The National 5 English portfolio is an externally assessed task.
This portfolio is worth 30 marks out of the total of 100 marks. The marks make up 30% of the overall marks for the Course assessment. The Course will be graded A–D.
This is one of two Components of Course assessment.
The other Component is a question paper.
So this portfolio (writing) will have 30 marks and will contain two essays. Up to fifteen marks will be awarded for each essay you choose to submit in your portfolio.
Your essays must be your own work and should be redrafted at least once to ensure that they represent your best work. Do not borrow use anyone else’s work.
The maximum word count for each piece is 1000 words – excluding lists of sources used in persuasive/discursive essays.
IMPORTANT DEADLINES:
National 5 Folio 1 – WB 16th Sept
National 5 Folio 2 – WB 9th December
SAMPLE FOLIO:
On-the-Edge-SAMPLE
Writing Types
1) Discursive.
There are two basic types of discursive essay. Firstly there are persuasive essays in which you can argue strongly either in favour of or against a given discussion.
Alternatively, there are argumentative essays. In these you look at a discussion topic in a balanced way.
Finding information for a discursive essay
There are many sources you can use to find information for your discursive essay. These include:
relevant books from a library
online sources
magazines and newspapers
television and video
family members
friends
When looking in the library, focus on the non-fiction and reference sections. When searching online, always think carefully about key words.
Make sure you consider the reliability of all your sources. It is important you keep a note of where all your information comes from. This will allow you to check it again later and to complete your bibliography and footnotes. YOUR FOLIO MUST BE WRITTEN IN YOUR OWN WORDS! QUOTATIONS MUST BE CLEARLY MARKED AND SOURCES LISTED AT THE END OF YOUR ESSAY.
POSSIBLE TOPICS:
The Addiction of Fortnite – is 24/7gaming taking over lives?
Reality TV – what is it for – just how ‘real’ is it?
Mass Shootings in the USA – what will it take to stop the rising violence?
Medical Ethics – what is acceptable in cosmetics/euthanasia
Reality TV -how real is it?
Celebrity Earnings – who makes the most – how / why? Who pays?
The New Space Race – How much, how long, who and why?
Chemical Sweetness – healthy or not?
Plastic Forever – Do we need plastic?
Education Matters – How should schools change to meet needs of 21st century pupils?
Structure
A basic structure employed when planning a discursive essay could include:
An interesting introduction.
A clear indication of your position in relation to the topic.
Your first argument, with supporting evidence.
Your second argument, with supporting evidence, and so on (the number of paragraphs like this will depend on the number of arguments you can offer).
A conclusion, in which you reiterate your position.
2) Creative.
Short stories
A short story is a type of prose fiction.
Prose simply means it is written in sentences and paragraphs, and is not a poem or play script.
Fiction means the story is made up, though of course you can base your story on something that has really happened.
A short story is not a cut-down novel. In a novel the author has time to develop characters and show us many events in their lives. A short story takes characters at an important point in their lives and gives us a snapshot of a significant moment.
The best way to understand what is required in short story writing is to read short stories by different authors. There are many good anthologies of short stories available in libraries or bookshops. Ask for a recommendation if you are not sure where to start.
There are no rules with short story writing but this guide contains some suggestions that should help most people to improve their writing.
Sample Ideas: A character gets loses something significant, a character must go into frightening place, a character decides to let go of something, a game goes badly wrong, somebody takes revenge a character does something for the first or last time, a character finds something that they want to keep.
Point of view
Before you start to write you need to consider what narrative perspective you’re going to take – whose point of view you will present in your story. This is usually done in the first or third person.
First person narrative
If you want to tell the story from the point of view of one of the characters, you can write in the first person, using ‘I’. This puts the reader inside the mind of that character, seeing things as that character sees them.
The character you choose to tell the first person narrative is important. A story about bullying, for example, will be different depending on whether you tell it from the point of view of the bully or the victim.
Third person narrative
This is where you tell the story from the point of view of someone not in the story, using ‘he’ and ‘she’ throughout. This means the story can be told from a more objective point of view.
You need to decide which point of view to take, depending on which is best for your particular story. Sometimes if a story is not working it can help to change it from third to first person narrative or vice versa.
Characters
your characters are at the heart of the story. They must seem real and you should aim to make the audience care about them. The plot of the story should reveal something about your characters. For example, the reader should see them developing, at a crisis or a turning point in their lives.
Your characters should also be consistent – doing and saying things that seem to fit their personality.
Limit the number of main characters to a maximum of three.
Also, try not to simply tell your reader about the character – reveal the character to them through actions, gestures and dialogue.
Plot
Something of significance must happen in a short story. It is advisable, however, to limit the number of events happening in the plot.
A significant event does not have to be unusually dramatic or violent. Your characters do not have to be abducted by aliens or involved in international terrorism. If you try to make your story too exciting it can become ‘over the top’.
A significant event is just one that changes the character. For example, something that makes them grow up, come to a realisation about something or develop. The event itself does not need to be dramatic.
Conflict can arise when a third character affects the lives of two others. Examples of this could be:
A parent and teenager come into conflict over the teenager’s friend.
Two friends come into conflict when a new friend comes on the scene.
Parent and teenager have problems when a grandparent comes to stay.
A new teacher causes problems between two friends.
Setting
Setting is where and when your story takes place. An effective setting can make your story really come to life. You can make your setting effective by using description, dialogue and details.
If you are struggling with setting, it can be easier to set the story in a place you are familiar with. Your description can draw on your experience and is more likely to be realistic.
Dialogue
Dialogue is what the characters say aloud. It helps brings them to life.
It should sound realistic – read it aloud to see if it does.
How the character speaks is part of the way we get to know them. In a short story you have limited space, so use dialogue wisely.
Put inverted commas (” “) round the exact words the character says and start a new paragraph for each new speaker.
Description
Try to have a balance of dialogue and description. Description should have a point in the story – it should not just be filling up space.
Descriptions of buildings or scenery can create atmosphere – for example, weather can be atmospheric. Descriptions of characters can reveal something about their personalities.
Openings and endings
Openings
There are many different ways in which you can open a story. You could use:
dialogue between characters
description of a situation
reflection on an event
But whatever the opening, it must make the reader want to read on and get into the story.
You should use your opening to introduce your character, or characters, and the setting. You can then move on to creating the event which will happen to your character or characters in that setting, as well as helping to form the plot.
Endings
Endings can be difficult. They have to strike a balance between giving us a sense that the story is complete and avoiding the temptation to tie up all the loose ends in the main character’s life. Imagine an ending to a story that read, “Jimmy left the area and became a mechanic then got married and had six children but he never forgot the lesson he learned when he was ten years old, and he never stole again.”
While some short stories finish with a ‘twist-in-the-tale’, do not feel that you have to use this type of ending. These are often quite difficult to write effectively. It is also wise to avoid an ending like “I woke up and it was all a dream” because this is very clichéd.
Writing questions
The following are some questions you can think about in relation to your story.
Do your characters seem realistic?
Are the main events in the plot relevant to the character’s life?
Does the story hang together well?
Is there a balance of dialogue and description?
Does it feel as if it is set in a real place?
Are the opening and the ending effective?
Personal Reflective Writing</strong
In a piece of reflective writing the writer not only gives an account of an experience but examines what he or she thought and felt about it, both at the time and later on.
Good reflective writing
You should select any experience that lets you do more than simply recalling events. It needs to be something that allows you to reflect on what happened and show self-awareness.
Compare the following two extracts.
“I had arranged to meet my friends at ten o'clock. I left the house at half nine and walked to the bus stop. I had to wait twenty minutes because the bus was late. Eventually I got to town.”
“It was with excitement and some nervousness I set off to meet my friends in town at the agreed time. As luck would have it the bus was late – this day of all days!”
Both examples are about the same experience. Yet the second one has a sense of reflection, thinking back over the event. It is not just a list of things that happened.
To a reader the really interesting things are not the big events and every detail of what happened but the writer's own thoughts and feelings about what happened and how they are described.
Consider these two different introductory paragraphs for a reflective essay entitled ‘My Ambition’.
I have always wanted to be an actress. It is my main ambition. Drama is my favourite subject at school and I would like to study it in more depth.
Acting: it has been my sole ambition ever since the day I met David Tennant on a plane coming back from holiday. We sat for hours chatting and planning my next step in my soon to be startling career… Well no, not really, but this is what acting is all about – pretending to be someone else for day, an hour, a while.
The first one is purely factual. The second one uses an anecdote to catch the reader’s interest and then adds a further imaginative twist by saying “No, not really”.
What to write about
A young girl lying on her bed writing in a diary A young girl lying on her bed writing in a diary
A young girl lying on her bed writing in a diary
Concentrate on an event or feeling which has stuck in your mind – it doesn't have to be unusual or earth-shattering.
It could be an object that has significance for you, such as a favourite toy from childhood or an old piece of clothing. Alternatively it might be a recollection of a time you felt a powerful emotion, such as fear or pride.
These are much more interesting than long sections of description about minor details of a holiday. That is not to say that you cannot write about a holiday, but you should concentrate on the part of it that affected you. Readers are not likely to be interested in every detail.
SAMPLE CREATIVE – DO NOT COPY!
It was a freezing, dark October’s evening as Franklin Clinton finally arrived at the grimy store in the deserted street. He had walked all the way from his house, at the other side of town, in the wintery weather to buy a scary Halloween mask. In recent weeks, he had heard through friends that the store sold the best costumes in town.
As he stopped outside the building, the wind blew chillingly around him and sent shivers down his back. Franklin gulped and peered through the fogged glass of the shop. Inside, there were colourful banners plastered all over the shop and the shelves of the tiny store were covered in leering expressions. The strange masks seemed to stare back at him, challenging him to step inside.
It was getting late now; Franklin’s watch read 6:57pm. He quickly turned to open the battered, wooden door. It slowly groaned open and he entered the store, hopeful of finding a jaw-dropping mask. The door closed silently behind him, Franklin felt a stab of fear. He gazed around him but strangely he could not seem to find a person who looked in charge of the store. Stepping towards the masks to examine them more closely, he noticed a gorilla mask lying there. Too ordinary, he thought there was a devil mask which lay there too but again he thought it was too basic. Suddenly, out of nowhere a cold, insistent finger tapped his back and Franklin turned around with shock. There he was over-shadowed by a tall, slim, wrinkly man smartly dressed wearing a suit, staring at him, his dark eyes burning into his.
“May I help you?” he said sharply. The old figure had slicked back hair and a bushy moustache which lay there on his pale skin.
“Are you still open?” Franklin said timidly. “I need to buy a Halloween mask for tomorrow night.”
“You are very late.” the man replied, ignoring the question, “We normally close at seven but I will give you five minutes to quickly choose something.” he said. The man’s tiny eyes continued to peer into Franklin’s.
“That’s great! Thanks.” replied Franklin.
“What kind of mask are you looking for?” the man asked pointing to a few on the shelf.
“A scary one,” Franklin stammered excitedly.
The shopkeeper rubbed his chin thoughtfully and pointed to one on the shelf.
“This one has been really popular and has real hair.” the man said. Franklin stared up at the yellowish one with pointy ears but quickly he decided it was not scary enough. It had blood dripping from the eyes and nose but he wanted something which was scarier. A strange smile formed under the man’s thick moustache. His black eyes glowed like two burning coals, as if trying to read his thoughts.
“Look around, everything I have on the shelves are in stock.” he said. Franklin turned his gaze to the shelves. A pig mask, with long, ugly bone coloured tusks and glossy blood dripping from its snout and eyes caught his eye.
Not bad, he thought, but not quite right. A green Frankenstein one with a bolt stuck in his head and a hairy werewolf one with pointy, white fangs were hung on the shelf but again to ordinary Franklin decided.
Just not scary enough, Franklin thought, starting to feel a little desperate. I need something that will really scare Scott and Emma.
“Young man, I am afraid you must make your decision quickly!” the man in the suit said softly. He had moved silently behind the narrow counter at the front of the store and was fiddling with the till.
“We really are closed after all.” he said. His voice cold and bitter.
“Sorry, it’s just-”
The phone started ringing before Franklin could finish explaining. The man quickly picked it up and began talking in a hushed voice.
“Yes,” he said in a quiet voice, “the plastic bags must be strong and capable of holding fluids.”
The strange man turned his back to Franklin, who wandered towards the back of the store in aim to find any better masks. As he walked, he looked around and caught sight of the man turning the sign over in the window from ‘OPEN’ to ‘CLOSED’. Franklin’s legs suddenly felt weak and his nervousness grew but he continued to search for the mask. He passed an alien mask, a vampire mask with pointy, blood-covered fangs and a Joker mask with green hair and yellow teeth. Just not quite right, Franklin thought, sulking. However, at the corner of his eye he spotted a narrow door slightly open at the corner of the store and caught a glimpse of more heads in the gloom. Were there more masks? Was there still a chance? He glanced to the front of the store, the man was still chatting away on the phone. Franklin hesitated but decided to give the door a push and take a peek inside. The door creaked open and Franklin stepped inside the small room and gasped in amazement. “Wow!” he said out loud.
Dozens of empty eye sockets stared blindly at Franklin. He stared in horror at the gruesome and deformed faces. Actually, they were hung on rows, probably for sale he realised. However, they remained so ugly and grotesque, so real looking that he choked on his own breath. One mask had its eyes sticking out and the mouth was ripped open with the head of a skeleton popping out and blood all around the mouth. The mask underneath was a clown which had a pale face, yellow eyes and thick, wet-looking blood trickling from its mouth. A rat had bitten into a head of another mask, revealing grey bone underneath and chunks of mottled skin falling off from another mask. Franklin’s horror mixed with sheer excitement. He took a mesmerised step into the room, the wooden floorboards creaked noisily. Slowly, he then took a further step to the masks, they had such amazing detail and the skin appeared to be made of flesh, not rubber or plastic. Perfect! He thought to himself, just what I was looking for.
He pictured Scott and Emma seeing one of these masks coming at them in the dark of night. He imagined their horrified expressions as he screamed and leaped from behind a tree. That would be amazing he smiled victoriously. Franklin took a deep breath, and stepped even closer to the shelves.
Finally, his eyes settled on an unbelievably ugly mask, so ugly it nearly made him gasp. It had a swollen bald head, the skin was mouldy yellow-green and it had gigantic eerie orange eyes which seemed to glow. It had a nose like some beast and the mouth gaped wide, revealing sharp, blood-covered teeth. Staring at the mask, Franklin reached out his hand towards it.
Cautiously, he touched its forehead. As soon as he touched it, the mask screamed out.
