Mock Paper Planner — Papers 4, 5 & 6
Paper 1: Love through the Ages · Sections A, B & C · Select a mock to begin
Mock Paper 4. Download the full paper before planning.
↓ Download PDFSection AOthello · 25 marks · ~50 minutes
Your planning notes
AO weightings & recommendations — Section A▼
| AO | Weight | What it means in practice |
|---|---|---|
| AO1 | High | Clear argument, well-structured response, precise vocabulary throughout |
| AO2 | High | Close analysis of Shakespeare's language, form and structure |
| AO3 | Significant | Jacobean context — attitudes to race, gender, jealousy, honour |
| AO5 | Present | Different interpretations — feminist, post-colonial readings |
Recommendation: Lead with a clear view on the question. Every paragraph must contain a quotation and a language point — do not paraphrase. Bring AO3 in early in each paragraph as a lens, not as a separate point at the end. AO5 works best as a brief alternative reading: "while a Jacobean audience might read Othello's jealousy as... a post-colonial reading would suggest..."
Section BUnseen Poetry · 25 marks · ~45 minutes
First approach
What do we know before we read a single line?
Poem A — Matthew Arnold, Dover Beach (1867)
Gender of poet
Date
Context
Form
Poem B — Percy Bysshe Shelley, Love's Philosophy (1820)
Gender of poet
Date
Context
Form
ITAPE comparison
IIntroduction — how the poem begins, first impression of voice
▼Comparative statement
Poem A — Matthew Arnold, Dover Beach (1867)
Quotation
Technique + effect
Poem B — Percy Bysshe Shelley, Love's Philosophy (1820)
Quotation
Technique + effect
TTone — imagery, mood, semantic field
▼Comparative statement
Poem A — Matthew Arnold, Dover Beach (1867)
Quotation
Technique + effect
Poem B — Percy Bysshe Shelley, Love's Philosophy (1820)
Quotation
Technique + effect
AAural — sibilance, alliteration, plosive, onomatopoeia, internal rhyme
▼Comparative statement
Poem A — Matthew Arnold, Dover Beach (1867)
Quotation
Technique + effect
Poem B — Percy Bysshe Shelley, Love's Philosophy (1820)
Quotation
Technique + effect
PPace — rhythm, enjambement, pauses, monosyllabic weight
▼Comparative statement
Poem A — Matthew Arnold, Dover Beach (1867)
Quotation
Technique + effect
Poem B — Percy Bysshe Shelley, Love's Philosophy (1820)
Quotation
Technique + effect
EEnding — closure, final image, resolution or irresolution
▼Comparative statement
Poem A — Matthew Arnold, Dover Beach (1867)
Quotation
Technique + effect
Poem B — Percy Bysshe Shelley, Love's Philosophy (1820)
Quotation
Technique + effect
Paragraph order reminder: Your strongest point should open your essay. Your second strongest should close it. Save your weakest for the middle.
Your ITAPE plan — Mock 4 Section B
Copied
AO weightings & recommendations — Section B▼
| AO | Weight | What it means in practice |
|---|---|---|
| AO1 | High | Comparative structure — both poems in every paragraph |
| AO2 | Very High | The dominant AO — close analysis of poetic methods is everything |
| AO3 | Light | One brief contextual point per poem — era, gender, form tradition |
| AO5 | Present | Alternative readings of ambiguous images or endings |
Recommendation: AO2 is the engine of this section. Every paragraph needs a quotation, a named technique and a specific effect — not "this creates imagery" but "the sibilance of 'sleepless shores' creates a sense of continuous, almost liturgical process." AO3 should appear once per poem, early in its paragraph, as a lens. Both poems must appear in every paragraph — no single-poem paragraphs.
Section CComparing Texts · 25 marks · ~50 minutes
Your planning notes
AO weightings & recommendations — Section C▼
| AO | Weight | What it means in practice |
|---|---|---|
| AO1 | High | Essay-level argument linking both texts through the question |
| AO2 | Significant | Methods from both texts — not just what writers say but how |
| AO3 | High | Context of both texts — this section rewards contextual depth most |
| AO4 | Significant | Connections across texts — the comparative AO |
| AO5 | Present | Different critical or interpretive positions on both texts |
Recommendation: Open with a thesis that addresses the question across both texts simultaneously. AO3 is more heavily rewarded here than in Sections A or B — bring in literary, historical and cultural context confidently. Every paragraph should connect both texts, not treat them alternately. AO4 test: "The comparison reveals something neither text shows alone" — if your connecting sentence does not do this, rewrite it.
Mock Paper 5. Download the full paper before planning.
↓ Download PDFSection AOthello · 25 marks · ~50 minutes
Your planning notes
AO weightings & recommendations — Section A▼
| AO | Weight | What it means in practice |
|---|---|---|
| AO1 | High | Clear argument, well-structured response, precise vocabulary throughout |
| AO2 | High | Close analysis of Shakespeare's language, form and structure |
| AO3 | Significant | Jacobean context — attitudes to race, gender, jealousy, honour |
| AO5 | Present | Different interpretations — feminist, post-colonial readings |
Recommendation: Lead with a clear view on the question. Every paragraph must contain a quotation and a language point — do not paraphrase. Bring AO3 in early in each paragraph as a lens, not as a separate point at the end. AO5 works best as a brief alternative reading: "while a Jacobean audience might read Othello's jealousy as... a post-colonial reading would suggest..."
Section BUnseen Poetry · 25 marks · ~45 minutes
First approach
What do we know before we read a single line?
Poem A — John Donne, The Good-Morrow (1633)
Gender of poet
Date
Context
Form
Poem B — John Keats, I cry your mercy, pity, love, aye, love! (1819)
Gender of poet
Date
Context
Form
ITAPE comparison
IIntroduction — how the poem begins, first impression of voice
▼Comparative statement
Poem A — John Donne, The Good-Morrow (1633)
Quotation
Technique + effect
Poem B — John Keats, I cry your mercy, pity, love, aye, love! (1819)
Quotation
Technique + effect
TTone — imagery, mood, semantic field
▼Comparative statement
Poem A — John Donne, The Good-Morrow (1633)
Quotation
Technique + effect
Poem B — John Keats, I cry your mercy, pity, love, aye, love! (1819)
Quotation
Technique + effect
AAural — sibilance, alliteration, plosive, onomatopoeia, internal rhyme
▼Comparative statement
Poem A — John Donne, The Good-Morrow (1633)
Quotation
Technique + effect
Poem B — John Keats, I cry your mercy, pity, love, aye, love! (1819)
Quotation
Technique + effect
PPace — rhythm, enjambement, pauses, monosyllabic weight
▼Comparative statement
Poem A — John Donne, The Good-Morrow (1633)
Quotation
Technique + effect
Poem B — John Keats, I cry your mercy, pity, love, aye, love! (1819)
Quotation
Technique + effect
EEnding — closure, final image, resolution or irresolution
▼Comparative statement
Poem A — John Donne, The Good-Morrow (1633)
Quotation
Technique + effect
Poem B — John Keats, I cry your mercy, pity, love, aye, love! (1819)
Quotation
Technique + effect
Paragraph order reminder: Your strongest point should open your essay. Your second strongest should close it. Save your weakest for the middle.
Your ITAPE plan — Mock 5 Section B
Copied
AO weightings & recommendations — Section B▼
| AO | Weight | What it means in practice |
|---|---|---|
| AO1 | High | Comparative structure — both poems in every paragraph |
| AO2 | Very High | The dominant AO — close analysis of poetic methods is everything |
| AO3 | Light | One brief contextual point per poem — era, gender, form tradition |
| AO5 | Present | Alternative readings of ambiguous images or endings |
Recommendation: AO2 is the engine of this section. Every paragraph needs a quotation, a named technique and a specific effect — not "this creates imagery" but "the sibilance of 'sleepless shores' creates a sense of continuous, almost liturgical process." AO3 should appear once per poem, early in its paragraph, as a lens. Both poems must appear in every paragraph — no single-poem paragraphs.
Section CComparing Texts · 25 marks · ~50 minutes
Your planning notes
AO weightings & recommendations — Section C▼
| AO | Weight | What it means in practice |
|---|---|---|
| AO1 | High | Essay-level argument linking both texts through the question |
| AO2 | Significant | Methods from both texts — not just what writers say but how |
| AO3 | High | Context of both texts — this section rewards contextual depth most |
| AO4 | Significant | Connections across texts — the comparative AO |
| AO5 | Present | Different critical or interpretive positions on both texts |
Recommendation: Open with a thesis that addresses the question across both texts simultaneously. AO3 is more heavily rewarded here than in Sections A or B — bring in literary, historical and cultural context confidently. Every paragraph should connect both texts, not treat them alternately. AO4 test: "The comparison reveals something neither text shows alone" — if your connecting sentence does not do this, rewrite it.
Mock Paper 6. Download the full paper before planning.
↓ Download PDFSection AOthello · 25 marks · ~50 minutes
Your planning notes
AO weightings & recommendations — Section A▼
| AO | Weight | What it means in practice |
|---|---|---|
| AO1 | High | Clear argument, well-structured response, precise vocabulary throughout |
| AO2 | High | Close analysis of Shakespeare's language, form and structure |
| AO3 | Significant | Jacobean context — attitudes to race, gender, jealousy, honour |
| AO5 | Present | Different interpretations — feminist, post-colonial readings |
Recommendation: Lead with a clear view on the question. Every paragraph must contain a quotation and a language point — do not paraphrase. Bring AO3 in early in each paragraph as a lens, not as a separate point at the end. AO5 works best as a brief alternative reading: "while a Jacobean audience might read Othello's jealousy as... a post-colonial reading would suggest..."
Section BUnseen Poetry · 25 marks · ~45 minutes
First approach
What do we know before we read a single line?
Poem A — Mary Coleridge, The Other Side of a Mirror (1896)
Gender of poet
Date
Context
Form
Poem B — Sylvia Plath, Mad Girl's Love Song (1953)
Gender of poet
Date
Context
Form
ITAPE comparison
IIntroduction — how the poem begins, first impression of voice
▼Comparative statement
Poem A — Mary Coleridge, The Other Side of a Mirror (1896)
Quotation
Technique + effect
Poem B — Sylvia Plath, Mad Girl's Love Song (1953)
Quotation
Technique + effect
TTone — imagery, mood, semantic field
▼Comparative statement
Poem A — Mary Coleridge, The Other Side of a Mirror (1896)
Quotation
Technique + effect
Poem B — Sylvia Plath, Mad Girl's Love Song (1953)
Quotation
Technique + effect
AAural — sibilance, alliteration, plosive, onomatopoeia, internal rhyme
▼Comparative statement
Poem A — Mary Coleridge, The Other Side of a Mirror (1896)
Quotation
Technique + effect
Poem B — Sylvia Plath, Mad Girl's Love Song (1953)
Quotation
Technique + effect
PPace — rhythm, enjambement, pauses, monosyllabic weight
▼Comparative statement
Poem A — Mary Coleridge, The Other Side of a Mirror (1896)
Quotation
Technique + effect
Poem B — Sylvia Plath, Mad Girl's Love Song (1953)
Quotation
Technique + effect
EEnding — closure, final image, resolution or irresolution
▼Comparative statement
Poem A — Mary Coleridge, The Other Side of a Mirror (1896)
Quotation
Technique + effect
Poem B — Sylvia Plath, Mad Girl's Love Song (1953)
Quotation
Technique + effect
Paragraph order reminder: Your strongest point should open your essay. Your second strongest should close it. Save your weakest for the middle.
Your ITAPE plan — Mock 6 Section B
Copied
AO weightings & recommendations — Section B▼
| AO | Weight | What it means in practice |
|---|---|---|
| AO1 | High | Comparative structure — both poems in every paragraph |
| AO2 | Very High | The dominant AO — close analysis of poetic methods is everything |
| AO3 | Light | One brief contextual point per poem — era, gender, form tradition |
| AO5 | Present | Alternative readings of ambiguous images or endings |
Recommendation: AO2 is the engine of this section. Every paragraph needs a quotation, a named technique and a specific effect — not "this creates imagery" but "the sibilance of 'sleepless shores' creates a sense of continuous, almost liturgical process." AO3 should appear once per poem, early in its paragraph, as a lens. Both poems must appear in every paragraph — no single-poem paragraphs.
Section CComparing Texts · 25 marks · ~50 minutes
Your planning notes
AO weightings & recommendations — Section C▼
| AO | Weight | What it means in practice |
|---|---|---|
| AO1 | High | Essay-level argument linking both texts through the question |
| AO2 | Significant | Methods from both texts — not just what writers say but how |
| AO3 | High | Context of both texts — this section rewards contextual depth most |
| AO4 | Significant | Connections across texts — the comparative AO |
| AO5 | Present | Different critical or interpretive positions on both texts |
Recommendation: Open with a thesis that addresses the question across both texts simultaneously. AO3 is more heavily rewarded here than in Sections A or B — bring in literary, historical and cultural context confidently. Every paragraph should connect both texts, not treat them alternately. AO4 test: "The comparison reveals something neither text shows alone" — if your connecting sentence does not do this, rewrite it.