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How to Write an A-Level English Literature Essay

Writing an A-level English Literature essay is like creating a masterpiece. It’s a skill that can make a big difference in your academic adventure. 

In this article, we will explore the world of literary analysis in an easy-to-follow way. We’ll show you how to organise your thoughts, analyse texts, and make strong arguments. 

The Basics of Crafting A-Level English Literature Essays

Understanding the Assignment: Decoding Essay Prompts

Writing begins with understanding. When faced with an essay prompt, dissect it carefully. Identify keywords and phrases to grasp what’s expected. Pay attention to verbs like “analyse,” “discuss,” or “evaluate.” These guide your approach. For instance, if asked to analyse, delve into the how and why of a literary element.

Essay Structure: Building a Solid Foundation

The structure is the backbone of a great essay. Start with a clear introduction that introduces your topic and thesis. The body paragraphs should each focus on a specific aspect, supporting your thesis. Don’t forget topic sentences—they guide readers. Finally, wrap it up with a concise conclusion that reinforces your main points.

Thesis Statements: Crafting Clear and Powerful Arguments

Your thesis is your essay’s compass. Craft a brief statement conveying your main argument. It should be specific, not vague. Use it as a roadmap for your essay, ensuring every paragraph aligns with and supports it. A strong thesis sets the tone for an impactful essay, giving your reader a clear sense of what to expect.

Exploring PEDAL for Better A-Level English Essays

Going beyond PEE to PEDAL ensures a holistic approach, hitting the additional elements crucial for A-Level success. This structure delves into close analysis, explains both the device and the quote, and concludes with a contextual link. 

Below are some examples to illustrate how PEDAL can enhance your essay:

Clearly state your main idea.

Example: “In this paragraph, we explore the central theme of love in Shakespeare’s ‘Romeo and Juliet.'”

Pull relevant quotes from the text.

Example: “Citing Juliet’s line, ‘My only love sprung from my only hate,’ highlights the conflict between love and family loyalty.”

Identify a literary technique in the evidence.

Example: “Analysing the metaphor of ‘love sprung from hate,’ we unveil Shakespeare’s use of contrast to emphasise the intensity of emotions.”

Break down the meaning of the evidence.

Example: “Zooming in on the words ‘love’ and ‘hate,’ we dissect their individual meanings, emphasising the emotional complexity of the characters.”

Link to Context:

Connect your point to broader contexts.

Example: “Linking this theme to the societal norms of the Elizabethan era adds depth, revealing how Shakespeare challenges prevailing beliefs about love and family.”

Navigating the World of Literary Analysis

Breaking Down Literary Elements: Characters, Plot, and Themes

Literary analysis is about dissecting a text’s components. Characters, plot, and themes are key players. Explore how characters develop, influence the narrative, and represent broader ideas. Map out the plot’s structure—introduction, rising action, climax, and resolution. Themes, the underlying messages, offer insight into the author’s intent. Pinpointing these elements enriches your analysis.

Effective Text Analysis: Uncovering Hidden Meanings

Go beyond the surface. Effective analysis uncovers hidden layers. Consider symbolism, metaphors, and imagery. Ask questions: What does a symbol represent? How does a metaphor enhance meaning? Why was a particular image chosen? Context is crucial. Connect these literary devices to the broader narrative, revealing the author’s nuanced intentions.

Incorporating Critical Perspectives: Adding Depth to Your Essays

Elevate your analysis by considering various perspectives. Literary criticism opens new doors. Explore historical, cultural, or feminist viewpoints. Delve into how different critics interpret the text. This depth showcases a nuanced understanding, demonstrating your engagement with broader conversations in the literary realm. Incorporating these perspectives enriches your analysis, setting your essay apart.

Secrets to Compelling Essays

Structuring your ideas: creating coherent and flowing essays.

Structure is the roadmap readers follow. Start with a captivating introduction that sets the stage. Each paragraph should have a clear focus, connected by smooth transitions. Use topic sentences to guide readers through your ideas. Aim for coherence—each sentence should logically follow the previous one. This ensures your essay flows seamlessly, making it engaging and easy to follow.

Presenting Compelling Arguments: Backing Up Your Points

Compelling arguments rest on solid evidence. Support your ideas with examples from the text. Quote relevant passages to reinforce your points. Be specific—show how the evidence directly relates to your argument. Avoid generalisations. Strong arguments convince the reader of your perspective, making your essay persuasive and impactful.

The Power of Language: Writing with Clarity and Precision

Clarity is key in essay writing. Choose words carefully to convey your ideas precisely. Avoid unnecessary complexity—simple language is often more effective. Proofread to eliminate ambiguity and ensure clarity. Precision in language enhances the reader’s understanding and allows your ideas to shine. Crafting your essay with care elevates the overall quality, leaving a lasting impression.

Mastering A-level English Literature essays unlocks academic success. Armed with a solid structure, nuanced literary analysis, and compelling arguments, your essays will stand out. Transform your writing from good to exceptional. 

For personalised guidance, join Study Mind’s A-Level English Literature tutors . Elevate your understanding and excel in your literary pursuits. Enrich your learning journey today!

How long should my A-level English Literature essay be, and does word count matter?

While word count can vary, aim for quality over quantity. Typically, essays range from 1,200 to 1,500 words. Focus on expressing your ideas coherently rather than meeting a specific word count. Ensure each word contributes meaningfully to your analysis for a concise and impactful essay.

Is it acceptable to include personal opinions in my literature essay?

While it’s essential to express your viewpoint, prioritise textual evidence over personal opinions. Support your arguments with examples from the text to maintain objectivity. Balance your insights with the author’s intent, ensuring a nuanced and well-supported analysis.

Can I use quotes from literary critics in my essay, and how do I integrate them effectively?

Yes, incorporating quotes from critics can add depth. Introduce the critic’s perspective and relate it to your argument. Analyse the quote’s relevance and discuss its impact on your interpretation. This demonstrates a broader engagement with literary conversations.

How do I avoid sounding repetitive in my essay?

Vary your language and sentence structure. Instead of repeating phrases, use synonyms and explore different ways to express the same idea. Ensure each paragraph introduces new insights, contributing to the overall development of your analysis. This keeps your essay engaging and avoids monotony.

Is it necessary to memorise quotes, or can I refer to the text during exams?

While memorising key quotes is beneficial for a closed text exam, you can refer to the text during open text exams. However, it’s crucial to be selective. Memorise quotes that align with common themes and characters, allowing you to recall them quickly and use them effectively in your essay under time constraints.

How can I improve my essay writing under time pressure during exams?

Practise timed writing regularly to enhance your speed and efficiency. Prioritise planning—allocate a few minutes to outline your essay before starting. Focus on concise yet impactful analysis. Develop a systematic approach to time management to ensure each section of your essay receives adequate attention within the given timeframe.

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How to plan an essay: Essay Planning

• What's in this guide
• Essay Planning
• Additional resources

How to plan an essay

Essay planning is an important step in academic essay writing.

Proper planning helps you write your essay faster, and focus more on the exact question.  As you draft and write your essay, record any changes on the plan as well as in the essay itself, so they develop side by side.

One way to start planning an essay is with a ‘box plan’.

First, decide how many stages you want in your argument – how many important points do you want to make? Then, divide a box into an introduction + one paragraph for each stage + a conclusion.

Next, figure out how many words per paragraph you'll need.

Usually, the introduction and conclusion are each about 10% of the word count. This leaves about 80% of the word count for the body - for your real argument. Find how many words that is, and divide it by the number of body paragraphs you want. That tells you about how many words each paragraph can have.

Remember, each body paragraph discusses one main point, so make sure each paragraph's long enough to discuss the point properly (flexible, but usually at least 150 words).

For example, say the assignment is

Fill in the table as follows:

Next, record each paragraph's main argument, as either a heading or  topic sentence (a sentence to start that paragraph, to immediately make its point clear).

Finally, use dot points to list useful information or ideas from your research notes for each paragraph. Remember to include references so you can connect each point to your reading.

The other useful document for essay planning is the marking rubric .

This indicates what the lecturer is looking for, and helps you make sure all the necessary elements are there.

Pathways and Academic Learning Support

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• Last Updated: Feb 15, 2024 1:23 PM
• URL: https://libguides.newcastle.edu.au/essay_planning

AQA Philosophy Course Content

Epistemology

Epistemology means theory of knowledge. The epistemology module covers what the definition of knowledge is, as well as how much knowledge comes from perception and how much from reason. It also covers the idea of scepticism.

Moral Philosophy

Moral philosophy is often referred to as ethics. It’s about right and wrong, good and bad. This module covers ethical theories, applications of these theories, and the meaning of moral language.

Metaphysics of God

This module covers the concept of God as typically conceived by the three main monotheistic religions. It covers whether such a concept is possible as well as arguments for and against the existence of God.

Metaphysics of Mind

Philosophy of mind looks at what minds and mental states actually are. This module covers various theories which say the mind is a physical thing and others which argue it is non-physical.

Course Textbook

The course textbook written with the student in mind!

Includes: straightforward explanations of syllabus topics for all 4 modules , bullet point summaries at the end of each module, exam blueprint for each question type (with example answers), and example 25 mark answer plans on every major topic.

How to get an A in A-level philosophy

Exam Practice Workbooks

Reinforce your philosophical knowledge while building writing skills for exam success. Helpful exam tips are mixed in among the various activities – which include crossword puzzles, fill-in-the-blanks, multiple choice, and more – to provide a clear structure for answering the 3, 5, 12, and 25 mark questions that come up in the exam.

Revision exercises and exam practice workbooks

Example Essays

Download A* grade example essays based on the AQA philosophy A level syllabus and be prepared for every potential 25 mark question!

Example essays enable you to cover both the course content and exam technique simultaneously . Each document includes a short essay plan to help reinforce how to structure your essays to achieve maximum marks.

A* Grade Example Answers

Online Tutoring

Like this website, my philosophy tutoring is designed to make the course as straightforward as possible and get you the best grade in the exam!

Philosophy A Level Tutoring

YouTube Channel

I am currently working on a series of videos for YouTube that explain the course content. Please like and subscribe! 🙂

Philosophy A level explainer videos

A Level Philosophy & Religious Studies

Model essay plans for theories of perception

AQA Philosophy model essays

Note that this model essay plan is merely one possible way to write an essay on this topic.

Points highlighted in light blue are integration points Points highlighted in green are weighting points

This page contains essay plans for Direct realism, Indirect realism and Idealism.

Direct realism

• Direct realism – the view that the objects of perception are mind-independent objects and their properties.
• This theory is realist as it claims there is a mind-independent reality.
• We perceive reality immediately. We do not perceive a mental representation of reality like sense data. We simply perceive objective reality without any mediation.
• This gives direct realism the strength of seeming to avoid scepticism. If direct realism is true then all our perceptions are veridical.

The perceptual variation issue

• Russell’s table: imagine a shiny table with a beam of light falling on it from a window.
• If you stand in different places in relation to the table, the light can appear to fall on different parts of the table.
• This makes different areas of the table appear lighter brown or darker brown.
• So, this shows that the colour of the table cannot be a mind-independent property of it. It depends on the mind perceiving it.
• Russell also points to the texture of the table feeling smooth, but under a microscope appearing bumpy, or the shape of the table being square or rectangular depending on where you stand.
• Locke’s illustration – if a person puts one hot hand and one cold hand into some lukewarm water, it will feel hot to one hand but cold to the other. 
• So, direct realism is false.
• An intrinsic property is a property a thing has in itself. 
• A relational property is a property a thing has due to its relation to something else.
• Perceptual relational properties exist due to the relation of a thing to an observer. 
• So the direct realist could say that a certain part of the table has the relational property of ‘looking light brown’ to some observer conditions, while also having the relational property of ‘looking dark brown’ to other observer conditions. 
• Similarly, Locke’s water has an intrinsic property of a certain temperature, but it can also have the relational property of ‘feeling hotter than’ and ‘feeling colder than’ depending on the temperature of the organ used to perceive it.
• Locke’s illustration only shows that it’s possible for a single observer to directly perceive two different relational properties at once.
• Direct realists claimed that the objects of perception are mind-independent objects and their properties. 
• They can thus respond that this includes relational properties. 
• So, perceptual variation does not undermine direct realism.
• Sometimes we directly observe an object’s relational properties, which can make it appear different to its intrinsic property, however we still directly observe its properties.

Evaluation:

• Some could attack the relational properties as ‘mind-dependent’. However, they are not. A square table would really have the relational property of ‘looking rectangular’ to a certain perceiver from a certain physical angle, even if there was no perceiver.
• Perceptual variation could be explained by either relational properties or sense data. 
• Indirect realism faces the issue of scepticism since it claims we never directly perceive reality. 
• Ockham’s razor also shows that direct realism is simpler due to not proposing that sense-data exists.
• This puts direct realism in a stronger position than indirect realism. 
• So, we seem justified in accepting its relational property explanation of perceptual variation over the indirect realist sense data explanation.
• However, the relational properties response arguably leads to scepticism.
• If one person sees the table as light brown and another as dark brown, this creates a sceptical issue for direct realism. How could we ever know what colour the table actually is? How can we tell which perception is directly perceiving the intrinsic property?
• We could never tell what the actual intrinsic property of an object is, since every time we perceive it for all we know we could be perceiving its relational properties instead.
• So, direct realism is unconvincing as it is not in a stronger position than indirect realism regarding scepticism. 

The hallucination issue

• P1. According to direct realism, if I perceive object p, then object p exists mind-independently.
• P2. During a hallucination I observe an object p , but there is no object p.
• C1. Therefore, the object of perception p must be mind-dependent sense data.
• P3. Hallucinations can be subjectively indistinguishable from veridical perception.
• C2. Therefore, in all cases, the objects of perception are mind-dependent sense data. So direct realism is false.
• The disjunctive theory of perception
• Firstly, P1 & P2 does not justify C1. Hallucinations might not be sense data since they might not be perceptions at all – they could be uncontrollable projections of the imagination, which explains their being mind-dependent. 
• Secondly, P3 does not justify C2. It could be true that hallucinations are mind-dependent, and yet other perceptions are not mind-dependent.
• Just because hallucinations look like ordinary perceptions, even if they were mind-dependent, that wouldn’t prove that ordinary perceptions are mind-dependent.
• Just because we are epistemically unable to tell them apart, doesn’t mean they are ontologically the same type of thing.
• So, direct realists could still be correct about perceptions being of mind-independent objects.
• There is still a sceptical issue for direct realism arising from this, however.
• If hallucinations appear like ordinary perceptions, then even if technically that doesn’t mean they are like ordinary perceptions, nonetheless we still can’t tell them apart.
• This means that all of our perceptions could be a hallucination for all we know. So, we can’t gain knowledge from perception.
• This version of the hallucination argument is in a stronger position because it cannot be avoided by the disjunctive theory of perception.
• So, direct realism leads to scepticism – making it less convincing as an epistemological theory of perception.

The time lag argument

• It takes time for light to bounce off an object and then enter our eyes.
• This means that our perceptions of objects are not as they exist exactly now, but at some time in the past.
• This seems to question whether we are seeing objects directly.
• This becomes clearer with the example of distant stars. Their light can take millions of years to reach us. Some of the stars we see have actually exploded or died, but we still see them.
• It can’t make sense to say we are directly perceiving something if it doesn’t actually exist.
• The objects of perception cannot be a mind-independent object, if that object does not exist.
• However, the direct realist can respond that this issue confuses what we see with how we see.
• Light is a physical medium by which we perceive objects. 
• We don’t actually perceive the light itself, except in special cases – like seeing light reflecting off paper or a lake.
• Normally, when perceiving an object, we simply perceive the object, not the light.
• Light therefore does not mediate our perception – it doesn’t present us with a representation that we perceive (since we don’t perceive the light). It simply presents us with the object itself.
• Light is how we perceive objects, but not what we perceive.
• Light delays our perception because it takes time, but it does not mediate our perception.
• Directness does not require instantaneity.
• Time lag can only show that our perception is delayed, not that it isn’t direct.
• Direct realists can thus be successfully defended because the necessary condition of directness is immediacy, not instantaneity.
• Seeing something directly doesn’t require seeing it as it is now, it simply requires that our perception of it is not mediated, that we aren’t perceiving it ‘through’ something else (like sense data) that represents it. 
• We are just directly perceiving the object, but as it was, not as it currently is.
• Direct realism only claims that the objects of perception are mind-independent objects and their properties.
• Direct realism is not committed to the objects we perceive actually existing at the moment of perception. It claims only that our perception of them is direct – unmediated.

Conclusion: 

• Direct realism can be defended against the time-lag argument. The perceptual variation and hallucination issues cannot prove direct realism false because of the appeal to relational properties. However that defence did lead to scepticism. So, direct realism is unconvincing as an epistemological theory of perception.

Indirect realism

• Indirect realism is the view that the objects of perception are mind-dependent objects which are caused by and represent mind-independent objects.
• The strength of indirect realism is that it fits with the common-sense understanding of our perception that our experience teaches us. We are all familiar with the way our perception can be altered. Illusions, hallucination and perceptual variation suggests that our experience is a mental representation of reality, not reality itself.

The issue that indirect realism leads to scepticism about the existence of mind-independent objects

• Indirect realism claims that we only perceive sense data and that sense data is caused by a mind-independent reality.
• However, if we only have direct awareness of sense data, how do we know that sense data is actually caused by mind-independent objects? How do we know there is an external world at all? 
• On this view, for all we know, so-called ‘sense data’ is actually caused by our imagination and there is no external world at all.
• If indirect realism is true, sense data is a ‘veil of perception’ behind which we cannot perceive or know.
• So, indirect realism’s claim that sense data is caused by mind-independent objects is epistemically undermined by its claim that sense data is all we perceive.
• Locke’s argument from the coherence of the various senses.
• When we perceive an apple, we see it, feel it and can taste it. The senses cohere and thus provide evidence for the validity of each other. 
• We have multiple different senses – it seems the fact that they all cohere and sense the same things at the same time is good evidence for thinking there really is a mind-independent object. The chance that each sense would mistakenly report the same object at the same time seems very low.
• Locke’s argument from the involuntary nature of experience.
• If there was no mind-independent world, our perceptions would come from our imagination.
• However, we have control over our imagination, but not our perception.
• So, our perceptions must originate from an external world.
• So, we have a basis for rejecting scepticism and claiming that sense data is caused by mind-independent objects.
• Locke’s argument is inductive because he’s arguing there is evidence about the nature of our experience that can be used to infer the nature of its origin.
• However, Locke’s argument is weak because even if it succeeds in showing that our perceptions originate from outside our minds, that wouldn’t show it was caused by a mind-independent reality. It could be caused by another mind or higher being, like the mind of God, as Berkeley suggests.
• Perceptions could simply be caused by an unconscious part of our imagination (e.g. hallucinations) we have no awareness of control over, which produces perceptions for all our senses in a way which coheres with each other.
• So, Locke can’t escape scepticism about the existence of mind-independent reality nor solipsism.

Rusell’s best hypothesis response

• Russell’s response to scepticism is in a stronger position than Locke’s inductive approach. 
• The nature of our experience, including its involuntary and coherent nature, are not better evidence for its origin being a real world compared to an evil demon or our own subconscious. 
• We cannot prove there is a mind-independent reality, but nor can we prove there isn’t.  
• Russell claims such cases justify resorting to an abductive approach of determining which explanation provides the best hypothesis. This means which explanation has the most explanatory power , i.e., provides the most explanation of why our perceptions are the way they are.
• There are two possibilities. Either there is a mind-independent reality causing our perceptions, or there isn’t. Russell gives the example of seeing his cat in his room, but the next time he looks it’s somewhere else.
• If there is no mind-independent reality causing those perceptions then we have no explanation of why those perceptions occurred. We have no explanation of the regularity and order in which our perceptions tend to appear.
• Yet if there is a mind-independent reality causing our perceptions, then we have an explanation of why they are the way they are. The cat’s perceived location changed because it has a mind-independent existence and it moved.
• So, we are justified in believing that our perceptions are caused by a mind-independent external world because it is the best hypothesis.
• Russell’s argument is abductive. Even if it succeeds, it’s not defeating scepticism to a convincing degree. (link to idealism as in a stronger position due to defeating scepticism more convincingly?)
• Furthermore, it doesn’t even succeed. There could be some reason why our unconscious imagination is producing perceptions that are orderly and regular. Perhaps we are living in a hallucinated dream-world that our mind has created to protect us from reality. Our minds could be completely disconnected from reality, if there even is one.
• Or, it could be that another powerful mind which wants to produce deceptively seemingly real perceptions in us is producing our orderly and regular perceptions. If there’s an evil demon and us, there need not be a physical ‘realist’ reality. Or Berkley’s suggestion that God is the origin of our perceptions would also be an equally powerful explanation.
• This possibility would explain the orderliness and regularity of our perceptions just as well as the possibility that a mind-independent reality causes them.
• So, a mind-independent reality causing our perceptions doesn’t have more explanatory power than other possible explanations, so we can’t claim it is the ‘best ‘hypothesis.

Berkeley’s criticism that mind-dependent objects cannot be like (resemble) mind-independent objects.

• IDR claims that sense data represents mind-independent objects.
• Berkeley responds that for something to represent something else, they must be alike.
• Berkeley’s ‘likeness principle’ claims that to justifiably know that two things are alike, requires that we can compare them – to verify that they are in fact alike.
• However, since IDR leads to a veil of perception, we never directly experience mind-independent objects.
• In that case, we can never compare sense data to what it supposedly represents.
• So, we can never justifiably claim that sense data represents mind-independent objects.
• If we perceive, e.g. a table, how do we know that this represents a mind-independent object, if we never directly perceive the mind-independent object?
• So, indirect realism is self-undermining since its claim that we only experience mind-dependent sense data undermines its further claim that this sense data represents mind-independent objects.
• A limitation of Berkeley’s critique is that he assumes representation requires likeness or resemblance. 
• Representation seems to be possible without likeness/resemblance.
• For example, the symbols we use in language are arbitrary, meaning they have no resemblance or likeness to the objects they represent.
• The word ‘chair’ is not like a chair but nonetheless can represent it. 
• So, mind-dependent objects could still represent mind-independent objects even if they are not like them.
• However, we can defend Berkeley’s conclusion by improving his argument into a stronger form which does not rely on his likeness principle.
• The claim of representation still requires justification.
• How does one know that a mind-dependent object represents a mind-independent object, if a mind-independent object has never been perceived.
• We only know that the word ‘chair’ represents a chair, because we have experienced a chair.
• If we have no experienced mind-independent objects, then we can’t know that our perceptions represent them in any way.
• Even if we accept that ‘likeness’ isn’t’ required for representation, nonetheless for all we know, our perceptions might not even represent the mind-independent world. It could be totally non-representative of our perceptions in any respect.
• So, we just cannot know whether our perceptions represent mind-independent objects. 
• So, indirect realism’s claim that the objects of perception are mind-dependent objects does undermine its claim that they represent mind-independent objects and the theory thus leads to scepticism.

Resources you can trust

Essay planning

An excellent, student-friendly guide for A-level students about the benefits of essay planning, and covering all the stages of planning. Includes detailed guidance on how to approach a KS5 essay question or title and how to identify the key or command words of the question. 

An extract from the lesson worksheet: 

The stages of essay planning

There are definite stages to planning an essay which are as important to follow for coursework essays as for essays written in exam conditions. 

• Read the question (several times).
• Identify the key words in the question and underline them.
• Explore these key words.
• Write a plan which addresses these key words and orders your ideas.
• Start writing your essay and refer regularly to your plan.

Considering the title

Essay titles are generally framed in the same kind of way.  You may be asked to discuss, consider or explore a text or a particular aspect of it.  You may be asked what you think about an aspect of a text or you may be invited to consider the validity of a particular statement about a text.  You could also be asked to compare and contrast two or more texts.

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Writing A Level Essays

Here are some model A Level essays, written for the new OCR specification.

The essays are all out of 40 marks (16 AO1 and 24 Ao2) and written with A Level notes, using my standard A Level plan (below), in 4o minutes… the amount of time you will have in the final examination.

Obviously enough, these answers represent one possible approach and are only intended to give students an idea of what a reasonable answer might look like.  There are other approaches that would be equally good or better. 

“Fail to plan and you are planning to fail…”

Although the exams won’t allow for a lot of planning time, spending significant time planning through the course is essential because it trains your mind, helping you to absorb and understand what a good essay feels like.  I always say that in a weekly essay it is much better to spend over an hour planning and then limit writing to 40 minutes than to write for 2 hours without a plan!  An unplanned essay, however detailed, is pretty useless because the only thing you have done is to write out your notes in a different way.

Planning an essay forces you to analyse, assess and evaluate the content of the topic, develop and then defend an opinion on it.  This takes you well beyond where you can get in class and is one of the only opportunities you have to give your brain a real work-out. 

I always recommend that students use an assertive approach in A Level essays, putting a THESIS up front (after a relatively short exposition of the question and topic at hand ) using body paragraphs to support their thesis with clear reasons – including evaluated and rejected counter-claims – thus forming a strong and persuasive argument and earning the 60% of the marks that depend on this.

I think that the traditional A01 led approach – where students explain the topic, point by point, evaluating only if they remember at the end of each paragraph and leaving the argument to the conclusion – is a disaster for the new A Level because it will probably cap students around the bottom B level, maybe 28 out of 40.

Students who have not committed their line of argument to paper in paragraph 1 will often not decide what they are arguing until the conclusion, and will therefore fail to argue anything through the body of the essay.

Also, leaving 60% of the marks to the last paragraph when students will be under severe time-pressure and stress, seems unwise.

The upshot of the traditional essay-plan is that if students do not finish they could end up getting 14/40 for a detailed and fluent essay which contains no argument, getting an E rather than an A.  This is a very big price to pay for poor time-management in a 2 year linear exam! . Religious Studies Practice Questions

What would a good essay look like then?

Introduction: What is the question asking?  Identify / briefly explain the topic, identify important issues and key words.  Finish with a THESIS, a clear statement of what your argument (answer) will be, ideally not using the personal pronoun “I” or the hackneyed “this essay will argue…”

Paragraph 1: Your first / strongest reason in support of your argument. State it in your first sentence (POINT), then explain it using plenty of examples and references to scholars (EVIDENCE) and finally relate it back to the Thesis, showing how it relates to your ARGUMENT and LINKS to your reasoning.

Paragraph 2: Your second / next strongest reason in support of your argument. State it in your first sentence (POINT), then explain it using plenty of examples and references to scholars (EVIDENCE) and finally relate it back to the Thesis, showing how it relates to your ARGUMENT and LINKS to your reasoning.

Paragraph 3: Another reason in support of your argument. State it in your first sentence (POINT), then explain it using plenty of examples and references to scholars (EVIDENCE) and finally relate it back to the Thesis, showing how it relates to your ARGUMENT and LINKS to your reasoning.

COUNTERCLAIM: Who would disagree with your argument?  Why? Explain their objection using examples and references to scholars etc. EVALUATE their objection, concluding that you do not accept it because… LINK back to your Thesis.

COUNTERCLAIM 2: Who else would disagree with your argument?  Why? Explain their objection using examples and references to scholars etc. EVALUATE their objection, concluding that you do not accept it because… LINK back to your Thesis.

Conclusion: Repeat your Thesis and list your main points in support.  Acknowledge any limitations or weaknesses that your argument has and/or what might force you to change this conclusion.

USING PARAGRAPHS

Note how each paragraph shares a similar STRUCTURE – it contains a POINT, some EXPLANATION, EVIDENCE and a LINK to the argument.  Think PEEL.

A paragraph is not just aesthetic and does not just break-up a block of text making it look better, it is a unit of your argument which helps to make sense of it.  Think of each paragraph as a separate slide in a PowerPoint or a separate bullet-point in a plan.  A paragraph must be self-contained and make sense in its own terms as well as fitting neatly into your essay structure.

TIP: It is worth practicing writing paragraphs separately, drafting and re-drafting them to improve your clarity and style. This can be a really good way of making notes, one which gets you evaluating and thinking about how you would use information to argue a case.

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Essay plans

An essay plan is a way to identify, select, and order the points you want to make in your essay. It helps you to work out your argument and your structure before writing, which should make the writing process more efficient and focussed. Sometimes essay plans are set as formative assignments so tutors can provide feedback before you write your full essay. 

Scroll down for our recommended strategies and resources. 

Enough detail for feedback

If you have an essay plan as an assignment, the main purpose is to give your lecturer enough information about your structure and main points so they can give you useful feedback. Follow any guidance you have been given, but usually an essay plan doesn’t have to be in full sentences; an outline structure of main points in a bullet point list, maybe with some further details of the evidence you will use or explanation under each point, is often enough. See these guides on how to do simple outline plans for an essay:

How to plan an essay (University of Newcastle)

Structuring the essay (Monash University)

Different ways of planning

Group similar ideas.

The aim of planning is to put down all your ideas and then to sort through them and order them. Look at where the ideas group together to see if any common themes start emerging, as these might form the paragraphs in your essay. See the video below for an example of how to group and order ideas in a plan.

Planning: General structure [video] (University of York)

Changes are normal - reverse outline

We rarely follow our essay plans exactly because our ideas develop as we write. If you don’t keep to your plan, it isn’t a sign of failure or a sign that planning doesn’t work. However, you may need to reflect on your planning process - are you over-planning and it takes too much time, or are your plans too vague and more detail would help? If you have strayed from your plan, a good strategy is to check the structure of your essay afterwards to make sure it all matches up. See the guide below on how to do a reverse outline as a useful part of your redrafting process.

Reverse outlines (University of Wisconsin-Madison)

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Exemplar Essays for AQA A Level Psychology - Issues and Debates

17th October 2016

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In recent weeks we've had many requests for ‘sample essays’, so the tutor2u Psychology team has been working hard to get our new ‘Core Topic Essays’ resource ready for use. We have started with a topic which we know you all love – Issues & Debates – and have produced seven exemplar essays.

Each essay comes in two versions:

(1) With examiner style commentary

(2) Without examiner commentary, so that you can use these in your lessons.

You can download a sample of these essays here

These essays have been checked by examiners and although we are unable to say exactly what mark they would achieve (as there have been no real linear A Level Psychology exams yet), we are confident with the mark band and and that content is correct.

Also we have provided a mixture of mark band 4 and 3 essays so that students can see what they need to do to improve and what the difference is between these two levels.

The seven Issues & Debates Questions are: 1. Discuss gender bias in psychology. (16 marks) 2. Discuss cultural bias in psychology. (16 marks) 3. Discuss free will and determinism in psychology. (16 marks) 4. Describe and evaluate the nature–nurture debate in psychology. (16 marks) 5. Discuss holism and reductionism in psychology. (16 marks) 6. Discuss idiographic and nomothetic approaches to psychological investigation. (16 marks) 7. Discuss the ethical implications of research studies and theory, including reference to social sensitivity. (16 marks)

This resource will be published on 20 October 2016 and can be ordered here from our online store

A School Network Licence - which enables the digital and print distribution of the resource to all your students - costs just £35 (+VAT).

A discount on this price is available to teaching colleagues who are members of the AQA A Level Psychology Teacher Group on Facebook - a posting with the coupon code has been posted to the FB Group.

Joseph Sparks

Joseph is a Subject Advisor for Psychology at tutor2u. He is an experienced Psychology & Music Teacher, Writer, Examiner and Presenter. He is currently completing a Professional Doctorate in Education and is passionate about the impact of technology on teaching and learning.

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Free Essay Plan Template for A-levels

Subject: History

Age range: 14-16

Resource type: Worksheet/Activity

Last updated

21 December 2023

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Free Essay Plan Template suitable for A-level essay subjects.

• A-level History, Psychology, English, Politics and others.
• Use the introduction/conclusion box to list/bullet point key ideas; i.e. 4 key points.
• The other 4 boxes dedicated to paragraphs should include more detail in bullet points about each of the 4 key points.
• This template has been successfully used by high achieving A-level History students previously.
• can also be tailored to teach essay structure to lower secondary school - Year 7s and 11s.

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