Exam Intelligence · 4 Official Documents Analysed

How to Score Higher in IB Standard Level English A: Language & Literature (SL)

Evidence-based IB Standard Level English A: Language & Literature exam guide built from official examiner reports and mark schemes.

View IB Past Papers

Evidence-BasedBuilt from 4 official examiner reports & mark schemes (2023–2025)

What Are Assessment Objectives (AOs)?

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

AO stands for Assessment Objective. Think of AOs as the different “skills” the IB 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:

Criterion A

Knowledge, Understanding and Interpretation

Assessed in all components

Demonstrate knowledge and understanding of the works and bodies of work studied, including both literary and non-literary texts. Offer relevant and well-supported interpretations substantiated by textual evidence. Purely descriptive or summary-driven approaches limit how much interpretation can be offered.

Criterion B

Analysis and Evaluation

Assessed in all components

Analyse and evaluate the ways in which authorial choices shape meaning across both literary and non-literary text types. This is consistently the weakest criterion. Move beyond feature-spotting and description to explain how specific choices — including visual, structural, and linguistic features — create effects for the audience.

Criterion C

Focus and Organization

Assessed in all components

Present ideas in a focused, coherent and logical manner with effective transitions. For Paper 1, maintain sustained focus on the guiding question. For the IO, balance time across all four required parts: extract 1, extract 2, the wider work, and the body of work.

Criterion D

Language

Assessed in all components

Use language that is clear, varied and precise, with an appropriate register and style. Maintain formal academic writing conventions. For the IO, vary language choices, syntax, and rhetorical devices — memorised delivery that sounds unnatural will limit marks.

The key takeaway: Most students lose marks not because they lack knowledge (Criterion A), 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.

🚫

Top Mistakes in Standard Level English A: Language & Literature

The most common reasons students lose marks in Standard Level English A: Language & Literature , cited directly from official examiner reports across multiple sessions.

Failing to analyse multimodal and non-literary text features — reverting to description of visual content

Flagged as a core weakness in IO and Paper 1 reports across all sessions from 2023-2025 · Affects: Paper 1, Individual Oral

What examiners say

“Students are still hesitant to analyse multimodal texts and the authorial choices associated with these (especially for text-types such as news articles, music videos and films). They will often revert to merely describing the content of the still images rather than using evaluation or analysis.”
— IO, May 2025 TZ1

“There was a noticeable gap in the analysis of visual features and the appropriate terminology for discussing them.”
— Paper 1, May 2025 TZ2

How to fix this

Non-literary texts require analysis of ALL their modes: visual layout, colour, typography, camera angles, mise en scene, the interplay of image and text, and structural design. Do not just describe what you see — explain HOW visual choices create meaning. For music videos and films, address cinematography, sound, and the relationship between lyrics/dialogue and visuals. Build a vocabulary of multimodal terminology.

Shallow analysis — identifying authorial choices without explaining their effects on meaning

Identified as the dominant weakness across Paper 1 and Paper 2 reports in every session · Affects: Paper 1, Paper 2

What examiners say

“Depth of analysis was the most common observation amongst examiners. Whilst understanding of both texts was evident in most responses, many did not explore implications of authorial choices or progress beyond identification.”
— Paper 1, May 2024 TZ1

“Many responses remained at the level of thematic observation, resulting in generalised arguments with limited depth. A recurring challenge was linking authorial choices — such as narrative voice, tone, and structure — to more nuanced or sophisticated interpretations.”
— Paper 2, May 2025 TZ1

How to fix this

After identifying a technique, always explain its EFFECT on meaning and the audience. Use a three-step method: (1) Identify the choice, (2) Provide a specific textual example, (3) Analyse how it shapes meaning. Replace generic phrases like 'grabs the reader's attention' with text-specific evaluations of what the technique achieves. Synthesise how multiple features work together.

Imbalance between literary and non-literary analysis in the IO — favouring the literary extract

Flagged in every IO report from 2023 to 2025 across both timezones · Affects: Individual Oral

What examiners say

“Balance between extracts, work and body of work was an issue for many students. There was a tendency for the literary extract to be favoured over the non-literary extract. Even when students did manage to achieve a balance between both extracts, examiners often noted an imbalance in the discussion of the wider literary work and the body of work.”
— IO, May 2025 TZ2

“Students often displayed a more confident understanding of their literary extract. They did not always display the same level of knowledge of the non-literary extract.”
— IO, May 2024 TZ1

How to fix this

Allocate roughly equal time to all four required parts: literary extract, non-literary extract, wider literary work, and non-literary body of work. During preparation, time each section and adjust. Practise analysing non-literary texts with the same depth and confidence you apply to literary works. Remember: the body of work must be explored beyond just the chosen extract.

Global issue too broad, confused with a field of inquiry, or disconnected from the texts

Highlighted in every IO report from 2023-2025 · Affects: Individual Oral

What examiners say

“For some students, the global issue selected was too broad, for example, 'gender inequality'. More successful issues are more specific or well-defined such as 'gender inequality in education'.”
— IO, May 2025 TZ1

“The global issue must originate from the work and body of work. Many students chose to form a global issue linked to current affairs. This often resulted in students offering their opinions about the issue itself and led to them moving too far away from their chosen extracts, work and body of work.”
— IO, May 2024 TZ1

How to fix this

A global issue must be specific and must arise from the texts themselves — not be imposed on them. Do not use a field of inquiry as your global issue; narrow it down. Do not give personal opinions about the issue or recite statistics. Your global issue must work equally well for both the literary work and the non-literary body of work. Keep your introduction to under one minute and use it to state the issue and introduce the extracts.

Using generic, cliched analytical phrases instead of text-specific evaluation

Flagged in Paper 1 reports across 2023, 2024, and 2025 · Affects: Paper 1

What examiners say

“Students struggled to identify effects created, and many gave generic responses, such as: 'pushes the idea', 'makes the reader want to read on', 'gains the reader's attention'.”
— Paper 1, May 2024 TZ1

“Avoid generic inferences: Discourage overused phrases like 'intrigue / grab / hook the reader' or 'keep the reader reading.'”
— Paper 1, May 2025 TZ2

How to fix this

Replace generic statements with text-specific effects. Instead of 'this grabs the reader's attention', explain precisely what the technique achieves in this particular text — e.g. 'The imperative register shifts from inclusive to instructive, positioning the reader as someone in need of guidance.' Always tie the effect to the specific content and purpose of the text you are analysing.

Relying on pre-prepared or memorized essays for Paper 2 rather than responding to the specific question

Identified as a significant concern in Paper 2 reports across 2023, 2024, and 2025 · Affects: Paper 2

What examiners say

“A continued concern is the 'pre-prepared' essay or argument that was often at odds with the student's chosen question. These students had clearly prepared a variety of ideas and even quotations from their study of their works and had them in mind to respond to the task.”
— Paper 2, May 2025 TZ2

“The use of pre-prepared essays which candidates shoehorned into the question they selected with generally unsatisfactory results was highlighted by a number of examiners as a significant concern.”
— Paper 2, May 2023 TZ1

How to fix this

Respond to the specific question on the day. Carefully analyse the essay prompt, define key terms, and brainstorm ideas that directly relate to it. Select evidence from your works that supports your argument for THIS question. Memorized quotations are not required and should never be forced into a response where they do not fit. Know your works deeply enough to be flexible with any prompt.

Analysing content and ideas of non-literary texts rather than the authorial choices that convey them

Flagged in IO reports across all sessions from 2023-2025 · Affects: Individual Oral

What examiners say

“Students who chose news reports, speeches or opinion articles for their non-literary body of work would often refer to the subject content or ideas expressed rather than analyse how specific authorial choices such as lexical choices, tone, punctuation etc. work to convey the ideas and meaning.”
— IO, May 2025 TZ1

How to fix this

When analysing non-literary texts, focus on HOW meaning is constructed, not just WHAT is said. For a speech, analyse rhetorical strategies, lexical choices, tone shifts, and structural decisions. For an opinion article, examine how the writer builds their argument through specific language choices. Always ask: what choices has the author made and what effect do they create?

Writing unnecessarily long introductions about audience, purpose and context

Noted in Paper 1 reports across 2024 and 2025 sessions · Affects: Paper 1

What examiners say

“We continue to see students whose introductions address audience, purpose, and context. In most cases, this is tangential information unrelated to the guiding question which leads to unnecessarily lengthy introductions or even superfluous body paragraphs.”
— Paper 1, May 2025 TZ1

“The integration of purpose, audience, and context also presented difficulties. While these elements may be relevant to this component, they are not explicitly mentioned in the rubric.”
— Paper 1, May 2025 TZ2

How to fix this

Only address audience, purpose and context if they are directly relevant to the guiding question. The guided analysis is designed for students to be guided by the question and text, not a pre-learned checklist. Start your introduction by engaging with the guiding question and establishing your point of entry. If context is relevant, integrate it into your body paragraphs alongside your analysis rather than front-loading it.

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.

All Papers

✅

What Standard Level English A: Language & Literature Examiners Reward

Patterns that consistently earn high marks in Standard Level English A: Language & Literature , based on examiner report commentary on top-scoring answers.

Maintain sustained focus on the guiding question throughout Paper 1 responses

The strongest responses explicitly use the guiding question as a point of entry and thread it throughout every paragraph. 'Most students explicitly used the established guiding questions as points of entry to their responses; most also adequately threaded them throughout to create cohesive responses by using effective topic sentences and transitions.'

Source: Paper 1, May 2025 TZ1

Analyse how visual and verbal elements work together in multimodal texts

Top-scoring students address the interplay between different modes of communication. 'Many, in fact, were able to handle the interplay of image and text quite productively.' Students who synthesise how features work in combination achieve the highest marks.

Source: Paper 1, May 2025 TZ1

Balance time and depth equally across both extracts, the work and the body of work in the IO

Subject specialists consistently reward balance across all four required parts. 'High-scoring students are those who balance their time to discuss the four parts required of this oral: extract 1, extract 2, work and body of work.' The strongest students also plan transitions between sections.

Source: IO, May 2025 TZ1

Demonstrate genuine personal interpretation rather than describing or summarising

High-scoring students go beyond literal meaning and explore their own interpretations. 'High-scoring students are those who try to explore their own interpretations rather than simply describe their extracts or discuss the literal meaning.'

Source: IO, May 2025 TZ2

Compare authorial CHOICES and techniques in Paper 2, not just themes and plot

The best Paper 2 responses compare how different authors use literary features. 'Students showed confidence in discussing major themes and social issues... Most recognised the comparative nature of the task and attempted to draw meaningful connections between texts in relation to their chosen question.'

Source: Paper 2, May 2025 TZ1

Write focused introductions with a clear thesis and avoid unnecessary contextual information

Subject specialists note that strong introductions establish focus immediately. 'The most successful students referenced the respective guiding question at the end of their introductions, then explicitly, succinctly, and chronologically detailed how they would answer it, following through with corresponding topic sentences and transitions in body paragraphs.'

Source: Paper 1, May 2025 TZ1

📝

Standard Level English A: Language & Literature Answer Frameworks

Structured approaches for each Standard Level English A: Language & Literature question type, derived from mark scheme requirements.

Paper 1 — Guided Textual Analysis (choose one text)

1h 15m total — 10 min reading and planning, ~55 min writing, ~10 min review

Structure

Read both texts and their guiding questions carefully → choose the text you can analyse most effectively → plan response around guiding question → write focused introduction referencing the GQ → develop body paragraphs with technique-evidence-effect analysis → write purposeful conclusion

•Choose the text whose text type you can analyse most confidently — there is no advantage to a particular text type
•Address the guiding question directly and thread it throughout your response using topic sentences and transitions
•Do NOT write lengthy introductions about audience, purpose, and context unless directly relevant to the guiding question
•For non-literary texts, analyse ALL modes: visual layout, typography, colour, images, and their interplay with written content
•Move beyond identifying obvious features — synthesise how multiple choices work in combination
•Replace generic effect statements ('grabs the reader's attention') with text-specific evaluations
•Be familiar with a range of text types: blogs, infographics, advertisements, opinion articles, speeches, comics, and literary texts
•Do NOT critique the text for what it lacks — this is not assessed and wastes time

Paper 2 — Comparative Essay

1h 45m total — 10 min planning, ~80 min writing, ~15 min conclusion and review

Structure

Carefully read all four questions → select the most suitable for your works → plan thesis and comparative points → write a focused introduction with clear thesis → develop comparative body paragraphs → write a conclusion that draws the argument together

•Define key terms from the question in your introduction and maintain that definition consistently throughout
•Structure around comparative points, not work-by-work — weave both works throughout each paragraph
•Compare authorial CHOICES and techniques, not just themes, characters and plot
•Respond to the specific question on the day — do not force a pre-prepared essay into the prompt
•Memorized quotations are not required; a strong understanding of key moments and techniques is more effective
•Balance treatment of both works equally
•Address genre-specific features where relevant — dramatic texts, poetry and graphic novels all have unique conventions
•Contextualise examples without lapsing into plot summary

Individual Oral (IO) — Presentation and Discussion

10 min presentation + 5 min teacher questions (15 min total)

Structure

Brief introduction stating global issue and introducing extracts → analyse literary extract in relation to GI and wider work → analyse non-literary extract in relation to GI and body of work → conclude → respond to teacher questions

•Choose a precise, well-articulated global issue that originates from the texts — not imposed on them
•Do NOT use a field of inquiry as your global issue — narrow it to a specific, well-defined issue
•Keep your introduction to under one minute — state the issue and introduce the extracts, work and body of work
•Balance time equally across all four parts: literary extract, non-literary extract, wider work, and body of work
•Analyse multimodal features of non-literary texts with the same depth as literary analysis — do not just discuss content or ideas
•For music videos, analyse mise en scene, camera angles, the interplay between lyrics and visuals, not just the lyrics
•Plan transitions between sections — seamless connections between extracts and wider works are a hallmark of top-scoring orals
•Avoid memorising the entire presentation — it leads to rushed, unnatural delivery and a stark contrast with the questioning section

💬

Standard Level English A: Language & Literature Command Words Decoded

Each command word in Standard Level English A: Language & Literature is a scoring instruction. Understanding what examiners expect is critical to earning full marks.

analyseVariable

Examine how authorial choices — including linguistic, visual, and structural features — shape meaning. Break down the text into its component parts and explain how they work together to create effects for the audience.

Common mistake

Describing or paraphrasing the content of the text instead of examining how it works. Listing techniques without discussing their effects.

evaluateVariable

Make a judgement about the extent to which authorial choices are effective. This requires analysis PLUS a reasoned assessment of how techniques shape meaning and influence the audience.

Common mistake

Stopping at identification and description. Evaluation requires you to go beyond analysis to judge effectiveness and significance, particularly for multimodal features.

compare and contrastVariable (Paper 2 throughout)

Identify similarities and differences between works, especially in how authors use literary features and techniques to achieve effects. Must go beyond comparing plot and themes to comparing craft.

Common mistake

Writing two separate essays on each work. Comparing only plot and themes rather than authorial choices and techniques.

how and to what effectVariable (Paper 1)

A common Paper 1 guiding question format. 'How' requires you to identify specific authorial choices; 'to what effect' requires you to evaluate their impact on the audience or the meaning of the text.

Common mistake

Addressing only the 'how' (identifying features) without explaining the 'effect' (what those features achieve). Answering with generic phrases like 'grabs the reader's attention'.

discussVariable

Offer a considered and balanced exploration of the topic. Present different perspectives or aspects, supported by evidence from the texts.

Common mistake

Providing a one-sided argument without acknowledging complexity. Not supporting points with textual evidence.

exploreVariable

Investigate in depth, considering multiple aspects and implications. Go beyond the surface to examine complexities, ambiguities and nuances in both literary and non-literary texts.

Common mistake

Offering only a surface-level reading. Focusing on a single aspect of the text at the expense of its broader features and complexity.

⚠️

Topics Students Struggle With Most In Standard Level English A: Language & Literature

These Standard Level English A: Language & Literature topics consistently produce the lowest scores. Prioritise these in your revision.

Analysis of non-literary and multimodal text features (visual elements, layout, typography, audio-visual conventions)

Subject specialists consistently report that students are far more confident analysing literary texts than non-literary ones. 'Students are still hesitant to analyse multimodal texts and the authorial choices associated with these.' Many describe visual features rather than evaluating how they shape meaning.

Affects: Paper 1, Individual Oral

Depth of analysis beyond feature identification — explaining HOW choices shape meaning

'Depth of analysis was the most common observation amongst subject specialists. Whilst understanding of both texts was evident in most responses, many did not explore implications of authorial choices.' Students identify techniques but give generic or unsupported assertions about effects.

Affects: Paper 1, Paper 2

Understanding what constitutes a non-literary body of work for the IO

'Some of the non-literary choices showed a failure in the understanding of what constitutes a body of work, or some students failed to mention a body of work.' Students confuse works (literary collections) with bodies of work (non-literary text sets by a single producer).

Affects: Individual Oral

Analysing the content and ideas of non-literary texts rather than the authorial choices that convey them

'Students who chose news reports, speeches or opinion articles for their non-literary body of work would often refer to the subject content or ideas expressed rather than analyse how specific authorial choices such as lexical choices, tone, punctuation etc. work to convey the ideas and meaning.'

Affects: Individual Oral

Formulating a precise global issue for the IO that works for both literary and non-literary texts

'The global issue must be suitable for both the literary work and the non-literary body of work. Some students chose global issues that were linked to literary devices or themes, and then struggled to discuss their non-literary body of work in terms of this issue.'

Affects: Individual Oral

Comparison of authorial choices (not just themes and plot) in Paper 2

'While comparisons of the works are often well explored, there is less evidence of comparison of authorial choices or of how authors use literary features. Students are confident in comparing genre, plot and characters, but are not always able to move into the comparable ways that authors use literary features.'

Affects: Paper 2

Writing effective introductions that address the guiding question without unnecessary contextual information

'We continue to see students whose introductions address audience, purpose, and context. In most cases, this is tangential information unrelated to the guiding question which leads to unnecessarily lengthy introductions or even superfluous body paragraphs.'

Affects: Paper 1

Addressing the specific demands of the Paper 2 question rather than writing a pre-prepared essay

'Many students did not address the demands of their chosen question in a clear manner or moved too far away from their chosen question by the time they were entrenched in their writing. This also manifested in students writing generic essays based on memorized content with limited analysis and originality.'

Affects: Paper 2

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 IB English A: Language & Literature Standard Level?

Paper 1 (Guided Textual Analysis): choose 1 of 2 unseen non-literary texts (e.g. advertisements, articles, blogs, multimodal texts), 1h 15m, 20 marks. Paper 2 (Comparative Essay): 1 essay on 2 literary works, 1h 45m, 30 marks. Individual Oral (IO): 15-minute presentation and discussion connecting a literary work and a non-literary body of work through a global issue, 40 marks. Total: 90 marks. SL does NOT have an HL Essay.

How does SL differ from HL in English A: Language & Literature?

SL has two key differences: (1) Paper 1 requires analysis of only ONE text (you choose from two options) with less time (1h 15m vs 2h 15m for 2 texts at HL), and (2) SL does not include the HL Essay (a 1200-1500 word independent essay worth 20 marks). Paper 2 and the Individual Oral are identical at both levels.

What is the most common reason students lose marks across all components?

Two interrelated issues dominate: (1) Shallow analysis — identifying authorial choices without explaining their effects on meaning, and (2) Weak analysis of non-literary and multimodal texts. Subject specialists consistently report that students describe visual features rather than evaluating how they shape meaning, and revert to content summary when discussing non-literary texts like speeches or news articles.

What is a 'body of work' and how does it differ from a 'work'?

A 'work' is a single literary text or collection (a novel, a poetry collection, a set of speeches by a Prescribed List author). A 'body of work' is a set of non-literary texts by a single author or producer — for example, an advertising campaign, political cartoons by one cartoonist, or public information materials. Song lyrics by one writer are classified as a work, not a body of work. For the IO, students must understand this distinction and explore the body of work beyond just the chosen extract.

How many subject reports were used for this guide?

4 official IB English A: Language and Literature subject reports from May 2023 (TZ1), May 2024 (TZ1), May 2025 (TZ1), and May 2025 (TZ2). Every insight and subject specialist quote is directly drawn from these documents.

Put It All Into Practice

You now know exactly what examiners reward and penalise. The next step is deliberate practice with real IB past papers for Standard Level English A: Language & Literature.

View All Past Papers