However, an awful lot of students find it difficult, because letters just don’t seem to ‘mean’ as much as numbers. Here, we’ll try to make life a bit easier…

Before we start, there are three words that you need to know if you want to learn algebra:

  • variable or unknown is a letter that stands for a number, eg a, b, c, x, y or z.
  • A term is either a number, a letter or a combination of a letter and a number or two or more letters, eg 7, y, 7y or xy.
  • An expression is a sum involving two or more terms, eg 7y + x or 5 + xy.
  • An equation is an expression that equals something, eg 7y = 14 or xy = 4x.

In addition, there are a couple of other tips that make life easier:

  • When you write the letter ‘x’, you should always use the ‘curly x’, ie a backwards and forwards ‘c’, to avoid confusion with the times operator.
  • You should never use the times symbol in algebra. You should put letters and numbers side-by-side to show that they need to be multiplied together, eg 7y means ‘7 times y’ and yz means ‘y times z’.
  • You should never put a 1 before a letter, eg 1a is just written as a.
  • You should generally put your variables in alphabetical order in the final answer, eg ab not ba and 2a + 3b not 3b + 2a.
  • The squared symbol only relates to the number or letter immediately before it, eg 3m² means 3 x m x m, NOT (3 x m) x (3 x m).

Great! Now we can go over the main kinds of algebra questions.

Gathering Terms

X’s and y’s look a bit meaningless, but that’s the point. They can stand for anything. The simplest form of question you’ll have to answer is one that involves gathering your terms. That just means counting how many variables or unknowns you have (like x and y). I like to think of them as pieces of fruit, so an expression like…

2x + 3y – x + y

…just means ‘take away one apple from two apples and add one banana to three more bananas’. That leaves you with one apple and four bananas, or x + 4y.

If it helps, you can arrange the expression with the first kind of variables (in alphabetical order) on the left and the second kind on the right like this:

2x – x + 3y + y

x + 4y

Just make sure you bring the operators with the variables that come after them so that you keep exactly the same operators, eg two plus signs and a minus sign in this case.

Here are a few practice questions:

  1. 3x + 4y – 2x + y
  2. 2m + 3n – m + 3n
  3. p + 2q + 3p – 3q
  4. 2a – 4b + a + 4b
  5. x + y – 2x + 2y

Multiplying out Brackets

This is one of the commonest types of question. All you need to do is write down the same expression without the brackets. To take a simple example:

2(x + 3)

In this case, all you need to do is multiply everything inside the brackets by the number outside, which is 2, but what do we do about the ‘+’ sign? We could just multiply 2 by x, write down ‘+’ and then multiply 2 by 3:

2x + 6

However, that gets us into trouble if we have to subtract one expression in brackets from another (see below for explanation) – so it’s better to think of the ‘+’ sign as belonging to the 3. In other words, you multiply 2 by x and then 2 by +3. Once you’ve done that, you just convert the ‘+’ sign back to an operator. It gives exactly the same result, but it will work ALL the time rather than just with simple sums!

Here are a few practice questions:

  1. 2(a + 5)
  2. 3(y + 2)
  3. 6(3 + b)
  4. 3(a – 3)
  5. 4(3 – p)

Solving for x

Another common type of question involves finding out what x stands for (or y or z or any other letter). The easiest way to look at this kind of equation is using fruit again. In the old days, scales in a grocery shop sometimes had a bowl on one side and a place to put weights on the other.

To weigh fruit, you just needed to make sure that the weights and the fruit balanced and then add up all the weights. The point is that every equation always has to balance – the very word ‘equation’ comes from ‘equal’ – so you have to make sure that anything you do to one side you also have to do to the other. Just remember the magic words: BOTH SIDES!

There are three main types of operations you need to do in the following order:

  1. Multiplying out any brackets
  2. Adding or subtracting from BOTH SIDES
  3. Multiplying or dividing BOTH SIDES by the x coefficient (ie the number next to the variable)

Once you’ve multiplied out any brackets (see above), what you want to do is to simplify the equation by removing one expression at a time until you end up with something that says x = The Answer. It’s easier to start with adding and subtracting and then multiply or divide afterwards (followed by any square roots). To take the same example as before:

2(x + 3) = 8

Multiplying out the brackets gives us:

2x + 6 = 8

Subtracting 6 from BOTH SIDES gives us:

2x = 2

Dividing BOTH SIDES by 2 gives us the final answer:

x = 1

Simple!

Here are a few practice questions:

  1. b + 5 = 9
  2. 3y = 9
  3. 6(4 + c) = 36
  4. 3(a – 2) = 24
  5. 4(3 – p) = -8

Number Triangles

Number triangles (see article) are a helpful way of rearranging the relationship between three terms involving multiplication or division. To take a simple example:

  • speed = distance ÷ time
  • time = distance ÷ speed
  • distance = speed x time

That’s a lot to remember! However, if you use a number triangle, you can put distance (d) at the top and speed (s) and time (t) at the bottom. If you then put your finger over the one you need, you get the formula, eg if you put your finger over speed (s), you get distance (d) over time (t).

You can use number triangles to rearrange complicated equations when solving for x, eg 2 / (x – 2) = 7 becomes x – 2 = 2/7, which means x = 2 2/7.

Fractions

Some algebraic expressions look complicated when they’re really just fractions. As long as you know how to add, subtract, multiply and divide fractions, you can do the same with algebraic fractions, eg to solve (2x – 1) / 4 – (x + 1) / 5 = 2, you can just take the second fraction away from the first using cross-multiplication or a similar method.

Linear Inequalities

If the equation has no powers (eg b²) and contains a ‘less than’ or ‘more than’ operator (<, >, ≤ or ≥) instead of an equals sign (=), it’s called a ‘linear inequality’. Here, the rules are a little bit different.

  1. If you have to multiply or divide both sides of a linear inequality by a negative number to get rid of the number next to the variable (the ‘x coefficient’), you need to reverse the inequality, eg if you divide both sides by -5, -5x < 25 becomes x > -5 (not x < -5).
  2. If the variable ends up on the ‘wrong’ side of the inequality, you have to reverse the direction of the inequality when you flip it, eg 3 < x becomes x > 3 (not x < 3).

Multiplying Two Expressions in Brackets (‘FOIL’ Method)

When you have to multiply something in brackets by something else in brackets, you should use what’s called the ‘FOIL’ method. FOIL is an acronym that stands for:

First
Outside
Inside
Last

This is simply a good way to remember the order in which to multiply the terms, so we start with the first terms in each bracket, then move on to the outside terms in the whole expression, then the terms in the middle and finally the last terms in each bracket.

Just make sure that you use the same trick we saw earlier, combining the operators with the numbers and letters before multiplying them together. For example:

(a + 1)(a + 2)

First we multiply the first terms in each bracket:

a x a

…then the outside terms:

a x +2

…then the inside terms:

+1 x a

…and finally the last terms in each bracket:

+1 x +2

Put it all together and simplify:

(a + 1)(a + 2)

= a² + 2a + a + 2

=a² + 3a + 2

Here are a few practice questions:

  1. (a + 1)(b + 2)
  2. (a – 1)(a + 2)
  3. (b + 1)(a – 2)
  4. (p – 1)(q + 2)
  5. (y + 1)(y – 3)

Factorising Quadratics (‘Product and Sum’ Method)

This is just the opposite of multiplying two expressions in brackets. Normally, factorisation involves finding the Highest Common Factor (or HCF) and putting that outside a set of brackets containing the rest of the terms, but some expressions can’t be solved that way, eg a² + 3a + 2 (from the previous example).

There is no combination of numbers and/or letters that goes evenly into a², 3a and 2, so we have to factorise using two sets of brackets. To do this, we use the ‘product and sum’ method.

This simply means that we need to find a pair of numbers whose product equals the last number and whose sum equals the multiple of a. In this case, it’s 1 and 2 as +1 x +2 = +2 and +1 + +2 = +3.

The first term in each bracket is just going to be a as a x a = a². Hence, factorising a² + 3a + 2 gives (a + 1)(a + 2). You can check it by using the FOIL method (see above) to multiply out the brackets:

(a + 1)(a + 2)

= a² + 2a + a + 2

=a² + 3a + 2

Note that some questions may not have a term in the middle, but that’s just because the two terms you get when you use the FOIL method cancel each other out, eg x² – 25 becomes (x – 5)(x + 5) because x² + 5x – 5x – 25 = x² + 0 – 25.

Here are a few practice questions:

  1. y² + 9y + 20
  2. y² + 10y + 9
  3. p² + 5p – 24
  4. p² + 8p + 16
  5. z² – 121

Subtracting One Expression from Another*

Here’s the reason why we don’t just write down operators as we come across them. Here’s a simple expression we need to simplify:

20 – 4(x – 3) = 16

If we use the ‘wrong’ method, then we get the following answer:

20 – 4(x – 3) = 16

20 – 4x – 12 = 16

8 – 4x = 16

4x = -8

x = -2

Now, if we plug our answer for x back into the original equation, it doesn’t balance:

20 – 4(-2 – 3) = 16

20 – 4 x -5 = 16

20 – -20 = 16

40 = 16!!

That’s why we have to use the other method, treating the operator as a negative or positive sign to be added to the number before we multiply it by whatever’s outside the brackets:

20 – 4(x – 3) = 16

20 – 4x + 12 = 16

32 – 4x = 16

4x = 16

x = 4

That makes much more sense, as we can see:

20 – 4(4 – 3) = 16

20 – 4 x 1 = 16

20 – 4 = 16

16 = 16

Thank Goodness for that!

Here are a few practice questions:

  1. 30 – 3(p – 1) = 0
  2. 20 – 3(a – 3) = 5
  3. 12 – 4(x – 2) = 4
  4. 24 – 6(x – 3) = 6
  5. 0 – 6(x – 2) = -12

 

 

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Fractions, decimals and percentages

Working with Fractions

People don’t like fractions. I don’t know why. They’re difficult to begin with, I know, but a few simple rules will help you add, subtract, multiply and divide.

Adding and Subtracting Fractions

Adding and subtracting are usually the easiest sums, but not when it comes to fractions. If fractions have the same denominator (the number on the bottom), then you can simply add or subtract the second numerator from the first, eg 4/5 – 3/5 = 1/5. If not, it would be like adding apples and oranges.

They’re just not the same, so you first have to convert them into ‘pieces of fruit’ – or a common unit. The easiest way of doing that is by multiplying the denominators together. That guarantees that the new denominator is a multiple of both the others.

Once you’ve found the right denominator, you can multiply each numerator by the denominator from the other fraction (because whatever you do to the bottom of the fraction you have to do to the top), add or subtract them and then simplify and/or convert into a mixed number if necessary, eg 2/3 + 4/5 = (2 x 5 + 4 x 3) / (3 x 5) = (10 + 12) / 15 = 22/15 = 1 7/15.

  1. Multiply the denominators together and write the answer down as the new denominator
  2. Multiply the numerator of the first fraction by the denominator of the second and write the answer above the new denominator
  3. Multiply the numerator of the second fraction by the denominator of the first and write the answer above the new denominator (after a plus or minus sign)
  4. Add or subtract the numerators and write the answer over the new denominator
  5. Simplify and/or turn into a mixed number if necessary

Note that you can often use a simpler method. If one of the denominators is a factor of the other, you can simply multiply the numerator and denominator of that fraction by 2, say, so that you get matching denominators, eg 1/5 + 7/10 = 2/10 + 7/10 = 9/10. This means fewer steps in the calculation and lower numbers, and that probably means less chance of getting it wrong.

Sample Questions

  1. 1/5 + 2/3
  2. 3/8 + 11/12
  3. 13/24 – 5/12
  4. 7/8 – 3/4
  5. 5/8 – 2/3

Multiplication

This is the easiest thing to do with fractions. You simply have to multiply the numerators together, multiply the denominators together and then put one over the other, simplifying and/or converting into a mixed number if necessary, eg 2/3 x 4/5 = (2 x 4) / (3 x 5) = 8/15.

  1. Multiply the numerators together
  2. Multiply the denominators together
  3. Put the result of Step 1 over the result of Step 2 in a fraction
  4. Simplify and/or turn into a mixed number if necessary

Sample questions

  1. 1/5 x 2/3
  2. 7/12 x 3/8
  3. 4/5 x 2/3
  4. 4/9 x 3/4
  5. 5/8 x 2/3

Division

Dividing by a fraction must have seemed like a nightmare to early mathematicians, because nobody ever does it! That’s right. Nobody divides by a fraction, because it’s so much easier to multiply.

That’s because dividing by a fraction is the same as multiplying by the same fraction once it’s turned upside down, eg 2/3 ÷ 4/5 = 2/3 x 5/4 = (2 x 5) / (3 x 4) = 10/12 = 5/6. You can even cut out the middle step and simply multiply each numerator by the denominator from the other fraction, eg 2/3 ÷ 4/5 = (2 x 5) / (3 x 4) = 10/12 = 5/6.

  1. Multiply the numerator of the first fraction by the denominator of the second
  2. Multiply the numerator of the second fraction by the denominator of the first
  3. Put the result of Step 1 over the result of Step 2 in a fraction
  4. Simplify and/or turn into a mixed number if necessary

Note: In some cases, it’s possible to divide one numerator by the other and one denominator by the other, but the answers must both be whole numbers for it to work, eg 8/9 ÷ 2/3 = (8 ÷ 2) / (9 ÷ 3) = 4/3 or 1 1/3, but 7/9 ÷ 4/5 doesn’t work because 4 doesn’t go into 7 evenly and 5 doesn’t go into 9 evenly.

The advantage of the second method is that you don’t have to spend so much time simplifying the resulting fraction as the numbers are divided rather than multiplied, which makes them smaller. If we cross-multiplied using the standard method, we’d end up with 24/18 rather than 4/3. However, the benefit of the standard method is that it always works!

Sample Questions

  1. 1/5 ÷ 2/3
  2. 2/7 ÷ 3/5
  3. 4/7 ÷ 2/3
  4. 7/8 ÷ 3/4
  5. 5/6 ÷ 2/3

Simplifying Fractions

One way of simplifying fractions is to divide by the lowest possible prime number over and over again, but that takes forever! It’s much simpler to divide by the Highest Common Factor (or HCF), which is either the numerator itself or half of it or a third of it etc:

  1. If possible, divide both the numerator and the denominator by the numerator. If that works, you’ll end up with a ‘unit fraction’ (in other words, 1 over something) that can’t be simplified any more, eg 7/14 = 1/2 because 7 ÷ 7 = 1 and 14 ÷ 7 = 2.
  2. If the numerator doesn’t go into the denominator, try the smallest fraction of the numerator (usually a half or a third) and then try to divide the denominator by the result, eg 24/36 = 2/3 because half of 24 is 12, and 36 ÷ 12 = 3.
  3. If that doesn’t work, keep repeating Step 2 until you find the answer, eg 24/30 = 4/5 because a quarter of 24 is 6, and 30 ÷ 6 = 5 (and a half and a third of 24 don’t go into 30).

Sample Questions

  1. Simplify 14/28
  2. Simplify 8/24
  3. Simplify 30/50
  4. Simplify 27/36
  5. Simplify 45/72

Turning Improper Fractions into Mixed Numbers

To turn an improper fraction into a mixed number, simply divide the numerator by the denominator to find the whole number and then put the remainder over the original denominator and simplify if necessary, eg 9/6 = 1 3/6 = 1 1/2.

  1. Divide the numerator by the denominator
  2. Write down the answer to Step 1 as a whole number
  3. Put any remainder into a new fraction as the numerator, using the original denominator
  4. Simplify the fraction if necessary

Sample Questions

  1. What is 22/7 as a mixed number?
  2. What is 16/5 as a mixed number?
  3. What is 8/3 as a mixed number?
  4. What is 18/8 as a mixed number?
  5. What is 13/6 as a mixed number?

Turning Mixed Numbers into Improper Fractions

To turn a mixed number into an improper fraction, multiply the whole number by the denominator of the fraction and add the existing numerator to get the new numerator while keeping the same denominator, eg 2 2/5 = (10 + 2)/5 = 12/5.

  1. Multiply the whole number by the denominator of the fraction
  2. Add the answer to the existing numerator to get the new numerator
  3. Write the answer over the original numerator
  4. Simplify if necessary

Sample Questions

  1. What is 2 2/7 as an improper fraction?
  2. What is 3 2/3 as an improper fraction?
  3. What is 4 1/4 as an improper fraction?
  4. What is 5 1/5 as an improper fraction?
  5. What is 3 2/9 as an improper fraction?

There you go. Easy peasy lemon squeezy!

 

 

 

 

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Story mountains

Whether you’re doing something as easy as climbing Mount Everest or as hard as writing a story, you always need a plan!

One of the ways of planning a story is to use story mountains, with each stage of the tale labelled on the diagram.

The drawing doesn’t have to be any more than a big triangle, but the five stages help to provide a good structure.

However, the story mountain is only part of the process.

Even before the exam, you could invent two or three interesting characters to use or practise telling a particular story – perhaps an old fairy tale in a modern setting.

It’s always good to be prepared, and it’s too late by the time you sit down in the exam hall.

If you’re taking an 11+ or 13+ combined English entrance exam, you should have around half an hour left for the composition after doing the reading comprehension.

The routine to follow includes the following five steps:

  • Title: choose the right title or question
  • Brainstorm: think of ideas
  • Plan: create the story mountain
  • Write: write the story
  • Check: check your work.

Depending on the total length of the exam, you should plan to leave yourself a set amount of time for each stage (shown in brackets, assuming you have a total of 30 minutes).

1. Choose the Right Title
(Less than 1 minute)

Sometimes you won’t be given a choice, but you will always have different options in a proper 11+ English exam.

One might be a description (often based on a drawing or photograph), and another might be a newspaper story or diary, but there will usually be the chance to write a story, either based on a suggested title or in the form of a continuation of the passage from the reading comprehension.

The important thing here is to try to find a topic you know a bit about and – in an ideal world – something you’d enjoy writing about.

If you’ve never ridden a horse, it would be pointless trying to write a story all about horse racing, and it would probably be pretty boring!

2. Brainstorm Ideas
(5 minutes)

Some pupils go straight into writing the story at this point. Big mistake!

You have to give yourself time to come up with the best possible ideas, and you certainly won’t make it easy for yourself to structure the story if you don’t have a plan to help you.

Whether in business or at school, the best way of coming up with ideas is to spend some time brainstorming.

That means coming up with as many ideas as possible in a limited time.

There’s no such thing as a bad idea, so try to think positively rather than crossing out anything you don’t like.

It takes time to come up with well-thought-through ideas for a story, so be patient, and don’t just go for the first one you think of.

That’s like walking into a shop and buying the first pair of trousers you see: they might not be the right size, colour, design or price, so you have to browse through the whole range.

Try to come up with at least two ideas so that you can pick the best one. Just make sure it’s believable!

If you’re having trouble, think about the different elements you can change: the plot, the characters, the setting, the period and the genre.

Those are the basics, and imagining a particularly good character or setting might just provide the clue you’re looking for. You can always change what kind of story it is. A thriller will look a lot different from a romance or a comedy!

3. Create a Story Mountain
(5 minutes)

Once you’ve decided on an idea, you can create your story mountain.
You don’t actually have to draw a mountain or a triangle, but you do need to map out the five main stages of the story.

You don’t need to write full sentences, just notes that are long enough to remind you of your ideas. Try to use five or six words for each section (using your heroes’ initials and missing out ‘filler’ words such as ‘the’ and ‘an’), such as ‘M frees dog from fence’ or ‘Shark bites F in leg’.

Just remember that the opening has two parts to it, so your story will have six main paragraphs, not five—although that doesn’t include any lines of dialogue, which should be in separate paragraphs.

Continuations

If you’re doing an exam paper that includes a comprehension as well as a composition, you might be asked to continue the story from the comprehension passage.

In that case, your story mountain will have to be a bit different. You obviously won’t be able to choose your own main character, so you’ll have to take out your usual description and decide which of the characters in the passage is going to be your hero instead.

In addition, you won’t be able to start with the opening section because you’re supposed to be continuing the story. So what should you do?

It’s probably best to think about the printed text and your continuation as one long story. Try and decide which bits of your story mountain have already been covered in the passage and then plan your own story from there.

For example, you might treat the passage as just the opening, in which case your story mountain would start from the build-up. Alternatively, you might think that the text includes the opening, build-up and problem, in which case you’d start with the solution.

However, this is only a guideline, and you might not always be able to make it work. If the printed text is very long and only contains the opening, for instance, you’d have to write thousands of words to keep all the sections roughly the same length!

The main thing is to use your common sense and come up with the best plan you can. Don’t just wing it!

In addition, it’s important to keep to the style of the original text and make sure the characters behave in the same ways. Your goal is to try and carry on the story just as the author would’ve done, and you’ll be marked on how well you can do that.

A. Opening (or Introduction)

The best way to open a story is probably to start ‘in the middle’.

Most fairy stories start with something like this:

Once upon a time, there lived a beautiful princess with long, golden hair. Esmeralda was madly in love with Prince Charming, but her wicked stepmother kept her locked up in a tower a thousand feet above the valley below…

The trouble with this kind of description of the characters and their situation (‘exposition’) is that it’s just a bit boring!

Nothing actually happens.

Far better to think of the most exciting moment in your story and start from there:

“Aaaaaaagggghhh!!!” screamed Prince Charming as his fingers slipped from Princess Esmeralda’s icy window ledge and he fell a thousand feet to his death…!

Another approach is to create a sense of mystery by keeping something important from the reader, such as the location or the identity of the main character. This is called the ‘delayed drop’.

Once you’ve written a paragraph or so grabbing the reader’s attention, you can then introduce the main characters, where they live, when the story is set and so on.

That means the opening needs two paragraphs:
1. Grab the reader’s attention
2. Describe the main character

Why do you need to describe your heroes?
Well, the more the reader knows about them, the more they can imagine what they look like, how they sound like and how they might behave in certain situations.

That leads to sympathy, and sympathy is important because the reader has to care about the heroes in order for stories to be exciting.

So how should you describe them?

Here’s a quick list of the major details in roughly the right order:
1. Name
2. Age
3. Job or school
4. Looks (including eye colour, hair colour and style, height, build, skin tone and favourite clothes)
5. Home
6. Friends and family
7. Personality and interests
8. USP or ‘Unique Selling Proposition’ – something that makes the characters special and readers want to read about them.

You can be as detailed or as general as you like about some of these things, but giving more detail is usually better as it helps paint a picture in the reader’s mind.

Your hero’s home, for instance, could just be ‘London’, or it could be ‘the famous Blue Cross lighthouse on the promontory overlooking Shark Bay in Antigua’!

Overall, you should probably be writing eight to 10 lines of A4 for the whole description.

You can save yourself time by thinking up, say, three ‘off-the-shelf’ characters and memorising them (see article). One of my clients even helped her son by using AI to turn his characters into pictures!

B. Build-up (or Rising Action)

The build-up should describe what the main character is trying to do.
For instance, is he or she robbing a bank, escaping from prison or fighting off an alien invasion?

C. Problem (or Climax or Dilemma)

Every story needs drama, which is really just conflict.
If you show what the hero’s trying to do in the Build-up, the Problem is just what gets in the way.

It might be guilt at leaving a friend behind, say, or a prison warder spotting the escaping convicts or a searchlight lighting up the yard.

Whatever it is, it’s a problem that needs to be solved.

D. Solution (or Resolution or Falling Action)

The solution to the problem is what the hero tries to do to fix it.
It may not work, but it’s usually the best option available.

E. Ending (or Outcome)

Not many 10-year-old boys like happy endings, so the plan doesn’t always have to come off!
If you want your hero to die in a hail of bullets like Butch and Sundance, that’s up to you.
Another way to end a story is to use a ‘cliffhanger’.

In the old days, that meant the hero of a TV serial might literally be hanging on to the edge of a cliff, and the viewer would obviously have to ‘tune in next week’ to find out if he managed to hold on or not.

These days, it just means adding another mystery or problem that needs to be fixed.

For example, the hero could escape from prison…only to find a police car chasing him!

Finally, you could always have a ‘twist in the tale’, in which the good guy turns out to be a bad guy, for example.

It doesn’t take long to write – just a sentence or two – but it’s a great way to leave readers scratching their heads and thinking, “Wow! I never saw that coming…”

4. Write the Story
(15 minutes or more, depending on the length of the exam)

Now for the important bit!

Stick to the Plan

The most important thing to remember is to stick to the plan!

It’s very tempting to get carried away when you’re writing and follow wherever your imagination leads you, but the downside is that your story probably won’t have a proper beginning, middle and end, and you might run out of time trying to get the plot back on track.

Don’t Leave Loose Ends

A good story will have narrative tension. In other words, it will be exciting.

Part of that involves doubt about whether your heroes will succeed or not, and that’s where the ‘good’ questions come in.

If readers are asking themselves questions like “Will the hero escape?” or “Will the hero survive?”, then you’re doing your job as a writer.

Those are ‘good’ questions because they get to the heart of what the story is all about and keep your readers guessing.

Excitement comes from uncertainty and doubt, so you want your readers to wonder what’s going to happen.

Look at it another way: imagine if they didn’t ask themselves any questions at all. That’s basically the same as saying they’d be bored stiff!

However, you don’t want them to be asking ‘bad’ questions. These are the loose ends that crop up if you don’t give good enough explanations for your characters’ actions or abilities.

For example, if your hero is robbed and tries to solve the crime on his own, the obvious loose end is why he didn’t call the police.

Alternatively, if your hero has a special power like being able to read minds, you either need to explain where it came from (like Spiderman being bitten by a radioactive spider) or admit that it’s somehow ‘mysterious’ so that your readers can stop worrying about it.

Balance the Three Ds

You should also strike a balance between the Three Ds: Drama, Description and Dialogue.

Every story has a plot, so drama will always be there, but a lot of pupils focus so much on what’s happening that there is very little if any description or dialogue.

Readers want to imagine what people look like and how they feel, so you have to give them something to go on.

People also generally have a lot to say when they get emotional or find themselves in tough situations, so you won’t be able to capture that unless they talk to one another in your story.

Show off Your Vocabulary

This is also a chance to show off your vocabulary.

Including a few ‘wow words’ (or ‘golden words’) such as ‘cerulean’ instead of ‘blue’ will impress the examiner no end – as long as you know how to spell them!

Use Energetic Verbs

You can create energy in different ways, but choosing powerful verbs is a good way to appeal to the imagination and show part of someone’s character along the way. For example, if a kid is greedy, you could say ‘he picked up the slice of chocolate cake’, but saying ‘he grabbed the slice of chocolate cake’ suggests he just wants to stuff his face!

Use the Active Voice

You can either use the passive or active voice. The passive voice shows something happening to someone; the active voice shows someone doing something. For example, ‘he was hit by Mark’s shovel’ is passive, but ‘Mark hit him with the shovel’ is active.

As you can probably see from this example, the active voice is better at showing power and intention. Writing that someone ‘was hit’ almost suggests it was an accident, but ‘Mark hit him’ shows exactly what happened and whose fault it was!

Use Poetic Devices

What’s the difference between ‘in the evening’ and ‘on a night as black as a murderer’s soul’?

If you think one of these is a little bit more descriptive and atmospheric than the other, then why not use poetic devices or literary techniques in your own writing?

Just make sure the comparison is appropriate. If you’re telling a story set on the south coast of England, don’t say someone swam ‘as fast as a cheetah’. Cheetahs live in mainland Africa, so they have nothing to do with Britain or the sea. Instead, you could say he swam ‘as fast as a dolphin’.

It’s hard to think of good poetic devices, but you’ll get higher marks if you avoid common clichés like ‘as flat as a pancake’ and use something rarer, like ‘as silent as a shadow’.

I’ve written an article on them if you want to find out more, but the most common ones are these:

  • Simile
  • Metaphor
  • Personification
  • Alliteration
  • Onomatopoeia
  • Repetition
  • Rhetorical questions
  • Imagery
  • Sentence structure (ie long and short sentences or simple, complex and compound sentences)

If you want a handy way of remembering them, you can use SMARPOPS, which stands for Simile, Metaphor, Alliteration, Rhetorical question, Personification, Onomatopoeia, Punctuation and Speech. These are the most common poetic devices (if you ignore the final two items!).

Alternatively, SHAMPOO stands for Simile, Hyperbole, Alliteration, Metaphor, Personification, Onomatopoeia, and Oxymoron.

Show, Don’t Tell

Whether you’re describing characters or the environment, it’s better to show rather than simply tell the reader. Telling is lazy, but showing engages your readers and makes them part of the experience, letting them use their imagination to work out what’s going on rather than spoon-feeding them every detail.

For example, it’s easy to say a character ‘was a keen walker’, but it would be better to say she ‘hiked six miles of the Appalachian Trail every weekend’. Equally, rather than describe someone, you could use dialogue instead. Rather than say ‘he was tired’, his best friend could say, “You look like you were up all night!” Another way is to suggest something and then surprise the reader later in the story. For instance, you could describe a black-and-white poster of an old boat on a girl’s bedroom wall but only reveal she’s an expert yachtswoman when she has to sail across the bay to rescue someone!

One way of looking at it is to imagine that you’re directing a film rather than writing a story. In films, you hardly ever hear a narrator telling you what’s going on. You’re simply shown everything you need to know. You might see someone’s breath on a cold night, for example. If you want to do the same when writing a story, you can make your description much more vivid (and alliterative!) by saying ‘Frank’s breath formed frozen clouds in front of his face’.

A similar trick is to leave out the answers to questions. This is something screenwriters do all the time to keep the audience in suspense! “What are you going to do to get your revenge?” one character asks another, but you’ll have to wait to find out…!

Appeal to the Senses

It’s easy to forget to describe a scene during a story, but that means readers can’t imagine it and so won’t feel as if they were actually there. One way to make your descriptions more vivid and memorable is to appeal to the five senses:

  • Sight
  • Smell
  • Hearing
  • Taste
  • Touch

You don’t have to use them all, but try picking the most important ones. Obviously, you need to show what the setting looks like, but if it’s a coffee shop, for instance, you could say ‘she inhaled the aroma of freshly brewed espressos’.

5. Check Your Work (4-5 minutes)

If there’s one tip that beats all the rest, it’s ‘Check your work’.

However old you are and whatever you’re doing, you should never finish a task before checking what you’ve done.

However boring or annoying it is, you’ll always find at least one mistake and therefore at least one way in which you can make things better.

In the case of 11+ or 13+ exams, the most important thing is to test candidates’ imagination and ability to write an interesting story, but spelling and grammar is still important.

Schools have different marking policies.

Some don’t explicitly mark you down (although a rash of mistakes won’t leave a very good impression!), some create a separate pot of 10 marks for spelling and grammar to add to the overall total and some take marks off the total directly – even if you wrote a good story.

Either way, it pays to make sure you’ve done your best to avoid silly mistakes.

If you think you won’t have time to check, that’s entirely up to you.

You’ll almost certainly gain more marks in the last five minutes by correcting your work than trying to answer one more question, so it makes sense to reserve that time for checking.

If you do that, there are a few simple things to look out for.

You may want to make a quick checklist and tick each item off one by one.

Spelling

This is the main problem that most Common Entrance candidates face, but there are ways in which you can improve your spelling.

Firstly, you can look out for any obvious mistakes and correct them.

It can help to go through each answer backwards a word at a time so that you don’t just see what you expect to see.

Secondly, you can check if a word appears anywhere in the text or in the question.

If it does, you can simply copy it across.

Finally, you can choose another, simpler word.

If you’re not quite sure how to spell something, it’s often better not to take the risk.

Capital Letters

This should be easy, but candidates often forget about checking capitals in the rush to finish.

Proper nouns, sentences and abbreviations should all start with capital letters.

If you know you often miss out capital letters or put them where you don’t belong, you can at least check the beginning of every sentence to make sure it starts with a capital.

Punctuation

This simply means any marks on the page other than letters and numbers, eg full-stops, commas, quotation marks, apostrophes and question marks.

Commas give almost everybody problems, but you can at least check there is a full-stop at the end of every sentence.

Other Grammar

It’s always useful to read through your story to make sure everything makes sense.
It’s very easy to get distracted the first time around, but it’s usually possible to spot silly mistakes like missing letters or missing words on a second reading.

And that’s it! I hope these tips on story mountains will help.

Quiz

Test yourself on what you’ve learned about story mountains from this article!

  1. What are the five steps to writing a story?
  2. What are the five stages of a story mountain?
  3. How many main paragraphs should be in your story?
  4. How do you know which title to pick?
  5. What’s wrong with using the first idea you think of?
  6. What are the Three D’s?
  7. What are five different poetic devices?
  8. What should you check your work for?

Sample Titles

Try going through the whole five-step process to write a story based on the following choice of titles (all but one taken from actual 11+ papers):

Left Behind

A Summer’s Day

Saying Sorry

The Lie

The Race

Lost Boy

A Fresh Start

The Voice in the Darkness

Noah’s Ark

Smoke

Silence

The Hot Afternoon

My Father Was Furious

The Swimming Lesson

Caravanning

The Choice

The Garden

Sleeping

Twins

Junk Food

The Picnic by The Lake

A Gift

Great Things Come from Small Beginnings

Saying Goodbye

The Person in The Queue

Through The Window

The Photograph

The Long Hot Summer

The Joke

The Loner

The Dare

The First Day of Term

Crossing The Line

Weird Habits

Mirror

Show And Tell

Going Underground

Echo

A Visit from Uncle

‘The room was so quiet that I noticed the clock ticking’
(Write a story that opens with this sentence.)

‘Every day, she sat alone by the upstairs window.’
(Write a story that opens with this sentence.)

‘Nobody’s perfect.’
(Write a story that uses this as its final line.)

Model Answer

Here are two stories created by Open AI’s ChatGPT chatbot entitled The Ghost from the Future.

Version 1

The ghost from the future appeared out of nowhere on a dark and stormy night. It was a transparent figure, translucent and ethereal, with eyes that glowed like embers in the night. It drifted silently through the streets, its movements flowing and graceful, as if it were weightless and without substance.

As it moved, the ghost left a trail of frost in its wake, coating everything it touched with a thin layer of ice. People who crossed its path recoiled in fear, feeling a chill run down their spine as the ghost seemed to look straight through them.

No one knew where the ghost had come from, or why it was here. Some whispered that it was a harbinger of death, sent to collect the souls of the doomed. Others believed it was a lost spirit, trapped between worlds and unable to find its way to the afterlife.

Despite the fear it caused, the ghost from the future continued to haunt the town, appearing at random intervals and in unexpected places. No one knew how to stop it, or even if it could be stopped. All they could do was wait and hope that it would eventually move on.

One day, a brave young man named Jack decided to confront the ghost. He gathered his courage and followed it into the woods, determined to discover its true nature and purpose.

As he pursued the ghost, Jack realized that it was moving towards a decrepit old house on the edge of town. He followed it inside, and was shocked to find that the ghost was leading him to a hidden room in the basement.

Inside the room, Jack found a strange and ancient machine. It was covered in dust and cobwebs, and looked as if it had not been used in centuries.

The ghost from the future stood beside the machine, gesturing for Jack to approach. As he drew closer, the ghost spoke in a whispered voice that seemed to come from everywhere and nowhere at once.

“This is a time machine,” the ghost said. “It was built by a madman who sought to change the course of history. But he was stopped before he could use it, and now it lies here, forgotten and abandoned.”

“What does this have to do with me?” Jack asked.

“You have been chosen to travel into the future,” the ghost replied. “You must go and see what has become of the world, and bring back knowledge that will help us to prevent a terrible fate.”

Jack hesitated, unsure if he was ready for such a daunting task. But the ghost from the future was insistent, and in the end, he agreed to go.

He stepped into the time machine, and with a flash of light and a wave of dizziness, he was whisked away into the future.

What he found there was a world unlike any he had ever seen. The cities were filled with towering skyscrapers and flying cars, and the streets were crowded with people of all shapes and sizes.

But there was also a sense of dread and darkness that hung over everything. The air was thick with pollution, and the sky was a sickly shade of green.

Jack soon discovered that the world was on the brink of disaster. Climate change had wreaked havoc on the planet, and the oceans were rising at an alarming rate. Many species of animals and plants had gone extinct, and the air was toxic to breathe.

With the help of a group of rebels who were fighting against the ruling government, Jack set out to uncover the truth about what had happened to the world…

Version 2

The ghost from the future was a strange and eerie presence that no one could explain. It appeared out of nowhere, in the dead of night, and always seemed to be watching. It had a pale, transparent face and cold, dead eyes that seemed to see right through you.

People whispered that it was the ghost of someone who had died in a terrible accident, or perhaps a victim of a crime. Some even said it was a warning from the future, a glimpse of what was to come if things didn’t change.

No one knew for sure, but one thing was certain: the ghost from the future was a chilling reminder that the past was never truly gone, and the future was always lurking just around the corner.

As the ghost continued to haunt the town, people began to fear for their safety. They locked their doors at night and avoided going out after dark. But despite their best efforts, the ghost from the future always seemed to be one step ahead, appearing at the most unexpected times and places.

One day, a young girl named Emily was walking home from school when she saw the ghost from the future standing in the middle of the road. She tried to run, but the ghost was too quick. It reached out with its cold, bony hand and touched her on the shoulder.

In that moment, Emily felt a strange sensation wash over her. She felt as if she was being pulled into the future, and she saw visions of what was to come. She saw wars and disasters, but she also saw moments of great happiness and love.

When the vision ended, Emily was back in the present, but she was different. She had a newfound sense of purpose, and she knew what she had to do. She had to warn the people of her town about the dangers of the future, and do everything she could to help them prepare for what was to come.

With the help of the ghost from the future, Emily began to spread the word. She held meetings and organized events, and slowly but surely, people began to listen. They started to take action, and the town began to change for the better.

Thanks to Emily and the ghost from the future, the people of the town were able to face the future with hope and courage, knowing that they were ready for whatever came their way.

 

 

 

 

If you’re looking for past papers with answers, especially in the run-up to 11+/13+ exams, GCSEs or A-levels, you can visit my Past Papers page and subscribe for just £37.99 a year.

Remember the Iceberg!

To pass Common Entrance, you have to remember the iceberg.

Only a small part of any iceberg is visible above the waves, and only a small part of any answer to a question is visible in the text.

To discover the rest, you have to ‘dive in’ deeper like a scuba diver…

There are two main types of English question at 11+ and 13+: reading comprehension and composition.

Most 11+ papers last an hour or an hour and a quarter, and the marks are equally divided between the comprehension and the composition. That means half an hour or so for the comprehension.

The 13+ exam is a little different and may involve two papers, one covering a prose comprehension and the other a poetry comprehension and a story.

Whatever the format, it’s important to read the instructions on the front cover. They will tell you exactly what you have to do and – crucially – how much time to spend on each section.

When it comes to doing a comprehension, I recommend a five-step process:

  1. Read the passage
  2. Read the questions
  3. Read the passage again
  4. Answer the questions
  5. Check your work.

Read the Passage
(5 mins)

The text is usually taken from a short story, a novel or a poem.

Whatever it is, the most important thing to do is to make sure you understand it and remember the main points.

Don’t just read it as fast as you can to get it over and done with, but take your time and read it as if you were reading aloud.

Make sure you read the title and any introduction. They might include important information and background to make it easier to understand what follows.

If you don’t understand any of the words, re-read it first and then look at the context.

For example, it might say there are dozens of ‘delphiniums’ in the garden.

You might not know what delphiniums are, but it’s pretty obvious they must be plants or flowers!

To make sure you’ve got the main points of the story, it’s a good idea to ask yourself the W questions at the end:

  • Who are the characters?
  • What are they doing?
  • Where is the story set?
  • When is it set?
  • Why are they doing what they’re doing?
  • How are they doing it?

It might help to tell yourself the story (very briefly!) – just to make sure everything makes sense.

Read the Questions
(1 min)

Once you’ve read the passage, it’s time to read the questions so that you know what to look out for when you read the passage a second time.

Again, understanding and remembering them are more important than sheer speed.

If it helps, you can ask yourself how many questions you can remember after you’ve read them.

Alternatively, you can underline key words and phrases in the questions to help you focus on what you have to do.

Read the Passage Again
(5 mins)

Reading the text twice is probably a good compromise between speed and memorability.

It also gives you the chance to underline or highlight the answers to any of the questions you happen to find.

Some people suggest only reading the passage once, but that means you wouldn’t know it well enough to answer any questions off the top of your head.

If you can’t do that, you’ll end up having to hunt through the text for the answers, so you’ll have to read most of the passage three or four times anyway!

Answer the Questions
(15-30 mins, depending on the length of the exam)

If it’s a 30-minute exam, you should have around 15 minutes to write down the answers to the questions. (If it’s a 45-minute or hour-long exam, you’ll obviously have a bit longer.)

There are usually 25 marks available, which means around 30 seconds per mark.

The number of marks available for each question will tell you how much time you have to do each one, eg two minutes for a four-mark question.

To get the best possible mark, you clearly need to get the answers right, but you also need to phrase them in the right way and avoid wasting any time.

Here are a few pointers…

Approach Each Question in the Same Way

Try to be consistent in the way you approach each question, and make sure you do all the things you need to do:
a) Read the question carefully.
b) Read it again (and again!) if you don’t understand it.
c) Check the mark scheme to work out how many points and pieces of evidence you need.
d) Scan the text to find the answer, underlining any words you might need.
e) Write down the answer.
f) Read it through to make sure you’ve actually answered the question correctly and you haven’t made any silly mistakes.

Read the Question Carefully

You’re never going to get the right answer to the wrong question, so make sure you understand exactly what you need to do.

If that means reading the question two or three times, then that’s what you’ll have to do.

Use the Mark Scheme as a Guide

Most exam papers will let you know the number of marks for each question, so you should bear that in mind when writing your answers.

There’s no point spending ten minutes on a question that’s only worth one mark, and it would be daft to write only one sentence for a question worth ten marks.

You should also try and work out how many ‘points’ and pieces of ‘evidence’ you’re being asked for:

  • A point is the basic answer to a question, and it might be a fact, a reason or an explanation.
  • A piece of evidence is usually a quotation that backs up whatever point you’re trying to make.

Working out the mark scheme can be a bit tricky as there are three possibilities for the breakdown of marks:

  1. Points only
  2. Evidence only
  3. Points and evidence

You just have to read the question and see what makes the most sense.

Here are a few tips:

  • If the question asks you to ‘refer to the text’ in your answer, that’s code for saying you need evidence.
  • If the question asks you to explain a quotation, that means you’ll just need points because they’ve already given you the evidence. Try making a point for every keyword in the quotation.
  • If there’s an odd number of marks, you probably won’t need to provide a mixture of points and evidence. In that case, you’d end up with a point without any evidence or evidence without any point!

Once you’ve worked out how many points and pieces of evidence you need, it might help to write down the matching number of P’s and E’s and cross them off as you find them in the text and/or include them in your answer.

Follow any Instructions to the Letter

All these hints and tips are useful, but they are only general rules.

Occasionally, examiners will let you off the hook and tell you that you don’t need to use full sentences, eg for the meanings of words.

Just be sure to follow what they say.
If you’re told to answer a question ‘in your own words’, that means you can’t use any of the words in the text.

The only exceptions are ‘filler’ words such as ‘the’ and ‘of’ or words that don’t have any obvious alternative, eg ‘football’ or the names of the characters.

You need to show that you understand the passage, and you’ll actually be marked down for using quotations – even though that’s what’s usually needed.

Look in the Text

Even if you read the text twice, you can’t possibly expect to remember the answers to all the questions and all the quotations to back them up!

The answer is always in the text, so don’t be afraid to spend a few seconds going back over it. That way, you can make sure you get the answer right and support it with the right evidence.

One way of speeding up your search is to work backwards through the text to find the word(s) you’re looking for. Yes, it sounds daft, but if you scan the text forwards, it’s very tempting to read every word properly – which just slows you down.

Answer the Actual Question

I often see pupils writing down facts that are true but don’t actually answer the question.

For instance, if the question asks how Jack feels after losing his dog, it’s no use writing, “He’s crying.” That’s not a feeling.

It’s a bit like writing “2 + 2 = 4”. Yes, that may be true, but it’s completely irrelevant!

Use Full Sentences

Even if a question is as simple as ‘What is Jack’s dog’s name?’, the answer should be ‘His name is Rover’ rather than just ‘Rover’.

The only time you don’t need to use a full sentence is either if it’s the meaning of a word or if the question gives you special permission. It might say something like ‘you don’t need to use full sentences’, or it might just ask for a particular word, such as an adjective or someone’s name. In that case, you shouldn’t have to use a full sentence – but it is a bit of a grey area!

Make Sure any Word Meanings Work in Context

Even the simplest words sometimes have different meanings, so you can’t know which one is the right one just by reading the question. You need to check the context by looking back at the passage. For example, ‘bark’ can be the sound a dog makes or the outside of a tree!

You also need to make sure your answer is the right part of speech, such as a noun or an adjective. Synonyms are always the same part of speech, so the meaning of an adjective will never be a noun or a preposition!

Nouns also vary in number, and verbs vary in tense and person, so it’s easy to lose marks by putting down ‘destroy’ rather than ‘destroys’, say.

The best way to make sure you’ve got exactly the right answer is by putting it back in the original sentence and checking that it means the same thing. For example, if the question asked, “What does annihilated mean in line 13?”, you’d have to think of your answer and put it into the sentence instead of the word annihilated.

Suppose the sentence was, “Alexander the Great annihilated the Persian army.” If you chose ‘destroyed’, that would be fine, because “Alexander the Great destroyed the Persian army” means the same thing. However, it wouldn’t work to say ‘destroy’ or ‘it means to destroy something’ because those wouldn’t fit.

Don’t Use PEE (Point, Evidence, Explanation)

PEE is designed to help you write essays rather than do a comprehension.

At Common Entrance, it’s unlikely a question will ask you for a point, a piece of evidence and an explanation.

That would mean two points and only one piece of evidence, which is unbalanced.

It’s also confusing because it suggests that an ‘explanation’ is somehow different from a ‘point’.

This is not true: points can be explanations as well as facts.

Answer ‘How’ Questions by Talking About Language

Comprehensions often start with a simple one-mark question such as ‘In what country is this passage set?’ This is a ‘what?’ question, a question about content, about facts.

However, there is another kind of question, the ‘how?’ question, which is all about language.

Suppose you’re asked, ‘How does the writer explain how Jack feels after losing his dog?’ What do you have to do?

What you definitely shouldn’t do is just describe how he feels.

The question is not ‘What are Jack’s feelings?’

You’re not being asked for facts but for an analysis of the techniques the author uses.

If it helps, you can keep a mental checklist and look for each technique in the passage:
a) Poetic devices
How has the author used metaphors, similes, diction or sentence structure?
b) Parts of speech
What can you say about the kind of adjectives, verbs or adverbs used in the passage?
c) The Three Ds
Has the writer used Drama, Description or Dialogue to achieve a particular effect?

However difficult the question is, just remember to write about language rather than what happens in the story.

Use the Same Tense as the Question

Most of the time, people use the ‘eternal present’ to talk about works of fiction. Sometimes, though, passages are about historical events, so the past is more appropriate.

For example, if the text comes from The Diary of Anne Frank, it wouldn’t make sense to talk about the Second World War as if it were still going on!

So which tense should you use?

The simple answer is to write in the same tense as the question. That way, you’ll never go wrong.

Sometimes, the question will tell you to do something, which means the verb is in the imperative rather than the past, present, future or conditional tense. If that happens, you just need to look at one or two of the other questions to see which tense they use. You can then use the same tense in your answer.

Don’t Repeat the Question in Your Answer

In primary school, teachers often tell their pupils to do this to make sure they’ve understood the question.

It’s not wrong and you won’t lose a mark for it, but it just takes too long.

I’ve seen children spend a whole minute carefully copying down most of the question before they’ve even thought about the answer!

It’s a bit like the old joke:

Why did the chicken cross the road?
I don’t know. Why did the chicken cross the road?
The chicken crossed the road because it wanted to get to the other side!

If this punchline were your answer in a comprehension, you’d be writing down six words before you’d even started answering the question – or earning any marks! That’s why you should start with the word after ‘because’, which means writing ‘It wanted to get to the other side’ in this case.

This normally means using a pronoun, which is much shorter than a noun phrase like ‘the chicken’. Whatever the question asks about, just turn it into a pronoun and start with that. In this case, you don’t need to say ‘the chicken’ because it’s obvious what you’re talking about, so you can just say ‘it’.

Never Write ‘Because’

Unfortunately, bad things tend to happen when you use the word ‘because’:

  • You might repeat the question in your answer.
  • You might not use a full sentence (if you start with ‘Because…’).
  • You might misspell it.
  • You might waste time (since it’s five letters longer than ‘as’!)

That means you should NEVER write ‘because’. ‘As’ means the same thing and is impossible to get wrong. Even then, you should only use it for two-part, ‘what and why’ questions. For instance, imagine you’re asked, “Does Jack feel sad after losing his dog? Why?” In this case, it’s fine to say, “Yes, as he was his best friend.”

Answer All Parts of the Question

Examiners will sometimes try to catch you out by ‘hiding’ two questions in one.

You should be careful with these questions, eg ‘How do you think Jack feels about losing his dog, and how do you think you’d feel if you lost your favourite pet?’

It would be easy to answer the first part of the question and then forget about the rest!

Don’t Waste Time With Words You Don’t Need

You never have enough time in exams, so it’s pointless trying to pad out your answers by including waffle such as ‘it says in the text that…’ or ‘the author writes that in his opinion…’

Far better to spend the time thinking a bit more about the question and coming up with another quotation or point to make.

Use Quotations

Using quotations is tricky, and there are a lot of things to remember.

  • Make sure you use quotation marks (“…”) or inverted commas (‘…’) for anything you copy from the text.
  • Copy the quotation out accurately.
  • Drop the keywords into a sentence of your own, eg Jack feels ‘devastated’ by the loss of his dog.
  • Quotations are not the same as speech, so the full-stop goes after the quotation marks, not before, eg he felt ‘devastated’. ‘Devastated’ is not a full sentence, so it doesn’t need a full-stop after it. The full-stop belongs to your sentence.
  • Don’t just tag a quotation on the end of an answer, eg Jack is really sad, ‘devastated’.
  • Don’t start with a quotation followed by ‘suggests’ because it won’t make sense, eg ‘Devastated’ suggests Jack is really sad. ‘Devastated’ is not a noun or a pronoun, so it can’t suggest anything!
  • If you really want to use ‘suggests’ or ‘shows’, it’s better to start with ‘The word…’ or ‘The fact…’, eg The word ‘devastated’ suggests Jack’s really sad or The fact Jack is ‘devastated’ suggests he’s really sad.
  • If the quotation is too long, you can always miss words out and use an ellipsis (…), eg Liz went to the supermarket and bought ‘apples…pears and bananas’.
  • If the quotation doesn’t use the right tense, you can always change the verb. Just put the new ending in square brackets, eg Jim ‘love[s] strawberries’ instead of Jim ‘loved strawberries’.

Remember the Iceberg!

As you can see from the picture, the vast majority of an iceberg remains hidden from view.

It’s the same with the answers to questions in a reading comprehension.

Don’t be satisfied by what you can see on the surface – that won’t get you full marks.

Like a scuba diver, you have to dive in deeper to find the rest…!

Multiple-choice

Multiple-choice tests are generally easier than long-format ones because it’s easier to guess.

Because of that, the most important thing to remember is to answer ALL the questions. It only takes a second to guess if you don’t know the answer.

The best method is to work by process of elimination. That just means narrowing down your options by crossing off any answers that simply can’t be true. As Sherlock Holmes once said to Dr Watson, “Once you’ve eliminated the impossible, whatever remains, however improbable, must be the truth!”

You may not be able to cross off all the ‘wrong’ answers, but every one improves your chances. Let’s say there are five options. That means you have a 20% shot at getting the question right by pure guesswork. As you cross off the answers one by one, your chances rise to 25%, then 33%, then 50% and finally 100%!

Just remember that the answer won’t always be black and white. There are often shades of grey in comprehensions, so it’s not a question of finding one single, ‘right’ answer but the one that’s ‘the most right’.

To get the highest possible score, it’s important to understand the marking policy. That depends on the school, but let’s take the Sutton 11+ multiple choice test as an example. There are a few things to bear in mind:

  • The test is split into four sections: Spelling, two Texts (ie comprehensions) and a Comparison of Texts (ie another comprehension)
  • Each question has five possible answers (A to E).
  • There may be one right answer or a combination of answers, but there are never five right answers.
  • If the question asks for one answer, marks will only be awarded if you select the correct option (and no others).
  • If the question asks for two answers, marks will only be awarded if you select the two correct options (no more and no less!).
  • If the question asks for more than one possible answer (1, 2, 3 or 4 options) without saying how many, you should obviously try to pick all the correct ones. You might score a mark if you don’t select them all, but there’s no further explanation.

Check Your work
(5 mins)

If there’s one tip that beats all the rest, it’s ‘Check your work’.

However old you are and whatever the subject, you should never finish a piece of work before checking what you’ve done – and it’s no excuse to say, “I didn’t have time.” You need to make time!

However boring or annoying it is, you’ll always find at least one mistake and therefore at least one way in which you can make things better.

In the case of 11+ or 13+ comprehensions, the most important thing is to test candidates’ understanding of the passage.

However, spelling and grammar is still important.

Schools have different marking policies:

  • Some don’t mark you down for bad grammar (although a lot of mistakes won’t leave a very good impression!)
  • Some use a separate pot of marks for spelling and grammar to add to the overall total
  • Some take marks off for each grammatical mistake – even if you got the answer ‘right’.

Either way, it pays to make sure you’ve done your best to avoid silly mistakes.

If you think you won’t have time to check, make sure you manage your time so that you have a few minutes left at the end.

You’ll probably gain more marks by correcting your work than trying to finish the last question, so it makes sense to keep that time for checking.

If you do that, there are a few simple things to look out for.

Check the Answers are Correct and Complete

This is the most important thing to check, and it takes the longest.

Make sure that each answer is correct (by referring back to the text if necessary) and that each part of the question has been covered.

Quite a few of my students have lost marks by forgetting to look at all the pages, so you should always check you haven’t missed any questions.

Check Spelling

This is the main problem that most Common Entrance candidates face, but there are ways in which you can improve your spelling.

  1. Look out for any obvious mistakes and correct them. It can help to go through each answer backwards a word at a time so that you don’t just see what you expect to see.
  2. Check if a word appears anywhere in the text or in the question. If it does, you can simply copy it out from there.
  3. Choose a simpler word if you’re not quite sure how to spell something. It’s sometimes better not to take the risk.

Check Capital Letters

This should be easy, but candidates often forget about checking capitals in the rush to finish.

Proper nouns, sentences, speech and abbreviations should all start with capital letters.

If you know you often miss out capital letters, you can at least check to make sure all your answers start with a capital.

Check Punctuation

Make sure you’ve put full-stops, commas, quotation marks, apostrophes and question marks in the right places.

Commas give almost everybody problems, but you can at least check there is a full-stop at the end of every sentence.

Check Other Grammar

It’s always useful to check for missing words and to make sure everything makes sense.

Grammar may not be the first thing on your mind when you’re answering the questions. However, you can usually spot most silly mistakes if you read through your answers carefully at the end.

Quiz

If you want to test your knowledge of this article, here are a few questions for you.
You can mark them yourselves!

  1. What are the five steps involved in doing a comprehension? (5 marks)
  2. Name three things you should do when reading the text for the first time. (3 marks)
  3. Why should you read the questions before re-reading the text? (1 mark)
  4. What should you be doing when you read the text for the second time? (1 mark)
  5. What are the six steps to take when answering a question? (6 marks)
  6. What are five hints and tips for answering questions? (5 marks)
  7. What are the two types of things that questions might ask for? (2 marks)
  8. What are the two occasions when you don’t need to answer in a full sentence? (2 marks)
  9. Name five poetic devices. (5 marks)
  10. What five things should you be checking for at the end? (5 marks)

Total: 35 marks

 

 

 

 

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