Checkpoint 8 · Paper 2 writing (fiction)

Realistic Fiction: STEAL and Imagery

How to write a believable, moving realistic story for Paper 2 using the two key tools — STEAL characterisation and imagery — with a paragraph plan, phrases, vocabulary and a full-mark 350+ word sample annotated letter by letter.

British & IGCSE › Checkpoint 8 English (Cambridge Lower Secondary 0861)

1. What is realistic fiction?

Realistic fiction is an invented story that could really happen. There is no magic, no future technology, no monsters and no impossible coincidence — only ordinary people in ordinary places (a school, a home, a club, a street, a family trip) facing a problem a reader could recognise from their own life.

Its power comes from truth, not spectacle. A believable character, a believable problem and a believable ending matter much more than explosions or car chases. When the examiner finishes your story, you want them to think: “That could have been me.”

Purpose: to entertain the reader and make them feel something (worry, sympathy, relief, pride). Audience: the examiner, who reads many stories and rewards the one that feels real. Point of view: usually first person (I) or third person (he/she), always in the past tense.

Where it sits in the exam

Realistic fiction is written in Paper 2 (Fiction), Section B Writing — 25 marks. The whole paper lasts 1 hour 10 minutes. About 35 minutes is suggested for the writing, and planning space is given.
The task is a story linked to the theme of the reading extract, usually with bullet prompts (for example: introduce the character, describe the event, show how it ends). Recent Paper 2 themes were close to everyday life: an unexpected event on a holiday with friends, a dream that comes true, and learning a new skill.
Themes like these are perfect for realistic fiction. The task will not say “write a realistic story” — it gives a theme, and you choose realistic fiction because it lets you write about real feelings in a real place.
The Stage 8 Progression Test you sit at school uses the same format and the same mark scheme, so this page works for both.

Themes that suit realistic fiction: facing a fear, a difficult decision, a misunderstanding between friends, a first day somewhere new, a competition, a mistake and putting it right, a family surprise, losing something important, helping a stranger, a promise, an unexpected visitor, learning something about yourself.

How your story is marked (25 marks)

Your story is marked in five categories (in our own words, not the mark scheme’s). The examiner uses best fit: they read the whole story and match it to the band that describes it best in each row.

Mark category	Marks	What the top band looks like in realistic fiction
Creation of texts	5	Every bullet prompt is answered. The character feels like a real person because they are SHOWN through STEAL. The problem and the ending are believable. The reader cares and stays interested to the last line.
Vocabulary and language	3	Precise words for feelings and places (ragged, gripped, hesitant, shrieked) and imagery that creates a mood — chosen for effect, not random “big words”.
Structure of texts (Text structure)	7	A clear arc: hook → character and setting → problem → rising tension → climax → resolution. Paragraphs change for time, place, speaker or mood. The ending links back to the opening.
Grammar and punctuation (Sentence structure, punctuation and grammar)	7	A deliberate mix of simple, compound and complex sentences. Dialogue punctuated correctly on new lines. A range of punctuation used accurately (colon, semicolon, dashes, ellipsis).
Word structure (spelling)	3	Ambitious words spelt correctly (embarrassed, disappointed, necessary, believe, conscience). No homophone slips (their/there/they’re, its/it’s).
Total	25	Best fit: the examiner reads the whole story and matches it, row by row, to the band that describes it best. Planning is not marked.

Rules that can cap your mark

20 words or fewer scores 0. A very short answer (about 21-60 words) can get no more than 7 marks out of 25.
If you write the wrong text type (for example, a diary or an article instead of a story), Creation of texts is capped at 1 and Structure of texts is capped too.
A beautiful story that ignores the task’s theme or a bullet prompt loses Creation marks. Tick each bullet on your plan.

2. Features of realistic fiction

Feature	What it means	Example
Realistic setting	A familiar, everyday place you can describe with the senses	The school canteen smelt of fried potatoes and floor polish.
An everyday problem	Something that really happens to people your age	a lost phone, a falling-out with a friend, stage fright, a broken promise
Plausible events	No magic, no superpowers, no lucky coincidences that solve everything	Omar does not suddenly become a champion — he swims ONE length.
Relatable theme	Friendship, family, school life, courage, honesty, growing up	Being brave does not mean not being scared.
Character growth	The main character learns, changes or makes a decision	At the start he says “Not today”. At the end he dives in.
Natural dialogue	Short lines that sound like real people, not speeches	“You’re soaked.” “So are you.”
STEAL characterisation	Show what a person is like through Speech, Thoughts, Effect on others, Actions and Looks	His whistle swung against his sun-darkened chest.
Imagery	Sensory and figurative language that puts the reader inside the scene	The sun turned the water into a sheet of broken glass.
Logical sequence	A clear beginning, middle and end. Each event causes the next	fear → challenge → attempt → success
Believable resolution	The problem is solved, or partly solved, in a way that could really happen	They are not best friends again — but he saves her a seat on the bus.

Layout and language features every story needs: a short, intriguing title. Paragraphs that change for a new time, place, speaker or mood (one-line paragraphs for impact). Dialogue on a new line for each speaker. Past tense throughout. One point of view. A mix of sentence lengths.

The two tools of realistic fiction

In realistic fiction there is no dragon or spaceship to impress the reader. Everything depends on two tools: STEAL characterisation (to make your people real) and imagery (to make your places and feelings real). Master these two and a simple everyday story becomes a top-band story.

3. Tool 1: STEAL characterisation

There are two ways to show a character. Direct characterisation tells the reader: “Coach Hany was strict but kind.” Indirect characterisation shows the reader, who then works it out: “He never raised his voice, but when he spoke, even the noisiest boys stopped splashing.” Indirect characterisation is almost always stronger, because the reader becomes a detective. We build it with STEAL.

Letter	Ask yourself	Telling (weak)	Showing with STEAL (strong)
S — Speech	What does the character say, and HOW do they say it (quietly, sharply, with a joke)?	Grandma was very caring.	“Have you eaten? You’re all bones,” Grandma said, pushing a third plate towards me.
T — Thoughts	What do they think, worry about, hope or remember? (Questions to themselves work well.)	Laila was nervous about the results.	What if my name wasn’t on the list? What would I say to Dad?
E — Effect on others	How do other people react to them: respect, fear, laughter, silence?	Mr Samir was a strict teacher.	When Mr Samir walked in, thirty chairs stopped scraping at once.
A — Actions	What do they DO, especially small habits and body language?	Adam was angry.	Adam threw his bag onto the bed and slammed the door so hard that the mirror rattled.
L — Looks	Face, clothes, hair, expression, posture — the details that reveal personality	My uncle was a hard worker.	My uncle’s hands were cracked and grey with cement dust, and his old watch was held together with tape.

You rarely need all five letters for one character. A minor character may need only one or two (Looks + Effect). Your main character should get at least three, especially Thoughts and Actions, because these show feelings.
Use STEAL for feelings too. Never write “I was scared.” Show it: Thoughts (What if…?), Actions (I gripped the rail), Looks (my knuckles turned white).
Spread STEAL through the story. Do not stop the story for a paragraph of description. Drop a Looks detail when a character first appears, a line of Speech when they act, a Thought at the moment of tension.
Effect on others is the most forgotten letter — and the one that impresses examiners most. One reaction (a silence, a laugh, a step back) tells the reader more than three adjectives.

S — Speech frames

“[Short line],” [Name] said, without looking up from [object].
“[Line],” [he/she] muttered, so quietly that I almost missed it.
“[Line]?” [Name] asked, already knowing the answer.

T — Thoughts frames

What if [worry]? What if [bigger worry]?
A small voice inside me whispered that [doubt].
I kept telling myself that [reassurance], but I did not believe it.

E — Effect on others frames

When [Name] spoke, even [the noisiest person] stopped [action].
The whole room seemed to [lean in / hold its breath / go quiet] when [Name] [action].
Behind me, [Name] had gone completely still; for once, [he/she] was not [laughing / talking].

A — Actions frames

[Name] [verb] [object] until [his/her] knuckles turned white.
Instead of [expected action], [Name] [unexpected action].
[He/She] [habit] — the way [he/she] always did when [feeling].

L — Looks frames

The first thing anyone noticed about [Name] was [detail].
[Name] had [looks] and moved with [body language].
[His/Her] [object/clothing], [worn / spotless / torn], told me everything about [him/her].

4. Tool 2: Imagery

Imagery is descriptive language that makes the reader see, hear, smell, taste or feel something, as if they were inside the story. It has two parts: sensory detail (the five senses) and figurative language (simile, metaphor, personification) that paints a picture in the reader’s mind.

Type of imagery	Sense	Realistic example
Visual	sight	Morning light slid across the empty desks.
Auditory	hearing	Trolley wheels rattled down the hospital corridor.
Olfactory	smell	The kitchen smelt of cumin and burnt toast.
Gustatory	taste	The tea was too sweet and already going cold.
Tactile	touch	The metal handle was cold and slippery under my palm.
Simile	comparison with like/as	He waved both arms like a windmill.
Metaphor	says one thing IS another	The exam hall was a desert of silence.
Personification	human qualities for a non-human thing	The old fan groaned above our heads.

Choose two or three senses per scene, not all five in one paragraph. Smell and sound are the most forgotten and make a setting feel real immediately.
Make imagery do a job. Use it to create a mood or to show a feeling: the dark, heavy blue of the deep end shows Omar’s fear. The cold tiles at the end show relief.
One strong figure of speech is better than three weak ones. “The sun turned the water into a sheet of broken glass” is enough for one paragraph.
Avoid clichés (as white as snow, as fast as lightning). Make your comparison fit the place: in a pool, “like a frightened kitten”. In a kitchen, “as tight as a lid on a jar”.

STEAL + imagery in one sentence

The strongest sentences use both tools at once: “Coach Hany walked over, his whistle swinging against his sun-darkened chest.” — Actions (walked over) + Looks (sun-darkened chest) + visual imagery. Aim for two or three sentences like this in your story.

5. How to structure a realistic story

First, plan with G.C.S.P.P. (about 5 minutes):

G — Genre: realistic fiction. Write the problem in one line (A boy who is afraid of deep water must swim one length).
C — Characters: 2-3 only. For each, jot two STEAL details (one Looks, one Speech or Action).
S — Setting: one main everyday place. Jot three sensory details (smell, sound, sight).
P — Point of view: first person (I) for strong Thoughts. Past tense. If you continue an extract, keep its point of view.
P — Plot: 6 paragraph notes following the plan below. Tick each bullet prompt.

Stage	What to write	STEAL / imagery focus	Length
1. Hook + characters and setting	Open with dialogue, an action or a striking line. Introduce the main character by name and hint at their personality and problem.	Speech + Looks, 2-3 sensory details for the place	1-2 paragraphs
2. Background + hint of the problem	Give a little context (why the character feels as they do) and a small sign that something is about to change.	Thoughts (a memory), imagery that sets the mood	1 paragraph
3. The conflict	Show what goes wrong or what challenge arrives. A short sentence or one-line paragraph gives it impact.	Speech from another character, Effect on others	1 paragraph
4. Rising action	The character tries, struggles and meets obstacles. Increase tension with short sentences, questions and a time pressure.	Thoughts (What if…?) + Actions (body language)	1-2 paragraphs
5. Climax	The highest point: a big choice, a risk, a moment of courage. The character must act for themselves.	Actions, Effect on others (people watching, reacting)	1 short paragraph
6. Resolution	The problem is solved or partly solved in a believable way. Show what has changed inside the character. End on a lasting image or line that echoes the opening.	Thoughts or a final Action, a last image	1-2 short paragraphs

Minutes	What you do
0–5	Read the task twice. Underline the theme and every bullet prompt. Plan with G.C.S.P.P. (Genre, Characters, Setting, Point of view, Plot) and jot a short note for each paragraph. Add two STEAL notes for each character and three sensory details for the setting.
5–30	Write. Aim for at least 350 words (strong answers are often 400–550 words). By about minute 17 you should have reached the conflict. Keep checking: am I SHOWING feelings or telling them?
30–35	Proofread: speech punctuation, full stops (no comma splices), tense, spelling of your ambitious words.

6. Useful phrases and vocabulary

Openings (hooks)

I never imagined that [an ordinary Tuesday / a simple walk home / one small mistake] could change everything.
“[Question]?” [Name] asked, already knowing the answer.
[Sound]! The [object] [verb], and for a second, nobody moved.
That was the day I [stopped / started] [action] — though at the time, I had no idea.

Describing the setting (imagery)

The [place] smelt of [detail], mixed with the faintest hint of [detail].
In the distance I could hear [sound], a constant reminder that [place] never truly rested.
The [light / sun / rain] turned the [surface] into [metaphor].
My fingers brushed against [texture], each [mark / crack] telling its own small story.

Building the tension

“Wait — did you [hear / see / notice] that?” I asked, my voice breaking the silence.
My heart hammered against my ribs, as if my body already knew what my mind refused to accept.
The more I tried to [explain / fix / avoid] it, the more tangled things became.
Every time I thought I had found a solution, it only led to [a new problem].

Climax

I could have [run / stayed silent / given up]. Instead, I [action].
I drew in a shaky breath and forced myself to [action], even though every instinct screamed to stop.
In that instant, everything seemed to slow down, as if the whole [room / street / pool] was holding its breath.

Resolution

It did not fix everything. But [small believable change].
A quiet smile escaped me as I thought about how far I had come.
Sometimes, the smallest choice ends up rewriting the whole story.
[Echo of the opening line] — but this time, [difference].

Word / phrase	Meaning / use
apprehensive (adj.)	nervous about what might happen — I felt apprehensive as the results were read aloud.
hesitant (adj.)	unsure, slow to act — He was hesitant to knock on the door.
reluctant (adj.)	unwilling — She was reluctant to admit she was wrong.
mortified (adj.)	extremely embarrassed — I was mortified when he read my message to the class.
disheartened (adj.)	losing hope — He felt disheartened after the third failed attempt.
bewildered (adj.)	very confused — She stood bewildered in the busy station.
frantic (adj.)	wild with worry, hurried — a frantic search through her bag
defiant (adj.)	openly refusing to obey — He gave a defiant shake of his head.
forlorn (adj.)	sad and lonely-looking — The playground looked forlorn in the rain.
resolute (adj.)	determined, not changing your mind — Her voice was quiet but resolute.
grudging (adj.)	given unwillingly — a grudging nod of respect
ragged (adj.)	rough and uneven (breathing, voice) — My breathing became fast and ragged.
conscience (n.)	the inner sense of right and wrong — My conscience would not let me stay silent.
reconcile (v.)	to become friends again after a disagreement — It took weeks for them to reconcile.
unburden (v.)	to share a private worry — At last she unburdened herself to her grandmother.

7. Strong sample answer

Realistic fiction — The Deep End553 words · Strong answer — Creation 5/5 · Vocabulary 3/3 · Structure 7/7 · Grammar & punctuation 7/7 · Spelling 3/3

Task: In the extract you have read, a character has to do something that frightens them. Write a story about a character who faces a fear. In your story you should: introduce the character and explain what they are afraid of, describe the moment when they have to face their fear, and show how the experience changes them.

“You’re not getting in, are you?” Youssef asked, already knowing the answer. My little brother was sitting on the edge of the pool, his skinny legs kicking up silver fountains of water, his goggles pushed up on his forehead like a pilot’s.

“Not today,” I said. I said it every Friday.

I was thirteen years old, and I was afraid of deep water. Six years earlier, on a crowded beach in Alexandria, a wave had knocked me off my feet and dragged me under. It only lasted a few seconds — my uncle pulled me out by the arm — but I still remembered the salt burning my throat and the green, roaring silence beneath the surface. Since then, I had stayed in the shallow end, where the water only reached my waist and the floor was always there to catch me.

The club pool smelt of chlorine and suncream. Children shrieked, whistles shrilled and the afternoon sun turned the water into a sheet of broken glass. At the far end, under the diving board, the tiles sank into a dark, heavy blue. Four metres, the sign said. To me, it might as well have been the bottom of the sea.

Coach Hany walked over, his whistle swinging against his sun-darkened chest. He was a broad, quiet man with a grey moustache, and when he spoke, even the noisiest boys stopped splashing.

“Omar,” he said calmly, “the water doesn’t know you’re scared. Only you know that.”

All summer he had asked me for one thing: a single length, from the shallow end to the deep end. Today was the last Friday of the summer.

I lowered myself into the water and gripped the rail until my knuckles turned white. My heart hammered against my ribs. What if my arms stopped working? What if the floor disappeared and that green silence came back? Behind me, Youssef had gone completely still; for once, he was not laughing.

“I’ll walk beside you,” Coach Hany said. “Every stroke.”

I pushed off.

The first ten metres were easy, because my feet could still find the floor if I needed it. Then the tiles began to slope away beneath me, and the blue grew darker… and darker. My breathing became fast and ragged. I wanted to grab the lane rope and cling to it like a frightened kitten. Instead, I counted my strokes: one, two, breathe. One, two, breathe.

Halfway, a voice cut through the noise. “Go on, Omar! You’re doing it!” It was Youssef, hurrying along the side in his flip-flops and waving both arms like a windmill. Two older boys on the diving board stopped arguing and turned to watch.

My fingers hit the wall.

For a moment I could not believe it. I clung to the cold, slippery tiles, gasping, while water streamed from my hair into my eyes. Under my feet there was nothing but four metres of deep blue — and I was not afraid of it.

Coach Hany did not cheer. He simply nodded once, the way he did when a swimmer had earned something, and that small nod meant more to me than any medal.

The next Friday, Youssef sat on the edge of the pool again. “You’re not getting in, are you?” he asked, grinning.

This time, I dived in at the deep end.

Why this gets the marks

Creation of texts 5/5 — all three bullets answered: the character and his fear (paragraphs 1-3, with a believable cause: the wave in Alexandria). The moment he faces it (8-14). How he changes (15-17). Nothing is impossible: he swims ONE length, with help, which is why we believe it.
STEAL — S (Speech): Youssef’s teasing question (1) and Omar’s flat “Not today” (2) show the brothers’ relationship at once. Coach Hany’s calm line “the water doesn’t know you’re scared” (6) shows his wisdom without any adjective.
STEAL — T (Thoughts): the memory of the wave (3) and the questions “What if my arms stopped working? What if the floor disappeared…?” (8) put us inside Omar’s fear.
STEAL — E (Effect on others): “even the noisiest boys stopped splashing” (5) shows the coach’s authority. Youssef “had gone completely still” (8) shows how serious the moment is. The older boys stop arguing to watch (12). The coach’s nod “meant more to me than any medal” (15).
STEAL — A (Actions): “gripped the rail until my knuckles turned white” (8), counting strokes (11), Youssef hurrying and waving (12), the final dive (17) — feelings are shown through actions, never told.
STEAL — L (Looks): Youssef’s skinny legs and goggles “like a pilot’s” (1). The coach’s sun-darkened chest and grey moustache (5).
Imagery — all five senses: sight (“a sheet of broken glass”, “dark, heavy blue”), sound (“children shrieked, whistles shrilled”), smell (“chlorine and suncream”), taste (“the salt burning my throat”), touch (“cold, slippery tiles”). Similes: “like a frightened kitten”, “like a windmill”. Metaphor: the water as “a sheet of broken glass”. The oxymoron “roaring silence” for the memory of being dragged under.
Vocabulary 3/3 — precise verbs and adjectives chosen for mood: shrieked, shrilled, gripped, hammered, ragged, clung, streamed. The deep end’s colour darkens as Omar’s fear grows.
Structure 7/7 — hook through dialogue (1) → background and cause of the fear (3) → setting and the challenge (4-7) → rising action (8-11) → climax (13, a one-line paragraph: “My fingers hit the wall.”) → resolution (14-17). The ending repeats the opening question, but this time Omar’s answer is an action — a circular structure that shows his growth.
Grammar & punctuation 7/7 — varied sentences: very short for impact (“I pushed off.”), compound (“Children shrieked, whistles shrilled and the afternoon sun turned the water into a sheet of broken glass.”), complex (“The first ten metres were easy, because my feet could still find the floor if I needed it.”). Punctuation as taught: a pair of dashes for extra information (“— my uncle pulled me out by the arm —”). A single dash for emphasis (“— and I was not afraid of it”). A semicolon joining two related sentences (“Youssef had gone completely still; for once, he was not laughing”). A colon introducing an explanation (“one thing: a single length…”) and a list (“my strokes: one, two, breathe”). An ellipsis for a pause that builds suspense (“darker… and darker”). Speech on new lines with correct punctuation.
Spelling 3/3 — ambitious words correct: knuckles, ragged, moustache, slippery, believe, streamed. Apostrophes correct (You’re, doesn’t, pilot’s).

Paragraph	STEAL letters used	Imagery used
1	S (Youssef’s question), L (skinny legs, goggles), A (kicking water)	visual: silver fountains. Simile: like a pilot’s
3	T (memory of the wave), A (uncle pulled me out)	taste: salt. Sound: roaring silence
4	—	smell: chlorine and suncream. Sound: shrieked, shrilled. Metaphor: sheet of broken glass
5-6	L (sun-darkened chest, grey moustache), E (boys stopped splashing), S (coach’s calm advice)	visual: whistle swinging
8	A (gripped the rail), L (knuckles white), T (What if…?), E (Youssef still)	sound: heart hammered
11	A (counting strokes), T (wanting to grab the rope)	visual: blue grew darker. Simile: like a frightened kitten
12	S (Youssef’s cheer), A (waving), E (older boys watch)	simile: like a windmill
14-15	A (clung), E (the coach’s nod means more than a medal)	touch: cold, slippery tiles

8. Common mistakes and final checklist

Common mistake	Why it loses marks	Fix
Telling feelings: “I was very scared and nervous.”	Creation and Vocabulary stay in the middle band	Show it with STEAL: Thoughts (What if…?), Actions (gripped), Looks (white knuckles).
A list of looks: “He was tall, he had brown hair, he wore a blue shirt.”	Looks without personality. Reads like an ID card	Choose ONE detail that reveals character: his watch held together with tape.
Unrealistic events: winning the World Cup, a millionaire stranger solving everything	It is no longer realistic fiction. The reader stops believing	Keep the stakes human-sized: one length, one apology, one brave sentence.
Long speeches in dialogue	Unnatural. Slows the pace	Short lines, with an action between them: “Six weeks, Karim.” He looked away. “I know.”
No setting at all	The story floats in empty space	Two or three sensory details in the first half.
“…and then I woke up. It was a dream.”	Cancels the story	End with a real, believable change.
Comma splices: “I was tired, I kept swimming.”	Grammar & punctuation	Full stop, a connective (but, so) or a semicolon between two related sentences.

Checklist before you hand in

My story answers the theme and EVERY bullet prompt.
Everything that happens could happen in real life.
My main character is shown through at least three STEAL letters (including Thoughts and Actions).
At least one moment of Effect on others (how people react).
Imagery from at least three senses, plus one strong simile, metaphor or personification.
Paragraphs follow the arc: hook → problem → rising action → climax → resolution, with a one-line paragraph for impact.
I used a colon, a semicolon and a dash correctly. Speech is on new lines with correct punctuation.
My ending shows how the character has changed and links back to the opening.

إزاي تجيب الدرجة النهائية في القصة الواقعية؟

القصة الواقعية مفيهاش سحر ولا خيال علمي: أشخاص عاديين في مكان عادي عندهم مشكلة ممكن تحصل لأي حد.
متقولش المشاعر، ورّيها بـ STEAL: كلام الشخصية (Speech)، أفكارها (Thoughts)، رد فعل الناس عليها (Effect on others)، أفعالها (Actions)، وشكلها (Looks).
استخدم الـ imagery: حواس (شوفت إيه، سمعت إيه، شميت إيه، لمست إيه) + تشبيه أو استعارة واحدة قوية في كل مشهد.
النهاية لازم تكون منطقية وتوضح الشخصية اتغيرت إزاي، والأفضل إنها ترجع لجملة البداية.

Practice tasks

Practice task 1: In the extract you have read, a character receives news they did not expect. Write a story about a moment when everything changes for a character. You should: introduce the character and their everyday life, describe the moment of change, and show how the character reacts and what they learn. Write a short G.C.S.P.P. plan with STEAL notes.
Show answer
G: realistic fiction. C: Nour (14, organised, hates surprises) — L: neat ponytail, colour-coded timetable. T: “What if I’m not good at anything else?”. Dad — S: “We’re moving to Aswan, habibti.” A: avoids her eyes. Grandmother in Aswan — E: neighbours always drop in to see her. S: Cairo flat (car horns, smell of Mum’s coffee), then Aswan (river breeze, heat, palm trees). P: first person, past. Plot — 1 hook: Dad’s announcement at dinner. 2 Nour’s ordered life and best friend. 3 the move — silent drive south. 4 new school, lonely lunches, she refuses to unpack. 5 climax: her grandmother is ill and Nour, the organised one, takes charge of her medicines and the visitors. 6 resolution: she unpacks her timetable and pins it on the new wall — “Some plans are worth changing.”
Rewrite this sentence using THREE STEAL letters instead of telling: “My grandfather was old but very strong and everyone respected him.”
Show answer
Example: Grandad still carried the heaviest sacks himself, refusing every offer of help with a wave of his cracked hand (Actions + Looks). “I’m not dead yet,” he would say (Speech) — and the young workers would laugh, then quietly move out of his way (Effect on others).
Add imagery from three senses to this weak setting: “The market was busy.”
Show answer
Example: The market roared with voices bargaining over the price of tomatoes (sound). Heaps of oranges glowed like lanterns under the striped awnings (sight + simile), and the air was thick with the smell of cumin and fresh bread (smell).
Which STEAL letter is used in each sentence? (a) “Not again,” she sighed. (b) The whole class fell silent when he stood up. (c) Was it my fault? I kept asking myself. (d) He tugged at his collar and stared at the floor. (e) Her school shoes were scuffed grey at the toes.
Show answer
(a) Speech. (b) Effect on others. (c) Thoughts. (d) Actions (also shows nervousness). (e) Looks.
Improve this ending: “In the end everything was fine and we were best friends again. The end.”
Show answer
Example: It did not fix everything. He still sat with the football team at lunch. But the next morning, there was an empty seat next to him on the bus — and he had put his bag on it to save it for me. Why it is better: the change is small and believable, it is shown through an action, and it avoids the flat “The end”.

All pages in this course

Start here: the exam

Reading: grammar & punctuation

Reading: understanding texts

Paper 1 writing: non-fiction

Paper 2 writing: fiction