LGCSE English Language key terms

Reading a text quickly to grasp its general topic, main idea or overall shape without pausing on detail. Used to decide whether a passage is relevant or to locate the section that needs slower reading.

Moving the eyes rapidly over a text hunting for one specific item, such as a date, name or figure, while ignoring everything else. It relies on recognising word shapes and keywords rather than reading sentences.

The single central point a paragraph or whole passage is built to communicate. It is usually broad enough to cover every supporting detail and is often stated in a topic sentence, though sometimes it must be inferred.

A sentence, often first in a paragraph, that announces what the rest of that paragraph will develop. Identifying topic sentences gives a fast skeleton of a passage's argument.

A conclusion drawn from evidence in the text plus reasonable reasoning, rather than from a statement written outright. In comprehension, the answer must be supported by clues, not by guesswork or personal opinion.

Information stated directly in words on the page, so that two careful readers would agree on it. Questions testing explicit meaning reward close reading and accurate location rather than interpretation.

A shortened account of a text that keeps its main points in the writer's own words and cuts examples, repetition and minor detail. A good summary is accurate, brief, and organised in a logical order.

Restating a specific point in different words while keeping its meaning intact. Unlike quotation, it does not copy the original phrasing; unlike summary, it does not necessarily shorten the material.

Copying exact words from a text, marked with quotation marks, to support a point. Short, well-chosen quotations act as evidence; long unexamined ones usually waste marks and weaken the answer.

A word in a question or text that carries the essential meaning and tells you what to look for or what to include. Underlining keywords before reading helps focus the search and avoid off-target answers.

The instruction verb in a question, such as describe, explain, compare or summarise, which dictates the form of a creditworthy answer. Ignoring it is a common cause of losing marks despite knowing the content.

The number of marks a question carries, which signals how much detail and how many separate points are expected. A four-mark question generally needs four distinct, developed points rather than one long sentence.

A three-part paragraph structure in which a claim is made, supported by a short quotation or reference, then explained in the candidate's own words. It keeps analysis anchored and prevents unsupported assertion.

Material from the text, quoted or closely referenced, used to prove an assertion. Without evidence, a comment on a text is opinion; with it, the comment becomes analysis that examiners can reward.

The associations and emotional overtones a word carries beyond its literal meaning, such as the difference between cheap and affordable. Discussing connotation shows sensitivity to a writer's precise word choice.

The plain, dictionary-level meaning of a word, stripped of emotional colour. Distinguishing denotation from connotation lets you explain why a writer chose one near-synonym rather than another.

A group of words linked by shared meaning, such as terms of disease or of warfare clustered in one passage. Noticing a semantic field reveals an attitude or atmosphere the writer builds cumulatively.

Descriptive language that appeals to the senses, creating pictures, sounds, textures, tastes or smells in the reader's mind. Analysing imagery means explaining the effect of the picture, not merely labelling it.

A comparison between two unlike things introduced by like or as, such as hair like spun glass. The comparison highlights a particular quality, and the effect depends on which quality is being transferred.

A comparison in which one thing is described as if it were another, without like or as, such as a sea of faces. It works by transferring associations from the vehicle to the subject.

Giving human qualities to an object, animal or abstract idea, as in the wind clawed at the shutters. It can make a setting feel alive, threatening or sympathetic, and often shapes atmosphere.

Using weather, light or landscape to mirror a character's mood or to foreshadow events, such as rain at a funeral. It is a device of setting, not of direct statement, and works through association.

The prevailing emotional feel of a passage or scene, such as tension, calm or menace, created through diction, imagery, sentence rhythm and detail. It is an overall effect rather than a single device.

The writer's or speaker's attitude towards the subject and reader, conveyed through word choice, sentence shape and level of formality. Tone may be ironic, earnest, mocking, urgent or detached, and should be named precisely.

The order and arrangement of a text, including paragraphing, openings and endings, shifts of focus, repetition and patterns of build-up. Commenting on structure means explaining why material is placed where it is.

The speed at which a narrative or argument unfolds, controlled by sentence length, paragraph breaks, dialogue density and detail. Short sentences often quicken pace; long cumulative ones slow it for reflection.

Deliberate mixing of sentence lengths and types, such as simple, compound and complex, for rhythm and emphasis. A short sentence after several long ones creates stress; monotony dulls the reader.

The arrangement of words and phrases into sentences, including word order, clause structure and placement of key terms. Altering syntax shifts emphasis, as when a phrase is placed first for prominence.

The level of formality and the kind of language suited to a particular audience and situation, from colloquial to formal. A letter to a head teacher and a text to a friend require different registers.

A leaning towards one side of an issue, shown through selection of facts, loaded language or omission of contrary views. Detecting bias means asking what has been included, emphasised and left out.

Presenting information in a balanced, evidence-led way without emotional colouring or obvious favouritism. Objective writing still selects material, so the reader should check whether coverage is genuinely even-handed.

Words chosen for their strong emotional charge, such as reckless or visionary, in order to steer the reader's judgement. It is a hallmark of persuasive and biased writing and should be named and explained.

A question asked for effect rather than for an answer, inviting the reader to agree with the implied response. It can create involvement or pressure, and its effect depends on context and tone.

A technique used to influence belief or action, including statistics, anecdote, expert opinion, emotive language, repetition and direct address. Analysis requires explaining how the device works on a specific audience.

The intended readers or listeners of a text, whose knowledge, attitudes and expectations shape what is written and how. Identifying audience helps explain choices of register, evidence and appeal.

The reason a text was produced, such as to inform, persuade, entertain, instruct or argue. Naming purpose precisely allows you to judge whether the writer's techniques are effective for that aim.

An account that acknowledges more than one perspective and weighs them, often conceding a point before rebutting it. It strengthens an argument by showing the writer has considered opposition fairly.

A point raised against the writer's own position, usually followed by a rebuttal that answers it. Including one signals confidence and makes persuasion more credible than ignoring objections.

The response that answers or undermines a counter-argument, often by showing it is exaggerated, outdated or based on weak evidence. A strong rebuttal is specific rather than a flat denial.

A word or phrase such as however, furthermore, or in contrast that signals the relationship between ideas and guides the reader through an argument. Using them well improves cohesion in transactional writing.

The way sentences and paragraphs are tied together so a text reads as one whole, achieved through connectives, pronoun reference, repetition of key terms and logical order. Cohesion is about links between ideas, not just correctness.

A group of sentences developing one idea, marked by indentation or a line break. Clear paragraphing signals a change of topic, speaker or stage in an argument, and helps the reader follow structure.

A letter following conventions such as a salutation, structured paragraphs, a clear purpose and a closing sign-off, written in standard English. It should be courteous and direct, even when complaining.

A piece written for publication, usually with a headline, an engaging opening, organised sections and a clear stance or angle. It addresses a readership and often mixes information with comment.

A text written to be delivered aloud, using direct address, rhetorical devices, repetition and a strong opening and close. It must work for listeners, so rhythm and clarity matter as much as content.

An opening line or short passage designed to seize the reader's attention, often through action, mystery, a striking image or an unusual voice. A hook should connect to the story rather than merely shock.

The organisation of a story, including exposition, rising action, climax, falling action and resolution, or more experimental arrangements such as circular or fragmented plots. Structure shapes how tension is released.

A technique of revealing character and feeling through concrete action, dialogue, gesture and sensory detail rather than through direct labels such as she was angry. It invites the reader to infer emotion.

Specific description appealing to sight, sound, smell, taste or touch that makes a scene vivid and credible. Precise, selective detail is more effective than a pile of vague adjectives.

Speech exchanged between characters, punctuated with speech marks and new lines for each speaker. It can reveal character, advance plot and vary pace, and its punctuation must follow conventions.

An expression or idea so overused that it has lost impact, such as cold as ice or at the end of the day. Avoiding clichés forces fresher, more precise description and stronger writing.

Choosing the word that fits the exact shade of meaning rather than a vague near-synonym, such as mutter instead of say. Precision is the core of effective vocabulary use in both analysis and composition.

The selection of particular words for meaning, connotation and effect. In analysis it is the starting point for comment; in composition it determines clarity, tone and freshness.

The marks that organise written language into sentences, clauses and lists, including full stops, commas, semicolons, colons, dashes and speech marks. Accurate punctuation controls meaning and rhythm.

Joining two complete sentences with only a comma, as in the rain stopped, we went out. It is a common accuracy error; replace the comma with a full stop, semicolon or suitable conjunction.

Matching the verb to its subject in number, so that a singular subject takes a singular verb. Errors often appear when phrases sit between subject and verb or with collective nouns.