English

MYP 4 Notes

Unit 1: Taking a Stand (Non-Literary Texts)

PEEL Paragraph Structure

PEEL is a structured method used to build analytical paragraphs.

  • P – Point: A clear sentence stating the argument your paragraph will prove.
  • E – Evidence: Direct quotations or examples from the text that support your point.
  • E – Explanation: An explanation of how the evidence proves your point.
  • L – Link: A sentence that connects the paragraph to the wider argument or next idea.

Breakdown of PEEL

Point
The main idea of the paragraph. It should be one clear, focused sentence.

Evidence
Relevant quotations or details from the text that directly support the point.

Explanation
Analysis explaining how and why the evidence proves the point.

Link
A connection back to the thesis or forward to the next paragraph.


PAFT Framework

The PAFT framework is used to analyse non-literary texts such as speeches.

  • P – Purpose
  • A – Audience
  • F – Form
  • T – Tone

Purpose

The purpose refers to what the text is trying to achieve, such as persuading, informing, analysing, or discussing an idea.

  • Identify the main goal of the speech
  • Support with evidence from the text
  • Link the purpose to the historical or social context
  • Recognise that a speech may have multiple purposes

Audience

The audience refers to the people the speech was delivered to.

  • Identify the intended audience
  • Explain why the speech was delivered to this group
  • Consider audience demographics
  • Link audience to context

Form

The form of the text is a speech.

  • Mention if it was originally an oral presentation
  • Connect form to purpose and audience
  • Identify point of view
  • Note direct address
  • Identify stylistic and persuasive devices
  • Discuss conventions of speech writing
  • Analyse logos, pathos, and ethos

Tone

Tone refers to the attitude of the speaker toward the subject and audience.

  • Identify the dominant tone using precise language
  • Link tone to purpose
  • Comment on formality
  • Analyse tone shifts throughout the speech
  • Explain why tone changes occur
  • Link tone to audience response
  • Include mood and theme

Thesis Statement

“The speech will be analysed to understand how tone, form, audience, and purpose interlock to create an influential message that still resonates today.”

A thesis statement must clearly explain what the analysis will examine and how the text will be analysed.


Textual Analysis Structure

  • Introduction and brief summary of the text
  • Thesis statement
  • PAFT analysis
  • Conclusion summarising findings

Story Writing – Exposition

An effective story exposition introduces key elements and sets up the narrative.

What a Good Exposition Includes

  • Introduction to the setting
  • Introduction to characters
  • Relationships between characters
  • Sub-genre conventions
  • Tone and mood
  • Upcoming conflict
  • An inciting incident or cliff-hanger

Story Writing


Short Story Review

A good short story review should include:

1. Introduction

In the introduction, you should include some basic facts about the story, including the title, the author, and the story genre. You should also give your opinion of the story, along with reasons for liking or disliking it.

2. Summary

Briefly summarise the story. Discuss the setting, the main character(s), and the main events or problems the characters experience. Do not give the ending away.

3. Personal Reflection

Discuss what you like or dislike about the story. Support your opinion with reasons. You may compare the story with other texts by the same author or in the same genre, or relate it to personal experiences or current events.

4. Critical Analysis

  • What is the author’s purpose for writing the story?
  • Is the author successful in achieving this purpose?
  • Is the setting appropriate to the genre?
  • How well are the characters developed?
  • Are the characters believable in their thoughts, speech, and actions?
  • Is the plot well-structured and suspenseful?
  • Is the theme clear?
  • Does the story include a lesson or coda?
  • Is there a twist or unexpected ending?
  • Are literary devices such as metaphor, simile, or alliteration used?

5. Conclusion

Evaluate the story and state whether you would recommend it to others, giving clear reasons for your opinion.

Before writing the review, ensure you have read the story fully.


Short Story Text

Prince Duckington Jr. was duckish royalty, and one could tell just by looking at him, after all, he wasn’t raised by your average duckler (duck butler) but his mother- Queen Ducky the first. Not only this, he stayed in the Duckingham palace, a habitat constructed by the large creatures that was so xanthic it would make any duck envious. On this day, the skies were azure, the sunlight pulchritudinous and the day so effervescent you couldn’t help but go outside. Whilst this type of travel was seen as a luxury by most ducks, it was routine for Prince Duckington to go by the translucent lake for lunch, which his duckler- Duckentler- would prepare on site whilst he and his mother sat and quacked. “Duckington, we must discuss a matter” Ducky disclosed, going on before Duckington could even quack back “I know about your..quack…..girlduck”

“Duckinia??? No it’s not, h-hhow– I’m sor–” Duckington started to quack before his mother cut him off yet again “No worries, but you understand, we cannot afford a scandal” quack quack “Especially not after your father’s affair with that hooman” Ducky finished “I understand” prince duckington replied, already considering how to handle breaking off, how to handle the pain of loosing duckinia, the fear of not being able to form a nest together clawing at the back of his mind “To avoid this, we must get the two off you married off as soon as possible- before the next duck moon” just as duckington started to absorb this information, Ducky continued “I have made arrangements for us to meet today, in fact” she finished “Wait- arrangements, what?” just as Duckington said this, his beloved duckinia came out of hiding Duckinia was a winsome young duck, whilst she was an orphan who grew her whole life in poverty- this only added to her charm in Duckington's eyes. “So, Duckinia. May I know how you met my son?” opened ducky.

“Um- quack- well” Duckinia swallowed “Well Duckington was out for one of his walks, when he stumbled upon me, it was love at first sight and we never stopped quacking as of yet” she finally replied, nervous but sounding more put together “I see” quacked Ducky in response, just as the duckler served up freshly caught fish But this fish was nothing like the kind duckinia had ever seen before, it was turned black by a fire and the bones had been plucked out entirely. Ducky gestured at her son and he knew instantly it was the right time “Duckinia, I have a query for you” duckington tuned over to Duckinia “It has been 4 duck moons since our paths have clashed. I can go ahead and quack with you forever. So that is why I would like to ask you…” Duckinia already knew what the question would be, she was so excited she started to have quackups ( duck hiccups) Duckington continued “Will you quack with me forever, we can float together on the lake, you can bear my eggs. Duckinia, will you marry me?”

“Yes, Yes a million ducks yes!!” Duckinia squealed in poorly contained excitement And so it was to be, Duckinia and Prince Duckington Jr were to be married on the auspicious egg moon, until which they would keep the tradition of not seeing each other The day of the wedding rolled around and Duckington was finally allowed to meet Duckinia, he combed his feathers and got dressed before going directly to her enclosure. He just caught sight of her when DEAD “SHE’S DEAD” he quacked, a harsh, terrified and shrill quack, in front of Duckinia’s bloody carcass


Task: write a story review o the given short story, gold members may check their answer with our Ai Study Bot

Paper 1 – Narrative Writing

Task: Write a short story based the given image.

you have no other choice but to use this image
shooketh pears

Script Writing

A script is a narrative written mainly in dialogue form, similar to a play or movie. Scripts typically include:

  • Title
  • Playwright or writer
  • Characters (protagonist, antagonist, side characters)
  • Setting
  • Dialogue
  • Stage directions (lighting, sound, props)

What Makes a Good Script?

  • Includes the seven elements of a narrative
  • Has a clear theme
  • Uses subtext effectively
  • Applies stylistic devices appropriately
  • Avoids overly flowery language
  • Feels realistic and grounded

Additional Information

Scripts can adapt existing stories or be entirely original. Most screenplays follow a three-act structure: set-up, conflict, and resolution.

Script Formatting Rules

  • 12 pt Courier font
  • Scene headings (INT./EXT. – LOCATION – TIME)
  • Character names in capitals
  • Centered dialogue
  • Minimal parentheticals
  • Transitions such as CUT TO or FADE OUT

DIALOGUE WRITING

One of the easiest and best ways to see if your dialogue sounds realistic is to read it out loud, especially if you are writing a genre that would benefit from such an approach. Hearing what someone is supposed to say (since your readers will imagine them speaking out loud) will allow you to determine if it sounds real or fake.

One thing to keep in mind is that sometimes your dialogue will sound a little “cheesy” to you. Since written dialogue is a little different and more purposeful than what we hear in our day-to-day lives, you might think it sounds a little dramatic.

But that’s okay! Dialogue should have more “weight” than what you say in real life. Even so, it has to sound like something someone would actually say. If you feel yourself cringing a little or you can’t image a real person say it, you might have to do some editing.

Ask these questions when reading your dialogue out loud to yourself

  • Would someone actually say this in real life?
  • Does it move the plot forward or develop a character?
  • Is it easy to say or do you fumble over the sentence?
  • Do you pause in certain areas where you haven’t written commas? (Note: if this happens, put in some commas so the readers interpret it how you hear it!)

Get rid of the small talk

Your readers don’t care about what your characters had for dinner last night—unless that dinner had been poisoned and is now seeping into their bloodstream, impacting their immediate danger.

Talking about the weather or your character’s pet or anything trivial will read as boring and unnecessary. This also slows down your story’s pacing.

One exception may be if your characters are stalling in order to avoid talking about something that is major and impactful to the plot. When it’s used as a literary device to set the mood or tone of a scene, it’s acceptable.

Keep it brief and impactful

Dialogue in books is not meant to read in the way we actually speak—not full conversations, at least. If it did, each book would be exceptionally longer, due in part to the fact that humans often say a lot of pointless things.

When it comes to writing dialogue in your story, you have to keep it briefer and more poignant than in real life. A great way to get to the meat of the dialogue is to cut out everything that doesn’t immediately impact the scene.

A quick, “Hey, how’s is going?” isn’t necessary unless the other character’s state is vital to the scene. This, however, doesn’t include if your character is meeting someone for the first time, obviously. Essentially, anything that does not further develop your character, the plot, or any subplots should be cut.

Give each character a unique way of speaking

We all have a specific “flow” to our sentences and we all have favorite words we prefer to use. This is actually a big part of character development in your story.

For example, maybe people will use “perhaps” or “maybe” but not often both in equal amounts. This is a very small detail, but it does a long way in developing the characters and giving them their own voice.

Another way you can do this is with sentence structure. Does your character speak in short, chopped sentences? Or do they eloquently describe their point of view in long-winded, crafted sentences that ebb and flow with their tone of voice?

A reasonable exception to this would be pairs or groups of close people. Meaning, if your main character’s best friend speaks similarly to them, that’s okay. As humans, we subconsciously pick up on the speech patterns of those closest to us – those we speak to regularly.

Add world/age-appropriate slang

A major part of dialogue that often gets overlooked is the slang. Even in our own world, new slang is developed every day and sometimes, the words might seem crazy or even confusing.

Be consistent with characters’ voices

It wouldn’t make sense for your character to flip the way they speak unless they’re talking to someone specific.

The main idea is that if one character speaks in choppy sentences, it should remain that way unless the moment changes to something that would require something more elegant. At the same time keep your character's voice consistent.Like mentioned earlier, if they use a specific word more frequently, make sure they use that word whenever they should in order to maintain a consistent voice.

Think about who they're speaking to

You don’t speak in the same way around every single person. Your voice and style changes depending on who you’re chatting with. For example, you’re going to talk differently to your mom than you would your best friend.

While it’s important to be consistent with your character’s style and voice, it’s also crucial to think about the who when it comes to their dialogue and adjust accordingly.

Cut the hellos and goodbyes

An exchange like this will bore your readers to death:

  1. “Hey, Charlie!”
  2. “What’s up, dude?”
  3. “Not much, how are you doing?”
  4. “I’m fine, you know. Same old, same old.”
  5. “Ah, I feel ya. Anything new in your world?”
  6. “Not really, to tell you the truth.”
  7. Cutting these will help speed up your pacing as well as keep the dialogue to the must-speak information

Show who your character is

One of the best methods of character development is dialogue. You could meet someone entirely new and based on the exchange, you actually learn a lot about who they are and how the operate in life. You discover if they’re shy, bold, blunt, or kind-hearted and soft spoken.

Your dialogue should do the very same for your characters.

Keep long speech paragraphs to a minimum

Rarely do people speak for a very long time uninterrupted. It might be important for your character to say something lengthy, but remember to at least split it up with body language and other means of giving your reader a break.

These can feel very long-winded and end up slowing down the pacing of your story which can be great if you use them for this purpose.

One way to break up long paragraphs if one person is speaking for a while (like when they’re telling a story of sorts) is to add in the other characters’ body language reactions.

But if you’re trying to move your plot along at a steady rate, avoid long speech paragraphs.

Dialogue tags

  • He said
  • She whispered
  • They bellowed
  • He hollered
  • They sniped
  • She huffed
  • He cooed
  • They responded
  • She whimpered

Story development

Make sure there is a good reason, an "event," for your play.It's not enough for two characters to sit around and talk for a while and then leave. There needs to be some important reason why we'rewatching them now, at this particular moment.

Write dialogue that illuminates your characters and advances the plot at the same time.

Make each character speak in a distinctive voice. If you have trouble with that, try imagining a specific actor you know - even if it's someone who will never play the part - in the role.

Do not have a character tell us something she can show us instead. For example, it's much more effective to hide under the bed than to say "I'm afraid." Give each character a "moment," something that justifies the character's existence in your play and that makes him attractive for an actor to play.

Formatting

Follow these formatting rules when writing a play script:

  • Center act and scene headings.
  • Capitalize your characters’ names before each line of dialogue
  • Capitalize your characters’ names in action lines
  • Indent and italicize stage directions

Film, Poetry & Screenplay Analysis

📽️ Film Analysis

What is Film Analysis?

Film analysis is the study of how meaning is created in films using visual, sound, and narrative techniques. In IB terms, film is a non-literary text.

Key Elements of Film Analysis

1. Narrative

  • Plot: What happens in the film
  • Story: Events in chronological order
  • Conflict: Main problem driving the film
  • Resolution: How the conflict ends

2. Cinematography (Camera Work)

How the camera is used to convey meaning.

Camera Shots- what kind of camera shots do they use and why?
  • Close-up: Shows emotion
  • Medium shot: Shows body language
  • Long shot: Shows setting
  • Extreme long shot: Establishes location
Camera Angles - what kind of camera angles do they use and why?
  • High angle: Makes subject look weak
  • Low angle: Makes subject look powerful
  • Eye-level: Neutral

3. Analyse: Everything visible within a frame

this includes the

  • Setting
  • Lighting
  • Costume
  • Props
  • Facial expressions

Example: Dark lighting suggests mystery or danger.

4. Sound

  • Diegetic sound: Dialogue, footsteps
  • Non-diegetic sound: Background music, narration
  • Silence: Builds tension

5. Editing

  • Cuts: Change of shots
  • Montage: Series of quick shots
  • Cross-cutting: Two scenes shown alternately
  • Pacing: Speed of a scene

6. Themes

  • Power
  • Identity
  • Conflict
  • Love
  • Justice
  • Society

IB Tip: Always link technique → effect → meaning.


️ Screenplay

What is a Screenplay?

A screenplay is the written script of a film, including dialogue, actions, and scene directions.

Features of a Screenplay

iB really just wants it to be descriptive, maake sure to incllude camera angles, lighting and sound effects in the format mentioned below because they are weirdly obsessed with that

1. Scene Headings

Indicate location and time.

INT. ROOM – NIGHT

2. Dialogue (we covered this earlier))

  • Shows character personality
  • Moves the plot forward
  • Reveals conflict

3. Stage Directions

  • Describe actions and emotions
  • Guide actors and directors

4.Camera directions

  1. Write in brackets thhe camera angle
  2. Example: [camera angle: medium shot]
  3. Make sure to include this a lot throughout

5.Lighting

  • Mention relevent lighting fetaures, is there white light above them to represent the moon? Add it like this : [lighting effects: a bright white light luminates from overhead, representing the moon
  • Include lighting intensity and changes, like if it's a soft light or if it's flickering

6.Sound

This can be natural sound like from footsteps or unnatural sound like music. If it's there- include it

  1. For example: [sound effects: footsteps]
  2. Or if it's unnatural: [sound effects: 'balls balls balls balls' by hyperbaiter starts playing] or [sound effects: upbeat music starts playing]

Poetry

What is Poetry?

Poetry is a literary form that uses concentrated and carefully chosen language to express emotions, ideas, and experiences. Unlike prose, poetry often employs rhythm, rhyme, line breaks, and figurative language such as metaphors, similes, and symbolism to create layered meaning. Poems may be narrative, lyrical, or reflective, and often evoke emotional or intellectual responses from the reader.

Major Periods of Poetry and Their Features

  • Classical (c. 800 BCE – 400 CE):
    • Epic narratives, myths, and legends (e.g., Homer’s Iliad and Odyssey).
    • Formal meter and rhyme, such as dactylic hexameter.
    • Focus on heroism, divine intervention, and moral lessons.
    • Emphasis on universal human experiences like honor, courage, and fate.
  • Renaissance (c. 14th–17th Century):
    • Revival of classical ideas, humanism, and exploration of the human experience.
    • Sonnet forms and lyric poetry flourish (Shakespearean sonnets).
    • Themes of love, beauty, time, mortality, and the perfection of nature.
    • Use of allegory, ornate diction, and rhetorical devices to enhance meaning.
  • Romantic (late 18th–mid 19th Century):
    • Emphasis on emotion, imagination, and individuality.
    • Nature is a central theme; often idealized or symbolic of human feelings.
    • Focus on personal experience, subjectivity, and the sublime.
    • Use of lyricism, vivid imagery, and sensory language to evoke feelings.
  • Victorian (c. 1837–1901):
    • Exploration of morality, social responsibility, and industrialization.
    • Poems often address class, gender roles, and societal norms.
    • Blend of realism and sentimentality; frequent narrative forms.
    • Refinement of language and structure, including rhyme, meter, and dramatic monologues (e.g., Browning).
  • Modern (c. 1900–1945):
    • Break from traditional forms; experimentation with free verse and fragmentation.
    • Themes of alienation, disillusionment, and the chaos of the modern world.
    • Symbolism, allusion, and irony often used to convey layered meaning.
    • Focus on subjective experience and psychological depth (e.g., T.S. Eliot, Ezra Pound).
  • Contemporary (c. 1945–present):
    • Diverse voices exploring identity, politics, gender, and culture.
    • Experimental forms, including spoken word, visual poetry, and hybrid genres.
    • Focus on personal voice and authenticity; often conversational in tone.
    • Emphasis on inclusivity, social commentary, and global perspectives.

Poem Analysis (IB Method)

When analyzing poetry for IB, use this structured approach:

  1. Identify Theme: Determine the central ideas or messages of the poem, e.g., love, death, identity, conflict, or nature.
  2. Analyze Language and Literary Devices:
    • Examine imagery, metaphors, similes, personification, symbolism, diction, tone, and connotation.
    • Consider the effect on the audience: How do these devices evoke emotions, provoke thought, or guide interpretation?
  3. Analyze Structure and Form:
    • Rhyme schemes, rhythm, stanza forms, line breaks, enjambment, caesura, and repetition.
    • Directness of the poem: Is the meaning explicit, or does the poet rely on ambiguity and subtlety to convey themes?
  4. Sound Devices: Examine alliteration, assonance, consonance, onomatopoeia, and repetition; note how these affect mood, tension, and pace.
  5. Effect on Reader: Analyze how the poem’s language, structure, and sound create emotions, provoke thought, or reinforce themes. Consider both immediate and deeper reflective responses.
  6. Contextual Considerations: If relevant, include historical, social, or cultural context to enrich understanding of the poem and its impact.

Appreciation of Poetry

Appreciating poetry involves more than understanding the literal meaning; it requires exploring the emotional, aesthetic, and intellectual impact of the poem. Poetry combines language, form, sound, and imagery to create unique experiences for readers.

Key Aspects of Poetry Appreciation

  • Emotional Response: Identify the feelings the poem evokes, e.g., joy, sorrow, nostalgia, anger, or awe.
  • Aesthetic Features: Observe the use of rhythm, rhyme, line breaks, stanza forms, and visual layout.
  • Language and Style: Note literary devices (simile, metaphor, personification, alliteration, symbolism) and their effects.
  • Theme and Message: Understand what the poet communicates about human experience, society, or nature.
  • Context: Consider historical, social, and cultural influences that shape the poem’s meaning and style.
  • Directness vs. Ambiguity: Reflect on whether the poem expresses ideas explicitly or relies on subtlety and layered meaning.

Analysis of Poem / Video

When analyzing a poem or a poetry-based video, follow a structured approach to capture both textual and audiovisual elements.

Step-by-Step Analysis

  1. Identify Theme: What central idea, message, or concept is explored? For videos, consider how visuals support the theme.
  2. Analyze Language:
    • Examine literary devices: metaphor, simile, personification, symbolism, imagery, diction, tone, and connotation.
    • Assess how word choice impacts meaning and emotional effect on the audience.
    • Directness: Consider whether meaning is explicit or implied.
  3. Analyze Structure:
    • For poems: rhyme, rhythm, stanza length, line breaks, enjambment, and repetition.
    • For videos: scene sequencing, pacing, editing, and shot composition.
  4. Sound and Visual Techniques:
    • Poems: alliteration, assonance, consonance, onomatopoeia, repetition, and meter.
    • Videos: music, voiceovers, sound effects, camera angles, lighting, and color symbolism.
  5. Effect on Audience:
    • Analyze how the poem or video evokes emotional responses, engages the viewer, and reinforces its themes.
    • Consider both immediate impact and lingering reflection.
  6. Contextual Analysis:
    • Historical, cultural, or biographical context for the poet or director.
    • Social or political influences reflected in the poem or video.
  7. Personal Appreciation:
    • Reflect on your own interpretation and emotional response.
    • Consider whether the poem/video challenges your perspective, resonates personally, or inspires new insights.
  8. Comparative Analysis (Optional):
    • If analyzing multiple poems or videos, compare themes, techniques, and effects.
    • Note similarities and differences in style, tone, and audience impact.

Additional Tips for Analysis

  • Take notes on first impressions and emotional reactions—these are important in IB assessments.
  • Pay attention to shifts in tone, perspective, or focus within the poem or video.
  • Identify recurring motifs, symbols, or imagery that reinforce the central theme.
  • Consider the effectiveness of literary and cinematic techniques in conveying meaning.
  • Always link observations back to the overall impact on the audience.

FLIRT analysis method

This is like PAFT, except diffeerrent things-- it's an abbreviation

  1. F: Form, structure of the poem
  2. L: Language used
  3. I: Imagery, where is it used throughout the poem and how does it benefit the reader's undertsanding?
  4. R: Rhyme/Rhythm, does the poem rhyme?If so, what rhyming scheme is used?
  5. T: Tone, what tone is carried throughout the poem?