Paper 2 – Tips and Tricks for Cambridge IGCSE First Language English 0500/0990

About this lesson

This lesson is a review walkthrough of everything students need to know for their First Language English Paper 2 exam:

Section A: Directed Writing
Section B: Descriptive Writing
Section B: Narrative Writing

Take your students through everything they need to know to achieve highly on their Paper 2 exam, including some revision flashcards.

Video lesson for Paper 2 Revision – IGCSE First Language English

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Mastering IGCSE First Language English Paper 2: Study Plan and Top Tips

IGCSE First Language English Paper 2 is a crucial exam that tests your writing skills and counts for 50% of your overall grade (cambridgeinternational.org). In this paper (officially called Directed Writing and Composition), you have 2 hours to answer two questions: one Directed Writing task and one Composition task (savemyexams.com). This blog post will walk you through a study plan and practical tips to excel in both sections, with a lively yet focused approach. Whether you’re a student aiming for top marks (or a teacher/parent guiding one), these strategies will help you prepare effectively for Paper 2.

Understanding Paper 2 – Format and Expectations

Before diving into tips, make sure you know what Paper 2 entails. It’s a written exam comprising:

Section A: Directed Writing (40 marks) – You’ll read two short texts with differing opinions on a topic and write a response (e.g. a speech, letter or article) addressing the issue. This tests your reading comprehension and writing combined: you must use information from the texts and also evaluate their ideas.
Section B: Composition (40 marks) – You choose either a narrative or a descriptive writing task. This section assesses your creative writing skills, vocabulary, and mastery of narrative/descriptive techniques.

Both sections are equally weighted, so time management is key. Plan to spend about 1 hour per section (including planning and proofreading). For example, many teachers recommend 10 minutes to plan, 45 minutes to write, and 5 minutes to proofread each answer. Practicing under timed conditions will help you hit this pacing. Remember: if you finish Section A in 60 minutes, move on to Section B – don’t let one part overrun and cost you marks on the other.

Marking criteria: Cambridge examiners award marks based on Content & Structure and Style & Accuracy. In top-band answers, the writing features “precise, well-chosen vocabulary and varied sentence structures” and is almost entirely error-free (pastpapers.papacambridge.com). In short, you need clear organization, strong ideas, and polished language to score high.

Section A: Directed Writing – Strategies for Success

Directed Writing can sound intimidating: you must blend reading comprehension with essay writing. The task provides two source texts presenting different views on a topic (for example, pros and cons of listening to podcasts at work or whether online friendships are “real”). Your job is to write in a specified format (a speech, letter or article) responding to the issue, using evidence from the texts. Here are some tips to master this section:

Plan with VARPF in mind: Before writing, identify your Voice, Audience, Register, Purpose, and Format from the question. Are you writing as a concerned student to your principal (voice/audience)? Is the tone semi-formal? Are you trying to persuade or argue (purpose)? Knowing these helps you adopt the right style from the start.
Use the texts wisely (and in your own words): Show the examiner you understood the passages by including a range of explicit details from both Text A and Text B. However, do not copy large chunks—paraphrase in your own words to integrate the ideas smoothly. This demonstrates comprehension and avoids plagiarism.
Evaluate, don’t just summarize: High-scoring responses critically engage with the source ideas. Evaluation means “challenging, probing, poking and being critical of the ideas in the texts” rather than simply agreeing. If a writer makes a sweeping claim, you might question its validity or point out an implicit assumption. For example, if one text argues that “young people can’t make real environmental change,” you could counter that small actions collectively do matter, using evidence from the texts and your own reasoning. Cambridge’s examiner reports note that effective evaluation often involves understanding implicit attitudes or logical fallacies in the texts and giving a well-reasoned counterargument. In short, don’t be afraid to challenge the source material (politely and rationally) to show analysis.
Figure out the stance: Usually, the exam question hints at the stance you should take. Read the question carefully to see what perspective Cambridge expects. Often, one side of the debate is more aligned with the question’s wording. For instance, a prompt asking you to argue how individuals can make a difference clearly nudges you to support individual action. Align your argument to that side (while still mentioning the opposing points to rebut them) – this way you’ll cover all the points Cambridge likely wants.
If there’s no clear stance, write a balanced response. If there isn’t a particular bias Cambridge wants you to have, simply compare and contrast the different arguments made, give your opinion and evaluate the ideas.
Adopt an appropriate tone and register: Directed Writing tasks typically require a semi-formal but lively tone. Imagine you’re writing for a school audience or local community – you should sound engaging and clear, but not overly colloquial. Keep your language accessible and interesting. If writing a speech, you can employ some rhetorical devices (rule of three, rhetorical questions, etc.) to persuade, but ensure the tone fits the audience. For instance, a speech to peers can be slightly conversational, while a letter to a newspaper editor would be more formal.
Organize your response logically: Structure your writing in clear paragraphs, grouped by theme/argument rather than by source text. A good approach is to decide 2–4 main points you want to make in response to the question. Each point might draw on evidence from both texts. This thematic organization helps you avoid simply summarizing Text A then Text B. Instead, you’re producing a cohesive argument. Use connectives (however, furthermore, on the other hand, for example) to link ideas. And remember to start a new paragraph whenever you change topic, time, place or person (the old TiPToP rule) – this keeps your letter/article logically paragraphed and easy to follow.
Cite and critique: When referencing the texts, you can quote brief phrases or refer to specific ideas. E.g., “Some claim that most young people are apathetic, but this is an unfair generalization – many students in our school passionately volunteer for environmental causes.” This way, you both use explicit details and evaluate them. Make sure to cover both texts’ content in your response, roughly equally, to get full credit.
Mind your writing basics: Even while focusing on content, don’t forget to write in correct, fluent English. Use a range of vocabulary and avoid slang or texting language (unless the format really calls for informality). Check pronouns and tone to suit your audience (for example, if writing a speech to classmates, a slightly more informal tone is okay, but keep it school-appropriate). Finally, leave a few minutes at the end to proofread for spelling, punctuation, and grammar errors. Little mistakes can distract the examiner and may cost you marks, so try to catch them in your final read-through.

Internal resource: Need more help with Directed Writing? Check out our in-depth free course How to Answer Directed Writing for IGCSE English, which includes examples and a video lesson. It covers evaluating arguments and mastering different text types (speech, letter, article).

Section B: Composition – Narrative or Descriptive?

Section B lets you choose one composition task: either write a narrative (a story) or a descriptive piece. Both options are marked for imaginative content as well as clarity of language. The best choice depends on your personal strengths – are you better at crafting plots or painting vivid scenes? Practice both styles during revision to see which yields stronger results for you, but also be prepared to do either in case a particular question inspires you.

Difference between narrative and descriptive writing: A narrative is like a short story – it has a clear storyline with characters, a conflict, and usually a climax and resolution. A descriptive piece, on the other hand, is more like a snapshot in words: it may not have a full plot or dialogue, but instead focuses on describing a scene, person, or atmosphere in rich detail. Cambridge examiners have noted that descriptive writing should “avoid narrative features like plot or dialogue”. In other words, if you choose description, don’t turn it into a mini-story; if you choose narrative, make sure something happens in your story beyond just imagery.

Below are separate tips for tackling descriptive and narrative writing, including some proven frameworks and techniques from our lessons.

Descriptive Writing: Painting a Vivid Picture

Descriptive writing is all about making your reader see, hear, feel, smell, and taste the scene you’re describing. Instead of telling a story with a beginning-middle-end, you’ll immerse the reader in a moment or setting. Here are key strategies for effective descriptions:

Use a clear structure for your description: It helps to have a plan so your writing has direction (even without a plot). One effective approach is the five-paragraph “zoom” structure:
1. Paragraph 1 – Zoom out: Start with a broad overview of the scene (a “long shot”). Describe the whole setting in vivid detail and introduce the overall mood. Example: If describing a bustling marketplace, paint the general chaos, the mix of colors and sounds, and the first impression it gives.
2. Paragraph 2 – Zoom in on a detail: Focus on one specific feature that symbolizes the scene’s essence. This could be an object, a person, or a small action. Describe it in depth. (Think: a stall owner’s weathered hands carefully arranging shiny apples, or the way sunlight hits a puddle on the cobblestones – something concrete to bring the scene to life.)
3. Paragraph 3 – Change perspective: Shift your viewpoint or introduce a contrast. You might imagine the scene through the eyes of someone present, or move to a different angle. This adds complexity. For instance, mention how a tired old man in the corner experiences the marketplace’s bustle differently from a child darting through the crowd.
4. Paragraph 4 – Zoom in on a contrasting detail: Pick another detail to explore, ideally one that contrasts with the earlier one. If your first detail was bright or positive, this one could be darker or unexpected – e.g., describe a sudden change in weather, or an unnoticed quiet corner amid the market’s frenzy. Contrasting imagery adds depth to your description.
5. Paragraph 5 – Emotional ending (circle back): Conclude by returning to something from the opening (creating a circular structure) and emphasize the overall mood or an emotion. This gives a satisfying sense of unity. For example, you might end with the market square emptying out as dusk falls, echoing a detail from your first paragraph, and leave the reader with a poignant feeling (peacefulness, loneliness, nostalgia, etc.).
“Camera lens” technique – be the observer: Imagine your perspective is a camera moving through the scene. This mindset helps you organize what to describe next. Trace a logical path: e.g., start from the sky (weather/setting), then pan down to the rooftops, then to the street and people, then perhaps zoom into a close-up of a single person or object. By visualizing a camera route, you ensure the description flows naturally and isn’t just a random collection of images. It also prevents you from jumping around confusingly – adjacent paragraphs should connect (the end of one might hint at the start of the next). Smooth transitions make the description more coherent.
Engage all the senses: Don’t only rely on sight. To truly “paint” the picture, mention sounds, smells, textures, and even tastes if relevant. For instance, instead of “Stalls filled the marketplace,” enrich it: “The air was thick with the scent of spices and ripe fruit around the colorful stalls, and a cacophony of haggling voices rang out under the noonday sun.” This multi-sensory approach transports your reader into the scene. Also consider the tone and atmosphere – are you describing a cheerful, tense, mysterious, or somber scene? Word choice can convey this (compare describing an old house as “cozy and quiet” vs. “desolate and dead silent”). Always keep the intended mood in mind.
Avoid narrative elements: It’s worth repeating – a descriptive piece is not a story with a full plot. So do not introduce a dramatic conflict, extensive dialogue, or a cast of characters with backstories. You might include a moment of action (e.g. a sudden downpour in the market, people scurrying for cover) to add dynamism, but don’t resolve it as a plot – just let it contribute to the atmosphere. No dialogue is usually necessary (if used, keep it minimal and only as ambient sound, like snatches of distant conversation). Cambridge’s guidance is clear: “Avoid narrative features like plot, dialogue and character” in purely descriptive tasks. Focus on images and impressions rather than events.
Link ideas and vary your pacing: A description can become monotonous if every sentence is the same length or structure. Vary your sentence lengths – longer, flowing sentences can set the scene, while an occasional short sentence can draw attention (“Then – silence.”). Use techniques like alliteration, metaphors, similes, and personification to add flair, but only where appropriate. Ensure each paragraph segues logically to the next (perhaps refer to something in the last line of one paragraph that will be expanded in the first line of the next). This creates a seamless reading experience.
Check your SPAG: With all the focus on description, don’t neglect spelling, punctuation, and grammar. Examiners can be immersed in your imagery, but typos or grammatical errors will jolt them out. Always save a few minutes to proofread your descriptive piece. Common things to fix: consistency of tense (past or present), agreement of verbs, and spelling of any ambitious vocabulary you used. A polished descriptive piece with no (or very few) errors will stand out.

Internal resource: For a step-by-step example of great descriptive writing, see our blog post Easy Descriptive Writing Structure for IGCSE. It demonstrates the zoom method in action and includes an A* exemplar description with analysis of what makes it effective.

Narrative Writing: Crafting a Compelling Story

If you choose to write a narrative, you’re essentially writing a short story in 45 minutes – a challenge, but an exciting one! A successful narrative is engaging, structured, and original. Keep these tips in mind:

Plan a clear plot arc: Even though you have limited time, take a few minutes to outline your story’s backbone: a beginning, a conflict or inciting incident, a climax, and a brief resolution. Think of your story shape as a mountain you must climb: introduction at the base, rising tension up the slope, a peak (climax), and a descent to the end. Ensure something happens that changes the situation from start to end. For example, if your story is about a race, perhaps the protagonist overcomes a challenge or learns a lesson by the end (as in the “Tough Mudder” narrative exemplar we studied). A story where a character starts happy, encounters no trouble, and ends happy is not really a story at all – make sure there’s a problem or challenge driving the narrative.
Hook the reader early: Use your first paragraph to introduce an interesting scenario, character, or setting that grabs attention. It should hint at the conflict or theme. Starting in media res (in the middle of action) or with an intriguing line of dialogue can work, but even a vivid scene-setter can be compelling if it creates mystery. For instance: “A cup of coffee grew cold on the table as Henri waited for the one person he hadn’t seen in twenty years.” – This opening (from one of our model narratives) establishes character, setting, and raises questions that pull the reader in.
Build tension and momentum: Good narratives keep the reader wanting to know what’s next. Develop your story with a series of events or obstacles that increase in intensity. As Cambridge examiners advise, “build tension and mystery to make your climax more effective”. This might mean delaying some answers to the reader’s questions, adding a twist, or escalating a conflict. For example, in a suspense story, you might have the protagonist hear strange noises, then find a clue, then get trapped somewhere – each event more intense than the last until the climax. Use description and maybe brief dialogue to develop scenes, but keep the plot moving; don’t spend too long on background or the climax might feel rushed.
Avoid clichés and overused storylines: Examiners see a lot of similar teenage adventure or horror stories. Try to think of an original angle or at least an original perspective. One piece of advice we give our students is “your first idea is probably your worst idea” – because it’s often the most obvious. Brainstorm a few possibilities before writing. For instance, if the prompt is “Write a story titled ‘The Decision’,” many might write about choosing a university or taking a penalty kick in a final game. Perhaps you could stand out with a unique setting or protagonist (e.g. a story about a scientist making an ethical decision, or a fantastical choice in a magical realm). Also avoid generic characters. Give your protagonist some personality, quirks or depth – not just a carbon copy of every other student or a “totally average teen” with no distinguishing traits. As one guide puts it, avoid* “generic teenage protagonists with no personality”*. Even in a short story, a little characterization goes a long way (e.g. mention a character’s habit or a brief backstory that explains their goal).
Show, don’t tell: This classic rule means use descriptive detail and action to convey emotion or traits, rather than flatly stating them. Instead of “Leo was scared,” write something like “Leo’s hands trembled and his heart pounded against his ribs as he edged forward.” This pulls the reader into the experience. Use dialogue sparingly to reveal character or move the plot forward, but make it count. A couple of lines of dialogue can break up the narrative nicely and add realism – just remember formatting: new speaker, new paragraph. And keep dialogue brief in a short story (examiners note that too much dialogue can stall the story’s momentum).
Pay attention to setting and atmosphere: Even though plot is king in narrative, a strong sense of setting can enhance your story greatly. Whether it’s a haunted house, a bustling city, or a quiet hospital room, use a few well-chosen details to give the reader a mental picture and mood. This also contributes to building tension or emotion. For example, a thunderstorm starting as the story approaches its climax can heighten drama (just be wary of too many clichés like “it was a dark and stormy night” – use originality).
Keep the climax impactful and the resolution short: The climax is the high point of your story – make sure you deliver on the build-up. It should address the main conflict or mystery. Don’t introduce new unrelated subplots at the climax; focus on resolving the central issue in a memorable way. After the climax, briefly wrap up any loose ends and then end the story. In a short exam story, a drawn-out ending will eat your time and often weaken the impact. A sharp or thought-provoking final line can leave a lasting impression. For instance, ending with a callback to something from the beginning can give a satisfying full-circle feeling (similar to the “circular” technique in descriptive writing, narratives can echo an earlier motif or line at the end).
Use paragraphs and transitions effectively: Structure your narrative into paragraphs that reflect the flow of events. Usually: one for introduction, then a few for the rising action (you can break into new paragraphs for new scenes or jumps in time), one for the climax, and one for the resolution. Always start a new paragraph when you change Time, Place, Topic, or Person (TiPToP) – for example, when skipping to later that day (new time) or when switching focus to another character’s actions. This makes your story easy to read and follow. Also, consider using transitional phrases or even just timing/location cues (“An hour later, …”, “The next morning, …”) to guide the reader through the narrative sequence.
Language and style: Much like with descriptive writing, varied vocabulary and sentence structure will boost your narrative. Aim to use some precise, evocative words (instead of saying “very angry,” you might say “livid” or “seething”). Mix simple sentences for dramatic effect with complex sentences that add detail. Just ensure the language fits the story and isn’t over-the-top for its own sake. Consistency of tense (usually past tense, unless you intentionally choose present for effect) and clarity are vital – the reader should never be confused about what’s happening or who is speaking. As an examiner comment from 2023 highlights, use ambitious vocabulary with precision and also recognize the power of simple words and sentences to create effect. In other words, a well-placed short sentence or straightforward phrase can sometimes hit harder than a long flowery one, especially at a tense moment.
Leave time to proofread: It’s easy to make small mistakes when writing a story quickly. However, accuracy counts – “check your writing for errors which will affect your mark, such as basic spelling and punctuation mistakes,” warns one examiner report. Use the last minutes to scan your narrative for any typos, run-on sentences, or missing words. Make sure dialogue punctuation is correct if you included dialogue (quotations closed, commas and periods inside quotes, etc.). These details can make the difference between an overall “mostly accurate” (Band 5) and “consistently accurate” (Band 6) writing, which in turn affects your grade.

Internal resource: Want to see what an A* IGCSE narrative looks like? Read our analysis of “The Reunion” – a Model Narrative. We break down the plot structure, character development, and climax of this story, illustrating how to implement the tips above. Learning from exemplars can inspire your own storytelling techniques.

Study Plan for Paper 2 Preparation

Preparing for IGCSE First Language English Paper 2 is not about rote memorization – it’s about skill-building over time. Here’s a step-by-step study plan to boost your confidence and performance in the weeks or months leading up to the exam:

Understand the Exam Format and Criteria: Begin by familiarizing yourself with what Paper 2 entails (if you’ve read this far, you’re on the right track!). Review the official syllabus or a summary of it to reinforce the structure: two tasks, 2 hours, writing-focused. It’s also helpful to read the band descriptors or examiner comments for Paper 2, so you know what quality of work corresponds to an A* vs. a C, for example. Cambridge’s grade descriptions and mark schemes can provide insight into what “effective evaluation” or “precise vocabulary” actually look like. Knowing the target can guide your practice. (For instance, the top band of the mark scheme expects a lively voice, well-organised content, and virtually no grammar errors.)
Strengthen Your Directed Writing Skills: Dedicate some study sessions to the Section A task specifically. Practice by reading opinion articles or letters (from newspapers, blogs, school magazines, etc.) and summarizing their key arguments. Then, write a brief response as if it were a directed writing task. Focus on including relevant points and commenting on them. You can use past paper questions if available – Cambridge past papers for Directed Writing often cover topics like school uniforms, social media, environmental actions, etc. After writing, self-check: Did you cover both texts’ ideas? Did you maintain an appropriate tone and format? Have you evaluated (not just repeated) the sources’ points? Over time, aim to incorporate the VARPF framework automatically whenever you see a prompt. For example, when you see “Write a letter to your teacher…”, immediately note Voice=student, Audience=teacher, Register=semi-formal, Purpose=persuade/inform (depending on task), Format=letter. This habit will make planning faster in the actual exam.
- Study Tip: Try writing outlines for directed tasks before doing full essays. Take a past question, make a quick bullet-point plan of your response (what paras, which points from Text A/B, what evaluation/comment you’ll add). This can train you to organize under time pressure. You could also swap practice responses with a friend or ask a teacher to mark one – feedback is gold for improvement. Identify if you’re too descriptive (just retelling the texts) and push yourself to be more analytical. If evaluation is a weak spot, practice by taking a statement from a text and brainstorming two ways to challenge it (e.g. if Text A says “All teenagers are addicted to screens,” you might counter, “many teens use screens for learning” or “not all teens have equal access to devices, so it’s a broad generalization”). This will help you naturally include critical viewpoints in your writing.
Develop Your Composition Techniques (Narrative & Descriptive): Next, work on Section B. It’s wise to practice both narrative and descriptive writing, even if you currently prefer one. You might discover that with practice, your weaker form becomes much stronger. Schedule separate practice sessions for each:
- For descriptive writing, try picking random images or settings and writing a descriptive paragraph or two. Focus on the show, don’t tell principle and using sensory language. You can also practice the five-paragraph structure: write a mini-description following the zoom-out/zoom-in approach for different scenarios (a beach, a busy street, an abandoned house, etc.). Compare your work with high-scoring examples or our lesson notes to see if you included enough detail and avoided slipping into narrative. Over time, gather a “toolbox” of descriptive techniques and interesting adjectives/figurative language that you can draw on in the exam. (Creating a bank of vivid words for common themes like weather, emotions, landscapes can be useful – just remember to use them appropriately!)
- For narrative writing, practice crafting quick story plans. Take some typical titles or prompts (Cambridge questions often give a title or an opening line to continue) and spend 5 minutes outlining a plot with a clear conflict and resolution. Then, if time permits, write the story out fully. Focus each practice on a different aspect: one day, you might practice writing believable dialogue between characters; another day, you might focus on building suspense or writing from a unique point of view (e.g. first-person vs third-person). After writing a story, evaluate it critically: Did something meaningful happen? Was the ending satisfying or too abrupt? Did you paragraph correctly and use varied sentences? Use the marking criteria to self-assess your content and style. This will help you identify areas to improve, like maybe you need more character development or fewer run-on sentences.
- Study Tip: Read some short stories or narrative excerpts to see good technique in action. Cambridge’s Example Candidate Responses (if accessible) or resources from websites like Save My Exams can show you sample narratives with examiner commentary. Notice how top-level answers handle plot and language. You can also practice rewriting a basic story in a more engaging style to sharpen your narrative craft.
Simulate Exam Conditions: Once you have practiced the components individually, it’s crucial to do a full Paper 2 mock or two. Time yourself for 2 hours and do both sections back-to-back, just like the real exam. This will test your endurance and time allocation. Use a real past paper question if possible, or concoct a realistic Section A and Section B prompt. After the 2 hours, review your answers with a critical eye (and ideally get someone else to review them too). Check if you managed your time well (did you have to rush the ending of your story? Did you leave enough time to proofread Section A?). See where mistakes or weak parts crop up when under time pressure. The more you simulate the exam, the less daunting the real day will feel. By the last few weeks before the exam, you should feel comfortable writing a directed response and a composition within the time limit and aware of the level of quality you can produce in that time.
Review Feedback and Common Pitfalls: As you practice, keep track of feedback. Did your teacher note that you’re not evaluating enough, or that your narrative lacked a climax? Make a short list of personal targets to focus on (e.g., “In my next Directed Writing, I will explicitly challenge at least two points from the texts,” or “In my next narrative, I will use at least one complex sentence per paragraph for variety.”). Also be aware of common mistakes that plague Paper 2 answers: drifting off-topic, forgetting to include material from one of the texts, writing a descriptive piece that accidentally turns into a storyline, using too much dialogue in a narrative at the expense of action, etc. Read examiner reports if you can – they often highlight where students lost marks in past exams. For example, an examiner report might say many students “relied on events rather than delving into characters’ thoughts” in narratives, or failed to maintain the correct format in directed tasks. Learning these pitfalls second-hand helps you avoid them yourself.
Refine SPAG and Presentation: In the final stages of preparation, do a dedicated check on your spelling/punctuation weak spots. Perhaps you frequently misspell certain words (common ones in this exam might be “separate,” “definitely,” “environmental,” etc.), or you forget to capitalize “I”. Iron those out. It might help to proofread some of your earlier practice pieces or even have someone dictate a paragraph to you to write down – to simulate writing accurately under pressure. Also, practice writing neatly if you’ll handwrite the exam. Examiners must be able to read your work. If your handwriting is messy when rushing, find a pace that is legible yet within time. Sometimes slowing down just slightly can prevent scrawling an unreadable word.
Final Review and Rest: The night before the exam, resist the urge to cram new content. Instead, lightly review your notes or key frameworks (e.g. mentally rehearse VARPF, or glance over your favorite vocabulary and idioms for descriptive writing). Remind yourself of the exam strategy: how long you’ll allocate to planning, the need to watch the clock, etc. Then get a good night’s sleep. Being clear-headed will do wonders for your ability to be creative and articulate under exam conditions. On exam day, read the questions carefully, choose the composition option that plays to your strengths, and then apply all the skills you’ve honed.

By following this study plan and applying the techniques outlined for each section, you’ll be well on your way to mastering IGCSE First Language English Paper 2. Remember, success comes from understanding what’s expected and practicing those skills until you can execute them with confidence. With diligent preparation, you can walk into that exam room ready to write with clarity, creativity, and critical insight. Good luck – and happy writing!

First Language English IGCSE – Paper 2 Revision Lesson