Continuous Writing
Write a composition of at least 150 words based on one or more of three picture stimuli. Assessed on ideas, organisation, language and expression. The highest-weighted single component in the entire exam.
Stage 1 of 6 — How it works
Understanding the task and how it is marked
You are given three pictures on a topic. Your composition must be based on at least one picture — but you can use two or all three. You write a continuous narrative (story) of at least 150 words. There is no upper limit, but quality matters far more than length.
Content & Organisation
Relevance to topic, quality of ideas, narrative structure, coherence and cohesion. Is the story engaging and well-organised? Does it have a clear beginning, middle and end?
Language
Accuracy of grammar, spelling and punctuation. Range and appropriateness of vocabulary. Sentence variety. Is the language precise, expressive and error-free?
What distinguishes a distinction-level composition: a strong hook, a clearly developed conflict or problem, emotional depth, varied sentence structures, precise vocabulary (not just "nice" or "said"), and a meaningful ending. Simply retelling the picture scores low.
Stage 2 of 6 — Planning
Plan before you write — 5 minutes well spent
Many students jump straight into writing and run out of ideas midway, or write a flat story with no tension. Spending 5 minutes planning saves time and dramatically improves the composition.
The 5-question planning method
1
Who is in the story? Name your character(s) and give them one clear personality trait.
2
Where and when does the story happen? Pick a specific setting.
3
What is the problem or conflict? This is the engine of the story. Without a problem, there is no story.
4
What happens next? The character tries to solve the problem — with a complication or turning point.
5
How does it end? Resolution + reflection. What did the character learn or feel?
Aim for 4 to 5 paragraphs. A 250–350 word composition with good language is far better than a 500-word one that rambles. Do not write more than you can proofread and edit in the time available.
Stage 3 of 6 — Structure
The 5-paragraph narrative structure
Para 1
Hook
Hook
Open with impact. Start in the middle of action, with dialogue, a surprising detail, or a vivid description — NOT "One day..." or "It was a sunny morning." Introduce setting and character quickly.
Para 2
Build-up
Build-up
Set the scene more fully. Introduce the situation leading to the problem. Show the character's feelings and motivations through actions and thoughts, not just "he was nervous."
Para 3
Conflict
Conflict
The heart of the story. The problem or conflict arrives. This is where the tension peaks. Use short sentences for urgency, dialogue for immediacy, and precise verbs to show action.
Para 4
Resolution
Resolution
The character resolves the problem — or fails to, but learns something. Show the change. Avoid deus ex machina endings ("then a kind stranger appeared"). The resolution should feel earned.
Para 5
Reflection
Reflection
End with meaning. The character reflects on what happened. A memorable final line — perhaps linking back to the opening image — makes the composition feel complete and crafted.
Avoid these structural mistakes: starting with waking up, ending with "it was all a dream," having too many characters, changing setting too many times, or spending 3 paragraphs on setup with no conflict.
Stage 4 of 6 — Language
Upgrading your language — the most learnable skill
Replacing weak, overused words
Weak "He was very scared and ran away quickly."
Strong "Terror gripped him. He bolted down the corridor, his footsteps echoing in the empty hallway."
Weak "She said, 'We have to go now.'"
Strong "She grabbed his arm. 'We have to go — now,' she whispered, her voice barely steady."
Replacing "said" — use precise speech verbs
whispered · insisted · pleaded · announced · stammered · exclaimed · murmured · snapped · urged · confessed · admitted · questioned
Show, don't tell — show emotions through actions
Tell "She was very happy."
Show "A wide smile spread across her face. She let out a laugh she had been holding in for days."
Tell "He felt guilty."
Show "He could not meet her eyes. His fingers tightened around the edge of the table."
Vary sentence length deliberately. Short sentences create tension: He froze. The lights went out. Longer sentences build atmosphere and description. Mixing both shows control of language.
Stage 5 of 6 — Sample composition
Annotated sample: "A Helping Hand"
Topic: Helping others. Picture stimulus: a child fallen off a bicycle, another child kneeling beside them.
"Don't move!" The words left Kai's mouth before he even realised he had stopped pedalling. Across the park path, a girl lay on the ground, her bicycle wheels still spinning uselessly in the air.
Hook: opens mid-action with dialogue. Establishes character and setting in two sentences.
He had been in a hurry — his mother was waiting at the café entrance, and he was already ten minutes late. But something made him dismount, lean his bicycle against the nearest tree, and jog over. The girl, who looked about eight, was clutching her knee, tears streaking silently down her dusty face.
Build-up: shows the character's conflict between self-interest and helping. Uses "tears streaking silently" — precise, visual language.
"It hurts," she managed. Her voice was barely a whisper. Kai crouched beside her and examined the wound — a raw, red scrape that had begun to bleed. He had no plasters, no cloth, nothing useful. Around them, cyclists and joggers streamed past without a second glance.
Conflict: the problem deepens. The detail of passers-by ignoring them adds emotional weight and a subtle commentary.
He pulled off his jacket, tore a strip from the lining — something his mother would later lecture him about — and pressed it gently against the wound. Then he helped the girl to her feet and walked her to a nearby bench, where her father was already rushing over, pale-faced and relieved.
Resolution: practical, believable, character-driven. The parenthetical "(something his mother would later lecture him about)" adds a touch of humour and reveals character.
Later, cycling home with a jacket that had a slightly shorter lining, Kai found he did not mind being late at all. Some things, he thought, were more important than being on time.
Reflection: short, simple, meaningful. Links back to the opening urgency. The final line delivers the story's message without stating it crudely.
Word count: ~270 words. This demonstrates that a focused, well-crafted composition does not need to be long to score well.
Stage 6 of 6 — Common mistakes
10 mistakes that cost marks — and how to fix them
1
Opening with "One day" or "It was a __ morning." → Start with action, dialogue, or a striking image instead.
2
Ending with "It was all a dream." → This invalidates the entire story. Examiners penalise this heavily.
3
Using "said" for every piece of dialogue. → Use precise speech verbs: whispered, insisted, stammered, urged.
4
No conflict or problem. → Without tension, there is no story. Every narrative needs a challenge to overcome.
5
Too many characters. → Stick to 2–3. Too many names confuse the reader and dilute focus.
6
Writing in point form or notes. → Must be continuous prose — full sentences, proper paragraphs.
7
Retelling the picture literally. → The picture is a stimulus, not a script. Build a story around it, don't just describe it.
8
Telling emotions instead of showing them. → "He was sad" → "He stared at the floor and said nothing."
9
All sentences the same length. → Vary length deliberately — short for tension, longer for description.
10
Not leaving time to proofread. → Reserve 3–5 minutes to check grammar, spelling and punctuation. One sweep can recover several marks.