Paper 1 Question 3 Skills: Structure Analysis (AQA GCSE English Language)

whole text level

paragraph level

sentence level

For example, beginnings, endings and shifts in focus

For example, topic changes, single-sentence paragraphs

For example, sentence lengths

Openings

The opening of a prose text serves a crucial role in setting the mood and tone, establishing the setting, introducing characters and establishing the narrative voice

Endings

The closing of a prose text is the concluding part that brings the narrative to a resolution or conclusion

It provides a sense of closure, wraps up loose ends and gives insight into how the characters have changed or evolved throughout the narrative

Foreshadowing

Foreshadowing is used to hint or suggest future events or developments within a narrative and involves the writer placing subtle clues throughout the narrative which, when interpreted by the reader, offer insight into what may occur later on

Foreshadowing not only adds depth and complexity to the narrative, but can also create a sense of anticipation and suspense for the reader

Juxtaposition

Juxtaposition refers to the deliberate placement of two contrasting elements in close proximity to one another to highlight their disparities

By juxtaposing contrasting elements, writers can achieve various effects, from emphasising themes and character development to eliciting emotional responses from the reader

Linear narrative

Linear narrative refers to a narrative structure where events in a narrative are presented in a chronological order, following a straightforward sequence from the beginning to the end

In a linear narrative, the plot unfolds in a cause-and-effect manner and the reader experiences the events in the same order as they occur within the story's timeline 

Non-linear narrative

Non-linear narrative is a storytelling structure where events in a narrative are presented out of chronological order 

In this narrative style, the plot may jump back and forth in time, feature flashbacks, flash-forwards or alternate timelines

Non-linear narratives can be more complex and challenging to follow than linear narratives, as they often require the reader to piece together the events in a non-sequential manner

Cyclical structure

Cyclical structure is when the narrative concludes with a return to its starting point, creating a sense of closure and circularity

In a cyclical structure, the narrative’s ending mirrors or echoes its beginning, emphasising themes or character development

1. When you first start to read the text, what is the writer focusing your attention on?

2.How is this being developed?

3. What structural feature is evident at this point?

4. Why might the writer have deliberately chosen to begin the text with this focus and, therefore, make use of this particular structural feature?

5. What main points of focus does the writer develop in sequence after the starting point?

6. How is each being developed?

7. Why is the writer taking you through this particular sequence?

8. How is this specific to helping you relate to the intended meaning(s) at these points?

9. What does the writer focus your attention on at the end of the text?

10. How is this developed as a structural feature?

11. How are you left thinking or feeling at the end of the text?

12. Why might the writer have sought to bring you to this point of interest or understanding?

“When Scrooge awoke, it was so dark, that looking out of bed, he could scarcely distinguish the transparent window from the opaque walls of his chamber. He was endeavouring to pierce the darkness with his ferret eyes, when the chimes of a neighbouring church struck the four quarters. So he listened for the hour. 

To his great astonishment the heavy bell went on from six to seven, and from seven to eight, and regularly up to twelve; then stopped. Twelve! It was past two when he went to bed. The clock was wrong. An icicle must have got into the works. Twelve!”

Time and repetition

“the heavy bell went on from six to seven, and from seven to eight, and regularly up to twelve; then stopped. Twelve!”

The opening lines revolve around the structural device of time, particularly the sound of the clock chimes, which helps to build tension. The repetition of the clock's progression from six to twelve creates a sense of time passing rapidly and irregularly, which reflects Scrooge’s disoriented and bewildered state

Foreshadowing

“the heavy bell went on from six to seven, and from seven to eight, and regularly up to twelve; then stopped. Twelve!”

Furthermore, the irregular and ominous sound of the clock chimes also foreshadow the supernatural occurrences that will soon occur in the narrative and hint at the upcoming visitations of the spirits

Juxtaposition

“He was endeavouring to pierce the darkness with his ferret eyes, when the chimes of a neighbouring church struck the four quarters.”

The writer juxtaposes the darkness of Scrooge's room with the chimes of the church clock. This contrast enhances the atmosphere of the scene, highlighting the eerie and mysterious nature of the events unfolding. The slow and deliberate description of Scrooge trying to discern his surroundings in the darkness, combined with the repetition of the clock striking the hours, adds to the sense of anticipation and foreboding

“There was music from my neighbour’s house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motorboats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On weekends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before.”

Temporal markers

“through the summer nights”, "at high tide in the afternoon” and "on weekends”

The passage includes temporal markers which provide a sense of time as well as to establish a pattern in the events described.  These markers help the reader understand the routine of Gatsby’s extravagant lifestyle, which is characterised by the opulent parties he hosts. The passage’s emphasis on regularity and repetition also hints at a potential sense of loneliness or isolation within Gatsby and, therefore, the structured nature of his lifestyle may mask a deeper emotional void in his life

Complex sentences and pacing

“diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motorboats slit the waters of the Sound, drawing aquaplanes over cataracts of foam”

The writer employs complex sentences to depict the grandeur of various elements of Gatsby’s parties, which helps to convey a sense of energy and activity. For instance, the description of the guests in this quote is an extended sentence that captures the dynamic and bustling atmosphere

Juxtaposition

“bearing parties to and from the city between nine in the morning and long past midnight” and “on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes”

The writer juxtaposes different events in the passage to highlight the stark contrast between Gatsby’s extravagant parties and the mundane tasks that follow.  The description of the lively parties, filled with music and socialising, is contrasted with the image of servants toiling with cleaning and repairs after the revelry. This juxtaposition illustrates the excesses of Gatsby's lifestyle

“This is an unusual party for me. I haven’t even seen the host. I live over there – ” I waved my hand at the invisible hedge in the distance, “and this man Gatsby sent over his chauffeur with an invitation.” 

For a moment he looked at me as if he failed to understand. 

“I’m Gatsby,” he said suddenly. 

“What!” I exclaimed. “Oh, I beg your pardon.” 

“I thought you knew, old sport. I’m afraid I’m not a very good host.” 

He smiled understandingly – much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced – or seemed to face – the whole eternal world for an instant, and then concentrated on you with an irresistible prejudice in your favour. It understood you just so far as you wanted to be understood, believed in you as you would like to believe in yourself, and assured you that it had precisely the impression of you that, at your best, you hoped to convey. Precisely at that point it vanished – and I was looking at an elegant young roughneck, a year or two over thirty, whose elaborate formality of speech just missed being absurd. Some time before he introduced himself I’d got a strong impression that he was picking his words with care.”

Shift in narrative perspective

“He smiled understandingly – much more than understandingly.”

Whilst the opening lines of Chapter 3 focus on the external spectacle and grandeur of Gatsby’s world, this passage in the middle of the text shifts the focus to the personal interaction between Nick and Gatsby. The narrative perspective changes from an all-encompassing view of the parties to a more intimate portrayal of Nick’s individual feelings which the writer uses to create a more personal tone

Dialogue

“I’m Gatsby,” he said suddenly. 

“What!” I exclaimed. “Oh, I beg your pardon.”

The use of direct speech at this point in the narrative brings a more intimate dimension and reveals the growing connection between Nick and Gatsby. It also provides insight into Gatsby’s charm and his efforts to build a relationship with Nick. Similarly, the dialogue brings an immediacy to the scene and draws the reader into a closer connection with the characters

Tone

“I thought you knew, old sport. I’m afraid I’m not a very good host.”

The opening lines of the narrative set a tone of extravagance, vibrancy and opulence, reflecting the lavishness of Gatsby’s parties.  In contrast, the middle section of the passage conveys a more personal and introspective tone, which focuses on Nick’s feelings of shame at not having known who Gatsby was and Gatsby’s reassuring response. The writer’s shift in tone reflects the transition from the external spectacle of the party to a more emotional and introspective moment between both characters

“The caterwauling horns had reached a crescendo and I turned away and cut across the lawn toward home. I glanced back once. A wafer of a moon was shining over Gatsby’s house, making the night fine as before, and surviving the laughter and the sound of his still glowing garden. A sudden emptiness seemed to flow now from the windows and the great doors, endowing with complete isolation the figure of the host, who stood on the porch, his hand up in a formal gesture of farewell.”

Simple declarative sentence

“I glanced back once.”

The writer’s use of a single declarative sentence presents a contrast within the overall paragraph due to its brevity and simplicity. It creates a moment of pause and reflection and its placement within the paragraph (amongst the other complex sentences with elaborate descriptions) makes it stand out to the reader. The writer uses this simple sentence to illustrate the moment where Nick acknowledges the allure of Gatsby's world, but also recognises the underlying emptiness beneath its surface

Openings and closings/

Juxtaposition

“A sudden emptiness seemed to flow now...the figure of the host, who stood on the porch, his hand up in a formal gesture of farewell.”

The final closing line offers a striking juxtaposition to the opening lines of the chapter, which the writer uses to reveal the dual nature of Gatsby’s character. The opening presents a façade of extravagance, glamour and allure which is then contrasted with the closing line, exposing the emptiness, isolation and detachment that lies beneath the surface. The juxtaposition of the earlier lively atmosphere with the current emptiness and the image of the host’s formal farewell gesture reflects the theme of emptiness and disillusionment