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How to Score Higher in Cambridge IGCSE World Literature (0408)

Evidence-based World Literature 0408 exam guide built from official examiner reports and mark schemes. Specialised and comprehensive study tips — specific, cited insights so you can achieve top grades.

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Evidence-BasedBuilt from 1 official examiner reports & mark schemes (2025–2025)

What Are Assessment Objectives (AOs)?

Before we dive in, you need to understand how Cambridge actually marks your answers.

AO stands for Assessment Objective. Think of AOs as the different “skills” Cambridge tests you on in every single question. When an examiner marks your paper, they don't just give you a mark out of 12 based on how “good” your answer feels — they allocate specific marks to each AO separately.

For example, a 12-mark question might be split as: AO1 (2 marks) + AO2 (2 marks) + AO3 (2 marks) + AO4 (6 marks). If you write a perfect textbook answer but don't evaluate, you can only score 6 out of 12 — because the other 6 marks are specifically reserved for evaluation.

This is why understanding AOs matters: they tell you exactly what the examiner is looking for and how many marks each skill is worth. Here are the 4 AOs for this subject:

AO1

Knowledge and Understanding

Paper-dependent

Show detailed knowledge of the content of literary texts in the three main forms (drama, poetry and prose), supported by reference to the text.

AO2

Understanding of Meanings and Attitudes

Paper-dependent

Understand the meanings of literary texts and their contexts, and explore texts beyond surface meaning to show deeper awareness of ideas and attitudes.

AO3

Analysis of Writers' Methods

Paper-dependent

Recognise and appreciate ways in which writers use language, structure and form to create and shape meanings and effects.

AO4

Personal Response

Paper-dependent

Communicate a sensitive and informed personal response to literary texts, supported by close reference to the text.

The key takeaway: Most students lose marks not because they lack knowledge (AO1), but because they skip the higher-order skills — applying to context (AO2), building chains of reasoning (AO3), and making supported judgements (AO4). Everything below shows you exactly how to hit each AO based on what examiners have written in their reports.

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Top Mistakes in IGCSE World Literature 0408

The most common reasons students lose marks in IGCSE World Literature 0408, cited directly from official examiner reports across multiple sessions.

Logging literary devices without exploring the precise effects writers create with them

Widespread across Paper 2 (Unseen) and Paper 1 (Set Text), 2025 · Affects: Paper 1, Paper 2

What examiners say

“Many simply listed devices such as simile, metaphor etc. without explaining the effect those choices have on the reader, and several responses relied on long quotations and hence missed out on analysing how the poet's word choices and carefully woven imagery build an escalating sense of motion and force when describing the horses.”
— 0408 Paper 2, May/June 2025

“In less successful answers, the use of literary terminology was frequently superficial. Candidates often mentioned devices such as alliteration, assonance, or rhyme without explaining their effects within the context of the text.”
— 0408 Paper 1, May/June 2025

How to fix this

Every time you name a device (simile, metaphor, anaphora, enjambment, caesura, sibilance), immediately follow with: (1) the specific quotation containing it, (2) the precise effect it creates AT THAT MOMENT, and (3) how it links to the question's key word. If you cannot tie a device to a specific moment and effect, omit it. Avoid blanket assertions like 'the poet uses imagery' or 'this is personification' — those phrases are filler. Distinguish between identification ('this is alliteration') and analysis ('the harsh “Clawing and cursing” alliteration mimics the eaglehawk's furious resistance').

Writing learned introductions about context, plot or biographical background instead of engaging with the question

Very common across Paper 1 Sections A and B, 2025 · Affects: Paper 1, Paper 2

What examiners say

“A significant number of candidates are still using a learned opening paragraph for Section A which was repeated in Section B, explaining the context or providing an overview of the plot and writer's intentions. Where it is irrelevant to the question, it takes time that could be used for developing ideas that are.”
— 0408 Paper 1, May/June 2025

“Better responses started with a paragraph which directly addressed the terms of the question, rather than simply listing techniques used by the poet. Carefully referencing the question usually led to more focused essays with a better grasp of the poem.”
— 0408 Paper 2, May/June 2025

How to fix this

Develop a thesis-statement opening that gives an overview of your personal response on the question's key word — NOT a context dump or technique list. Two to three sentences only. Sentence one: name the question's key word/intensifier (striking, vividly, powerfully, memorably, disturbing). Sentence two: state your line of argument. Begin analysis in your first body paragraph. Never recycle an introduction across Sections A and B — each must respond to its own question.

Ignoring the question's key words / steer adjectives and writing pre-learned theme essays instead

Very common across Papers 1 and 2, 2025 · Affects: Paper 1, Paper 2

What examiners say

“The most successful responses tailored their material to the key words in the question from start to finish: these answers engaged directly with those words in questions designed to elicit personal responses to the writing, adjectives such as 'striking', 'revealing' 'memorable' and 'vivid' and adverbs such as 'memorably' 'vividly' and 'powerfully.' There were, however, some responses that made only a limited attempt to address these key words.”
— 0408 Paper 1, May/June 2025

“Some candidates lacked analytical focus and spent a lot of time on personal reflection instead of textual analysis, diverting attention from the demands of the question as a result. This was compounded at times by a reliance on pre-learned essays which tended to undermine relevance and coherence.”
— 0408 Paper 1, May/June 2025

How to fix this

Before writing, underline the question's steer word ('striking', 'vividly', 'powerfully', 'memorably', 'disturbing', 'shocking', 'frightening', 'revealing'). Write it at the top of your plan. Every paragraph topic sentence must contain that word or a synonym, and every analytical point must explain WHY the moment is striking/vivid/powerful — not just describe what happens. Pre-learned essays on colonialism, environmental destruction, refugee experience or aristocratic decline score poorly when bolted on regardless of the question.

Using the Section A extract to answer a Section B question on the same text — a rubric infringement

Repeatedly flagged across all Paper 1 variants, 2025 · Affects: Paper 1

What examiners say

“Some of the least successful Section B answers restricted their range of reference to the extract printed with Section A questions, even where the Section B question instructed candidates not to do so, such as Question 7 on fear and Question 9 on Enaiat's search for a better life... Centres must tell their candidates that they are not credited for any section of a Section B response which uses the extract from Section A if they are explicitly instructed not to do so and where it is irrelevant.”
— 0408 Paper 1, May/June 2025

“Centres must remind candidates to put the question number in the margin, rather than simply labelling their responses A and B as this causes problems for Examiners as it is not always clear as to which question the candidate is answering.”
— 0408 Paper 1, May/June 2025

How to fix this

Read the rubric for each Section B question carefully — most explicitly bar use of the Section A extract. Always write the question NUMBER (e.g. '7') in the margin, not 'Section B'. For Section B answers, draw evidence from across the WHOLE text: opening, key turning points, ending. Prepare 10–15 short learned quotations per set text covering all major moments — do not lean on the Section A extract as a fallback.

Paraphrasing or narrating the text instead of analysing the writer's methods

Recurring across Papers 1 and 2, 2025 · Affects: Paper 1, Paper 2

What examiners say

“In contrast, weaker answers tended to fall back on straightforward paraphrase—summarising instead of engaging with the poet's language.”
— 0408 Paper 2, May/June 2025

“Lower-level responses tended to explain the events in the extract in their own words without close reference to the language used or to the specific question. Higher level responses demonstrated an in-depth knowledge of the text, recognising the circumstances surrounding specific extract which placed it into context and were able to analyse specifics of the text in detail and with sensitivity.”
— 0408 Paper 1, May/June 2025

How to fix this

Do not work line by line through a passage retelling content. Plan 3–4 selected moments that best illuminate the question's key word, INCLUDING one from the END of the extract (examiners flagged candidates missing closing lines). For each moment: name the writer's method (imagery, sensory detail, dialogue, stage direction, narrative shift), embed a SHORT quotation, then analyse the precise effect on the reader/audience. After each paragraph, ask: 'Have I shown HOW the writer creates this effect?' If you have only retold what happens, rewrite.

Using long quotations — or ellipses that omit key words — instead of short embedded ones

Common in Papers 1 and 2, 2025 · Affects: Paper 1, Paper 2

What examiners say

“By contrast, weaker responses either narrated events instead of analysing language, listed techniques without explaining their effects such as alliteration or simile, or relied on lengthy quotations—often truncated with ellipses—so that the evidence no longer clearly supported their points.”
— 0408 Paper 2, May/June 2025

“Some candidates referenced line numbers without quoting directly, weakening their analysis. Others demonstrated only a basic understanding of the text, with limited exploration of language, structure, and form. A lack of direct quotation often hindered meaningful commentary on the writer's craft.”
— 0408 Paper 1, May/June 2025

How to fix this

Use short, embedded quotations of 1–6 words containing the exact word(s) you want to analyse. Pattern: make a point, embed the quotation inside your sentence, zoom in on one specific word, explain its effect. Never use ellipses to skip across the key word — the evidence must support the point. Never refer to 'line 12' or 'the third stanza' without quoting; always lift the actual word or phrase, even a single verb embedded in your sentence.

Forcing alternative or 'hidden' interpretations that lose sight of the question

Flagged across all three Paper 2 variants, 2025 · Affects: Paper 2

What examiners say

“Some Examiners cautioned that in the pursuit of an alternative or hidden meaning in the poems some candidates were so determined to find 'an alternative' meaning or interpretation that they lost sight of the question and, on some occasions, did not answer it. Some of the interpretations had credibility but quite a few were 'forced' and unconvincing. Some of the personal responses went off at tangents and had no bearing on the text.”
— 0408 Paper 2, May/June 2025

“Some candidates avoided it altogether with some unhelpful interpretations which went into the realms of sea monsters and the supernatural.”
— 0408 Paper 2, May/June 2025

How to fix this

Personal response is rewarded only when rooted in the text. Before going for a 'deeper' or symbolic reading, check it is anchored in specific words, images or structure of the poem. Do not invent supernatural, autobiographical or political readings the text cannot support. If your interpretation requires you to ignore or contradict words on the page, drop it. Stay focused on what the question literally asks — a thoughtful surface reading scores higher than a 'forced' alternative.

Treating drama texts as novels and treating fictional characters as real people

Repeatedly flagged on Anowa and Cherry Orchard responses, 2025 · Affects: Paper 1

What examiners say

“Weaker responses, however, tended to regard the characters and events as if they were real and failed to engage with the dramatic form, often focusing on surface-level conflict without considering why the moment was dramatically revealing. These answers tended to neglect the author's use of stagecraft and social commentary.”
— 0408 Paper 1, May/June 2025

“Less successful responses tended to treat the characters as real people rather than literary constructs, offering plot summary instead of analysis. These responses often lacked interpretive depth, failed to connect dramatic elements to narrative purpose, and sometimes demonstrated fundamental misunderstandings of the text.”
— 0408 Paper 1, May/June 2025

How to fix this

Talk about HOW the writer presents a character, not why the character 'feels' something — e.g. 'Aidoo presents Badua as overbearing through her pacing and the holding of the ladle' rather than 'Badua is angry'. On drama (Anowa, The Cherry Orchard) say 'audience' and 'play', explore stage directions for mood (pathetic fallacy, pacing, props), and analyse stagecraft — entrances, exits, dramatic irony, foreshadowing. Embed verbatim quotations of stage directions; do not paraphrase ('she looks angry').

Apply what you've learned

Practice identifying these mistakes in real papers. Try a recent paper and mark yourself — you'll spot these patterns immediately.

Try 2026 May-June All 0408 Papers

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What IGCSE World Literature 0408 Examiners Reward

Patterns that consistently earn high marks in IGCSE World Literature 0408, based on examiner report commentary on top-scoring answers.

Engaging with the question's steer word ('striking', 'vividly', 'powerfully', 'memorably') from the opening sentence

Examiners explicitly identified this as the discriminator: 'The most successful responses tailored their material to the key words in the question from start to finish: these answers engaged directly with those words in questions designed to elicit personal responses to the writing, adjectives such as “striking”, “revealing” “memorable” and “vivid” and adverbs such as “memorably” “vividly” and “powerfully.”'

Source: 0408 Paper 1, May/June 2025

Sustained close analysis of how writers create effects — moving from quotation to precise effect

Top responses on Neruda's 'Horses' moved from quotation to layered effect: 'they unpacked the simile “rippled into existence like flame,” suggesting not only brightness but a bold, almost dangerous energy, and then traced how the poet extends the fire motif—through words such as “flame…flaming,” “oranges…amber…fire”—to convey both beauty and latent threat.' On Fever Dream, top candidates explored 'how the dynamic between mother and son is reversed: rather than Carla being the guiding protector, David seems to have an almost sinister control or influence over her.'

Source: 0408 Paper 2 and Paper 1, May/June 2025

Treating poems and plays as constructed artefacts — analysing form, structure and stagecraft alongside language

Examiners praised candidates who 'demonstrated a clear understanding of authorial craft, often analysing the passage as a constructed piece of writing rather than merely retelling events' and noted that 'Better responses integrated careful consideration of the effects of poetic features in relation to the question and to the construction of “meaning” by the poet.' On Anowa, the strongest candidates 'recognised how Aidoo uses pathetic fallacy, dialogue, and physical gesture to add emotional and thematic depth.'

Source: 0408 Paper 1 and Paper 2, May/June 2025

Deploying a wide range of memorised concise quotations in Section B general essays

Examiners noted: 'For Section B questions, the most successful candidates were able to recall from the whole text an extensive range of quotation which they deployed effectively in their response to the question. In less successful responses across both sections of the paper, an absence of direct textual support led to writing that was overly dependent on assertion and explanation.' On Crocodiles Question 9, the strongest candidates 'led with Enaiat's words “The hope for a better life is stronger than any other feeling. The decision to emigrate comes from a need to breathe”' to anchor a clearly structured essay.

Source: 0408 Paper 1, May/June 2025

Engaging with the title and reading to the END of the poem or extract

Examiners noted: 'often the title of the poems was overlooked. However, those candidates who made a pertinent reference to the title and linked it to the question often produced a thoughtful, focused response.' On Fever Dream, 'Teachers should encourage candidates to engage with the entire extract, as the final paragraph—which hints at the real danger emerging from the surrounding wheat fields—was generally overlooked despite its potential to prompt insightful analysis.'

Source: 0408 Paper 2 and Paper 1, May/June 2025

Working context in seamlessly rather than bolting it on — and developing a thesis statement

Examiners praised candidates who 'worked context in seamlessly with the contemporary allusions against de-wilding and Australian industrial practices' on Wright's poem, and observed: 'Centres are recommended to work with their candidates on developing a thesis statement in their opening paragraph, that provides an overview of their personal response. Candidates should be told that detailed knowledge on its own cannot achieve the highest reward; they should tailor relevant material from their knowledge to address the specific demands of the question set.'

Source: 0408 Paper 1, May/June 2025

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IGCSE World Literature 0408 Answer Frameworks

Structured approaches for each IGCSE World Literature 0408 question type, derived from mark scheme requirements.

Paper 1 — Section A passage-based question (set text)

45 minutes

Structure

Brief context placing the extract in the wider work (1–2 sentences) → Engage with the steer word (e.g. 'striking', 'shocking', 'memorable') in your opening → Select 3–4 key moments from across the WHOLE extract INCLUDING the closing lines → At each moment analyse the writer's method (sensory imagery, narrative shift, stage direction, dialogue tone) and the precise effect → Concise conclusion linking back to the steer word

•Quote VERBATIM — never refer to 'line numbers' or paraphrase stage directions ('she looks afraid'). Embed actual words
•Plan time to reach the END of the extract — examiners flagged candidates missing the final paragraph on Fever Dream and Horses
•Treat characters as constructs ('Aidoo presents Badua as...', 'Schweblin makes Carla...'), NOT as real people
•On drama extracts (Anowa, Cherry Orchard), discuss stagecraft — pathetic fallacy, stage directions, props (the pot, the orchard), gesture, dramatic irony
•Address the title where relevant — examiners praised candidates who linked title to question on Paper 2

Paper 1 — Section B general essay (different set text)

45 minutes

Structure

Thesis-statement opening giving your line of argument on the question's key word (NOT context dump) → 4–5 paragraphs each on a different moment from across the WHOLE text, each anchored by 1–2 short LEARNED quotations → Conclusion that answers the question directly without simply repeating points

•RUBRIC: do NOT use the Section A extract as evidence in Section B — examiners flagged this repeatedly in 2025 (Q7 fear, Q9 Enaiat's search). Always write the QUESTION NUMBER in the margin, not 'A'/'B'
•Learn 10–15 short quotations per set text covering opening, key turning points and ending — candidates without learned quotations 'relied on general assertions'
•Each paragraph: point linked to key word → short embedded quotation → zoom in on a specific word → effect → link back
•Avoid pre-learned thematic essays (refugee experience, environmental destruction, aristocratic decline) — examiners flagged 'reliance on pre-learned essays which tended to undermine relevance and coherence'
•Work context in seamlessly — do not bolt on background paragraphs on Argentina pesticides, Russian aristocracy or Ghanaian gender norms

Paper 2 — Unseen poem, parts (a) and (b)

About 35 minutes per part (a and b)

Structure

(a) and (b) get separate essays of about two sides each, equal weight → Open by addressing the steer word and the relevant section of the poem → Reference the TITLE where it illuminates meaning → Analyse 3–4 key images/words including the closing lines → Comment on form/structure (free verse, stanza shape, enjambment, repetition, tense shifts) ONLY where you can tie it to a specific effect → Concise personal response anchored in the text

•Address the steer word ('vividly', 'strikingly', 'powerfully') from sentence one
•Quote APTLY — short embedded quotations the question's analysis requires; never use ellipses that skip the key word
•Cover BEGINNING, MIDDLE and END — examiners noted the final stanzas of Surfer, Horses and Anger were often overlooked
•Address poetic FORM and STRUCTURE alongside language — do not focus only on imagery. Pick out repetition, tense shifts, stanza breaks, free verse, anaphora
•Reference the TITLE if it illuminates meaning — examiners praised candidates who linked title to question
•Resist 'forced' alternative readings — a thoughtful surface reading anchored in the text scores higher than an unsupported supernatural/biographical interpretation

Paper 3 — Coursework critical and empathic essays

Internally assessed across the course

Structure

Critical essay (800–1200 words): focused thesis on a clearly-worded task → evaluative analysis of writer's methods with embedded quotations → personal response rooted in the text. Empathic essay (600–1000 words): authentic 'voice' for a chosen character at a SPECIFIC moment in the text, firmly rooted in what the text shows about the character

•Pick texts of equivalent literary demand to set/suggested texts — the 0408 Coursework Handbook lists examples
•Critical task wording must enable candidates to meet level descriptors — task should target ways writers achieve effects, not simply 'discuss themes'
•Empathic responses MUST focus on a precise moment in the text — not free creative writing. Avoid plot retelling and speculative scenarios; dialogue and quotations are NOT required
•Going beyond the word count is self-penalising; staying focused beats padding
•Teachers must annotate with focused ticks linked to mark scheme + a summative comment from the same level as the final mark — do NOT label individual AOs (assessment is holistic)
•Folder MUST be securely fastened (treasury tag/staple) with the Individual Candidate Record Card on top — NO plastic wallets or folders

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IGCSE World Literature 0408 Command Words Decoded

Each command word in IGCSE World Literature 0408 is a scoring instruction. Understanding what examiners expect is critical to earning full marks.

explore25

Investigate in depth — examine the writer's choices, the layers of meaning they create, and the effect on the reader/audience. Demands close analysis, not summary.

Common mistake

Describing or paraphrasing what happens rather than analysing how and why the writer achieves an effect.

discuss25

Examine different aspects, ideas or interpretations of a text or moment, supporting your view with close textual reference and analysis of the writer's methods.

Common mistake

Offering one-sided assertion without engaging with the writer's craft or alternative readings rooted in the text.

comment on25

Give an informed personal view on a feature of the text supported by precise reference — analyse the writer's choices and their impact.

Common mistake

Giving an unsupported opinion or paraphrasing the text instead of analysing the writer's craft.

how does the writer25

Focus on the writer's METHODS — form, structure, language, imagery, stagecraft, narrative voice — used to achieve the stated effect (e.g. 'how does the poet vividly portray the surfer?').

Common mistake

Explaining what happens in the text without identifying the techniques the writer uses to present it.

in what ways25

Identify and analyse multiple methods or aspects — the question expects you to discuss more than one technique or angle.

Common mistake

Focusing on only one method, or writing generally without identifying specific 'ways' in which the effect is created.

to what extent25

Weigh up the evidence — consider arguments for and against, supported by textual evidence. You may take any line you wish provided it is grounded in the text.

Common mistake

Treating it as a one-sided agree/disagree, OR assuming you must split your essay 50/50 — a sustained argued position with concession is fine.

analyse25

Break the writer's choices into component parts — language, structure, form, dramatic effect — and explain how each contributes to meaning and impact.

Common mistake

Listing devices ('the writer uses metaphor, simile and alliteration') without exploring what each one specifically does.

compare25

Set two moments, characters, settings or techniques side by side and analyse similarities and/or differences — always rooted in the writer's methods, not surface plot.

Common mistake

Treating the two items separately ('first one, then the other') rather than weaving comparison throughout, or comparing only content without method.

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Topics Students Struggle With Most In IGCSE World Literature 0408

These IGCSE World Literature 0408 topics consistently produce the lowest scores. Prioritise these in your revision.

Analysing writers' methods (form, structure, language) — not just listing devices

Examiners repeatedly noted: 'Centres should continue to support candidates in analysing literary techniques such as alliteration, assonance, caesura and rhyme, without overgeneralising. The term “auditory imagery” was more evident this year. Some candidates applied it to whole phrases where there seems to be little phonology... There were many claims made for the effects of phonological patterning which were not explicitly supported by the evidence cited. “Semantic field” is often used, but unhelpful without close exploration of specific examples of the language.'

Affects: Paper 1, Paper 2

Reading and selecting from the WHOLE poem/extract — especially endings

On the Fever Dream extract: 'Teachers should encourage candidates to engage with the entire extract, as the final paragraph—which hints at the real danger emerging from the surrounding wheat fields and describes it as “something threatening”—was generally overlooked.' On Anger: stronger responses analysed 'the juxtapositions in the final stanza, which turn the ugliness and pain of much the poem into “something beautiful” in a redemptive climax' — weaker did not.

Affects: Paper 1, Paper 2

Treating drama as performance — stagecraft, pathetic fallacy, characters as constructs

On Anowa Q2: 'Weaker responses, however, tended to regard the characters and events as if they were real and failed to engage with the dramatic form, often focusing on surface-level conflict without considering why the moment was dramatically revealing. These answers tended to neglect the author's use of stagecraft and social commentary.' On Cherry Orchard, 'many failed to explore how Chekhov's characterisation, tone, and dramatic technique serve as critiques of a society in transition.'

Affects: Paper 1

Section B general essays — deploying memorised quotations from the whole text

Examiners flagged that Section B success depends on command of detail: 'For Section B questions, the most successful candidates were able to recall from the whole text an extensive range of quotation which they deployed effectively in their response to the question. In less successful responses across both sections of the paper, an absence of direct textual support led to writing that was overly dependent on assertion and explanation.' Less successful responses also 'lacked direct quotations on which to base analysis of the writing.'

Affects: Paper 1

Maintaining focus on the steer word ('striking', 'vividly', 'memorably', 'shocking')

Examiners repeatedly identified this as the discriminator: 'The most successful responses tailored their material to the key words in the question from start to finish.' By contrast, 'There were, however, some responses that made only a limited attempt to address these key words' — these candidates 'spent a lot of time on personal reflection instead of textual analysis, diverting attention from the demands of the question.'

Affects: Paper 1, Paper 2

Avoiding pre-learned essays and forced alternative interpretations

Examiners cautioned that 'in the pursuit of an alternative or hidden meaning in the poems some candidates were so determined to find “an alternative” meaning or interpretation that they lost sight of the question and, on some occasions, did not answer it. Some of the interpretations had credibility but quite a few were “forced” and unconvincing.' On Section B: pre-learned thematic essays on refugee experience, environmental destruction or aristocratic decline 'tended to undermine relevance and coherence'.

Affects: Paper 1, Paper 2

Rubric compliance on Paper 1 — question numbers and using Section A extract in Section B

'A small but significant number of candidates did not follow the rubric, by using quotations from Section A texts in Section B responses even when they were directly instructed not to do so... Centres must tell their candidates that they are not credited for any section of a Section B response which uses the extract from Section A.' Plus: 'Centres must remind candidates to put the question number in the margin, rather than simply labelling their responses A and B as this causes problems for Examiners.'

Affects: Paper 1

Coursework administration — task wording, teacher annotation and folder presentation

'Too often candidate work showed no evidence of having been marked. Teachers are reminded that all assignments should have focused ticking of key points, supported by brief reference to the level descriptors in marginal annotation and a detailed summative comment.' Plus: 'Labelling Assessment Objectives (AOs) in the margin of candidate work is not helpful... The AOs should be assessed holistically.' And: 'The Individual Record Card should be fastened securely (e.g., by a treasury tag or staple) to the written assignments (and not placed in plastic wallets, cardboard folders or envelopes).'

Affects: Paper 3

Target your weak areas

The topics above are where most marks are lost. Use past papers and mark schemes to practice these specific areas until they become second nature.

Past Papers & Mark Schemes

Frequently Asked Questions

What papers make up Cambridge IGCSE World Literature 0408?

Three components, of which most candidates take Paper 2 plus EITHER Paper 1 OR Paper 3. Paper 1 (Set Text, 1h 30m, 50 marks, closed-book) requires one passage-based answer in Section A and one general essay on a different set text in Section B. Paper 2 (Unseen Poetry, 1h 15m, 30 marks, closed-book) is one poem with parts (a) and (b). Paper 3 (Coursework, internally assessed, externally moderated) is two assignments — one critical essay (800–1200 words) and optionally one empathic essay (600–1000 words) — on two different texts. Centres choose the route. Variants 21/22/23 are simply different unseen poems used in different exam regions; the structure is identical.

What set texts and poets are studied for 0408?

0408 specialises in translated world literature. Set texts in 2025 included Schweblin's Fever Dream (Argentina), Geda's In the Sea there are Crocodiles (Italy), Aidoo's Anowa (Ghana) and Chekhov's The Cherry Orchard (Russia), plus a poetry anthology drawing on poets such as Neruda, Wright, Gill and Oswald, and a short story collection. The set list rotates — always check the current 0408 syllabus for your exam series. Plays, prose and poetry are studied alongside each other rather than on separate papers, and questions on Paper 1 cover all forms in the same exam.

Are notes or texts allowed in the exam?

No — Paper 1 and Paper 2 are closed-book exams. You may not bring set texts, annotated copies, or revision notes. Paper 3 is coursework, completed under teacher supervision over the course rather than in a timed exam.

What word counts and presentation rules apply to Paper 3 Coursework?

Critical essays must be 800–1200 words including quotations but excluding bibliography; empathic essays must be 600–1000 words. Going beyond the word count is self-penalising. The folder must be securely fastened with a treasury tag or staple — NO plastic wallets, cardboard folders or envelopes. The Individual Candidate Record Card sits at the front, and assignments must be in the order shown on the card. Spelling, punctuation and grammar are NOT assessed and must not be commented on. Centres with multiple teachers must show evidence of internal moderation.

Put It All Into Practice

You now know exactly what examiners reward and penalise. The next step is deliberate practice with real papers. We have 26 exam sessions available for IGCSE World Literature 0408 — question papers, mark schemes, and examiner reports.

View All Past Papers Latest Session: 2026 May-June