The document explores various writing techniques that evoke emotional responses, focusing on imagery and powerful language. It provides examples of how imagery appeals to the senses and demonstrates the use of powerful words to create impactful statements. Additionally, it analyzes the mood created by contrasting happy and sad moments through language in specific text excerpts.

1. Starter
On the next slide, scan through the grid of letters on
the left and try to identify the appropriate synonyms
for those words on the right. There’s a first letter hint
already provided to help you in identifying the proper
synonyms.

2. 1. .
GRID OF LETTERS Words Synonyms
D E M O L I S H O P Confuse
Bulldoze
Accelerate
Tolerate
Phobia
Surgeon
Ricochet
Spouse
Surplus
Silenced
B____________
D___________
H____________
E____________
F____________
P____________
R____________
H____________
E____________
H____________
B D T O S S R A N D
S P H Y S I C I A N
D E N R O Z C C B Z
H I C H U S B A N D
E N D U R E F E A R
R X A R L M T M E E
P Q W R Y S U D X B
I N D B A C L E C O
S A N H R I J H E U
A P P L W S K S S N
S D T E G D L U S D
D A B D Y Y N H P V

3. 1. .
GRID OF LETTERS Words Synonyms
D E M O L I S H O P Confuse
Bulldoze
Accelerate
Tolerate
Phobia
Surgeon
Ricochet
Spouse
Surplus
Silenced
Bewilder
Hasten
B D T O S S R A N D
S P H Y S I C I A N
D E N R O Z C C B Z
H I C H U S B A N D
E N D U R E F E A R
R X A R L M T M E E
P Q W R Y S U D X B
I N D B A C L E C O
S A N H R I J H E U
A P P L W S K S S N
S D T E G D L U S D
D A B D Y Y N H P V

5. A writer selects words and shapes them in the same
way that an artist mixes particular hues of paint and
applies them to a canvas using brush strokes.
Writer’s effect is the powerful feeling that writers
intend to inspire in their readers, through the use of
special words or expressions or some unique
patterns of writing. Writers commonly create effect
through the use of the following techniques:
a. Imagery
b. Power/Powerful/Strong words
c. Figurative language
d. Miscellaneous methods (arrangement of letters
and words, shapes of letters, etc.)

6. Imagery is the use of words to create images in our minds, so as to
help us imagine seeing, hearing, smelling, touching and tasting
what is being described. Imagery works in these five ways:
: Words that appeal to readers’ sense of sight
and help them imagine seeing things being described.
: Words that appeal to readers’ sense of
hearing and help them imagine hearing sounds being
described.
: Words that appeal to readers’ sense of
smell and help them imagine perceiving or smelling things
being described.
: Words that appeal to readers’ sense of
taste and help them imagine tasting things being described.
: Words that appeal to readers’ sense of touch
and help them imagine feeling the touch of things being
described

7. (visuals)
The night was as ever, but the sky in
and different which were
across the astronomical landscape.
Readers can enjoy the experience of the peaceful night by
SEEING the beauty of the night sky, through the writer’s use of
visual/sight imagery – the colour (black as ever, bright), the
shape (different constellations), and the pattern (sprinkled).
(sound)
The silence was broken by the of piano keys as
Shannon began practicing her concerto.
Through the writer’s use of auditory/sound imagery
(‘peal’), readers can HEAR how the sound of piano keys
breaks the silence around.
(smell)
She the of hibiscus wafting
through the air; its tropical was a reminder that
she was on vacation in a beautiful place.
The SMELL or scent of hibiscus helps readers imagine
a scene which is relaxing, warm, and welcoming.
(taste)
The candy melted in her mouth and swirls of
chocolate and slightly but
caramel blended together on her tongue.
The description of the TASTES of the various flavours
of candy helps readers imagine the deliciousness.
(touch)
After the long run, he collapsed in the grass, panting
heavily. The grass his skin and sweat
on his brow.
Through the use of TOUCH-related words (tactile
imagery), readers can imagine the feeling of grass
touching one’s skin and sweat cooling one’s skin.

8. Power/Powerful words
Power or powerful words are persuasive, descriptive or action words that
trigger a positive or negative emotional response; words that could make us
feel scared, encouraged, aroused, angry, or curious. Such power words could
be verbs, adverbs or adjectives. They carry more force than ordinary words.
assault, bomb,
endanger, terrify,
horrify, plunge, amaze,
ascend, imperil,
vanquish, disgust,
debase, perverse,
saunter, repel, revolt,
starve,
Powerful Adverbs
menacingly
Blatantly, brutally
Cowardly, swiftly,
grudgingly,
impatiently. Briskly,
ambitiously, creatively
astounding,
breathtaking,
colossal, jubilant,
mind-blowing,
phenomenal,
sensational
spectacular, indelible,
valiant, wonderful

9. Instead of using ‘rise quickly’, use ‘skyrocket’, ‘soar’, ‘spring’, etc.
Instead of using ‘ask sleepily’ , use ’mumble’, ‘murmur’, ‘mutter’, etc.
Instead of using ‘breathe heavily’, use ‘gasp’, ‘pant’, ‘wheeze’, etc.
Instead of using ‘burn brightly’, use ‘blaze’, ‘flare’, ‘glare’, etc.
Instead of using ‘change slightly’, use ‘acclimate’, ‘adapt’, ‘adjust’, etc.
Instead of using ‘chew continuously’ , use ‘chomp’, ‘gnaw’, ‘munch’, etc.
Instead of using ‘close loudly’, use ‘bang’, ‘slam’, etc.
Instead of using ‘collide violently’, use ‘crash', ‘plow into’, ‘slam into’, etc.
Instead of using ‘destroy utterly’, use ‘annihilate’, ‘decimate’, etc.
Instead of using ‘drink greedily’, use ‘devour’, guzzle’, 'swill’, etc.
Instead of using ‘eat hurriedly’, use ‘bolt’, ‘gobble’, ‘inhale’, etc.

10. Instead of using ‘very noisy’, use ‘deafening’.
Instead of using ‘very painful’, use ‘excruciating’.
Instead of using ‘very poor’, use ‘destitute’.
Instead of using ‘very damaging/upsetting’, use ‘devastating’
Instead of using ‘very beautiful’, use ‘gorgeous’.
Instead of using ‘very busy’, use ‘swamped’.
Instead of using ‘very crowded’, use ‘packed’.
Instead of using ‘very happy/excited’, use ‘thrilled’

11. There is in the sky. It’s
likely it rains today.
The is . It’s likely
today.

12. : Indirect comparison between two dissimilar things, using ‘as’ or ‘like’.
a. She is like a leopard; she can’t change her spots.
b. I am certain death is.
: Giving animate qualities to inanimate things.
a. Shanghai College to those highly decorated athletes.
shouldn’t be allowed on major roads.
: Direct comparison created between two or more oddly related things.
a. Ensure this isn’t nearby when you discuss confidential matters.
b. Sorry, I’ve got no strength for any work until I’ve fuelled my tank (referring to eating).
: Exaggerating or overblowing expressions.
a. Oh my God! The whole city was at Clifford and Christine’s wedding!
b. He’s nice to a fault; he’d give you his eyes.
: An expression intended to mean the opposite of the speaker’s original intention.
a. Great mother! I heard you abandoned your two kids when they were just 2 months old.
b. My country cares slimly for its teeming youth. Such a great country to die for!

13. See how writers variously create
effects with the language used in
the texts.

14. What do you understand
by
I felt somewhat embarrassed that the only person who had
the code to crack the last riddle was the cleaner I had earlier
spoken so rudely to. I couldn’t afford to lose the prize money.
So, I had to pocket my pride, walk to her cubicle and
apologize to her. She willingly gave me the code, smiling, and
I won the money, eventually. Guess what! I offered her a
reward after my win but she very politely declined it. The
whole thing was such a humbling experience for me.
By the time you get to
Year 7, you will have 4
more
before taking the
IGCSE exam.

15. Sample Text Analysis of Writers’
Use of Language
There, where I laid feebly on the bed, still being drip fed, my face wore a frail beam, and
simultaneously, affectionate tears danced down my cheeks. The feeling was
indescribable, looking at the tiny adorable creature I had just brought into being. Its
thrilling tiny cries overwhelmed me with indefinable joy. I fell deeply in love with it the
moment I saw it, and when the genial nurse informed me, “It’s a boy,” my smile
broadened, and I managed to utter, “Thank you, nurse Sasha.” I couldn’t take my wary
eyes off him, as I felt I had finally found a real purpose for my existence. He looked so tiny
and fragile in his cot. So innocent, so pure, so cute; he held his two miniature hands
together close to his mouth, yearning for a taste of his first food. I was still too weak to
breastfeed him.
As a nurse took him away to be fed, my eyes weakly trailed her, until my vision suddenly
dimmed, and dark memories of the last seven years resurged in my mind – memories of
pains, of prolonged torture, of abuse, of betrayal of trust. I, the credulous victim; and the
creatures I banked on the most in life – my father, my uncle, my brother – were the
predatory abusers.
How did the writer use language to create the mood of happiness and the
mood of sadness in the text?

16. Mood refers to the internal feelings and emotions of an individual, while atmosphere is always
associated with the general conditions or setting of a place. In the text, obviously set in a hospital and
spotlighting the arrival of the writer’s new baby, the mood of happiness is evoked with expressions
like “…my face beamed with pleasure…”, “affectionate tears dance down my cheeks”, “The feeling
was indescribable”, “Its tiny cries overwhelmed me with indefinable joy”, “I fell deeply in love with
it…” and “my smile broadened.” Through these words, one sees and feels that, in spite of the writer’s
weakness, caused, perhaps, by some birthing complications, she was still very elated. The mood of
happiness is conjured with the warm interaction between the doctor who announced the sex of the
newborn as ‘male’ and the new mother who captured her joy with a smile and a “thank you”. Her
admiration for the new child is so glaring and profound.
However, there is a swift switch from elation to dejection, as a sudden terrifying memory reared its
ugly head in the mind of the writer. The memory opened up an old injury, an incident of sexual abuse,
suffered sometime ago, by the writer, in the hands of the relatives she trusted.
The contrast is very balanced, with the presentation of the different events in two separate
paragraphs and with the use of two sets of opposing expressions: “Indefinable joy” and “prolonged
torture”, “affectionate tears danced…” and “dark memories resurged in my mind”, “my face beamed
with joy” and “…my vision suddenly dimmed,” etc.
SAMPLE RESPONSE

17. In her traditional mourning dress, Ozoemena’s beauty still screamed. Her
creamy skin seemed like that of an angel, rarely seen only in one’s dream. She
had remained so stunning, despite her age – two scores and a dozen; despite
her ill luck – recently losing an insanely loved husband of three decades.
Ozoemena adored her genius hubby and owed all her successes in life to him, a
husband like no other. She would say if not for him, she would never have
attended university; if not for him, she would still be walking barefoot in the
village; if not for him, she would never have lived in a duplex with a high fence
and large compound; if not for him, she would never have been on a plane; if
not for him, she would never have had the privilege to sit and chat with the
esteemed prince of Edinburgh; if not for him, she would never have had a
charming son, who, like his father, now chose to settle down with a simple,
smashing, dimpled girl; if not for him… … Ozoemena deified Paulinus.

18. Sound: The writer’s use of the rhyming long vowel / I:
/ in ‘screamed’, ‘creamy’, ‘seemed’, ‘seen’ and
‘dream’ adds to the quality of the description, in a
way that helps the readers to really appreciate the
beauty of Ozoemena.
Also, the repeated sounds (alliteration) /s/ and /d/ in
‘simple’ and ‘smashing’ and in ‘dimpled damsel’
create some pleasant feeling to the ear, making the
readers appreciate the beauty of the other young
woman.
Simile: Using the simile ‘…like that of an angel rarely
seen in one’s dream’ enables the readers to imagine
Ozoemena’s beauty as something so uncommon and
exceptional.
Repetition:
‘despite her age – two scores and a dozen;
‘despite her ill luck – recently losing an insanely loved
husband of three decades.’
In her traditional mourning dress, Ozoemena’s
beauty still screamed. Her creamy skin seemed
like that of an angel, rarely seen only in one’s
dream. She had remained so stunning, despite her
age – two scores and a dozen; despite her ill luck –
recently losing an insanely loved husband of three
decades. Ozoemena adored her genius hubby and
owed all her successes in life to him, a husband
like no other. She would say if not for him, she
would never have attended university; if not for
him, she would still be walking barefoot in the
village; if not for him, she would never have lived
in a duplex with a high fence and large compound;
if not for him, she would never have been on a
plane; if not for him, she would never have had
the privilege to sit and chat with the esteemed
prince of Edinburgh; if not for him, she would
never have had a charming son, who, like his
father, now chose to settle down with a simple,
smashing, dimpled girl; if not for him… …
Ozoemena deified Paulinus.

19. In her traditional mourning dress, Ozoemena’s
beauty still screamed. Her creamy skin seemed
like that of an angel, rarely seen only in one’s
dream. She had remained so stunning, despite her
age – two scores and a dozen; despite her ill luck –
recently losing an insanely loved husband of three
decades. Ozoemena adored her genius hubby and
owed all her successes in life to him, a husband
like no other. She would say if not for him, she
would never have attended university; if not for
him, she would still be walking barefoot in the
village; if not for him, she would never have lived
in a duplex with a high fence and large compound;
if not for him, she would never have been on a
plane; if not for him, she would never have had
the privilege to sit and chat with the esteemed
prince of Edinburgh; if not for him, she would
never have had a charming son, who, like his
father, now chose to settle down with a simple,
smashing, dimpled girl; if not for him… …
Ozoemena deified Paulinus.
The repeated structure ‘despite her…’ might force
readers to pay attention to those possible situations that
could affect people’s beauty, ‘ageing’ and ‘agony’.
However, in this situation, these things had not affected
Ozoemena’s beauty.
Also, the repeated use of ‘if not for him…’ gives us an
idea of the huge impact the late husband might have
had, while alive, in the life of his wife. It creates an
awesome feeling about the grandness and uniqueness of
the man.
Hyphen: Hyphens are used here to reveal some extra
information about Ozoemena: her age (two scores and a
dozen) and the nature of the tragedy that recently befell
her (she lost ‘an insanely loved husband of three
decades’)
Mathematical terms: The writer’s choice of
mathematical terms – ‘scores’ (20s), ‘dozen’ (12),
‘decades’ (10s)– in describing the lady’s age might be an
attempt to make readers pause to think and calculate the
sum, thereby getting them more engaged in the reading.

20. In her traditional mourning dress, Ozoemena’s
beauty still screamed. Her creamy skin seemed
like that of an angel, rarely seen only in one’s
dream. She had remained so stunning, despite her
age – two scores and a dozen; despite her ill luck –
recently losing an insanely loved husband of three
decades. Ozoemena adored her genius hubby and
owed all her successes in life to him, a husband
like no other. She would say if not for him, she
would never have attended university; if not for
him, she would still be walking barefoot in the
village; if not for him, she would never have lived
in a duplex with a high fence and large compound;
if not for him, she would never have been on a
plane; if not for him, she would never have had
the privilege to sit and chat with the esteemed
prince of Edinburgh; if not for him, she would
never have had a charming son, who, like his
father, now chose to settle down with a simple,
smashing, dimpled girl; if not for him… …
Ozoemena deified Paulinus.
Suspense: There is the effect of
suspense created through the
withholding of the name of Ozoemena’s
late husband, from the beginning of the
text and this is sustained till the end,
when the name was eventually
mentioned last. Readers might be
curious to know who the man being
described was but, in the end, the
identity was released – Paulinus. The
withholding of the name might be said
to attest to the fact that Ozoemena truly
really idolized the man.

21. As the fiery Rafael stomped into the cold room, the three men working on
the box sprang and froze. His dark eyes, beaded with sweat and spitting
fire, darted from left to right and his jet-black hair stood on end. He had a
crooked nose and jagged teeth that made him look like a starving shark
waiting to pounce. His greying lips quivered menacingly as beads of sweat
bowled down the greasy, scarred face. He wiped his face with one of his
huge hands and let out a ferocious cough. I was sure of my invisibility and
as I was sidling away from the tense room, he yelled, “stop!”. I stopped
dead.

22. As the fiery Rafael stomped into the cold room, the three men working on the box
sprang and froze. His dark eyes, beaded with sweat and spitting fire, darted from left
to right and his jet-black hair stood on end. He had a crooked nose and jagged teeth
that made him look like a starving shark waiting to pounce. His greying lips quivered
menacingly as beads of sweat bowled down the greasy, scarred face. He wiped his
face with one of his huge hands and let out a ferocious cough. I was sure of my
invisibility and as I was sidling away from the tense room, he yelled, “stop!”. I stopped
dead.

23. ‘About midnight, while we still sat up, the
storm came rattling over the Heights in full
fury. There was a violent wind, as well as
thunder, and either one or the other split a
tree off at the corner of the building: a huge
bough fell across the roof, and knocked down
a portion of the east chimney-stack, sending a
clatter of stones and soot into the kitchen-fire.’
SAMPLE ANALYSIS OF LANGUAGE
The overall effect of the language used in
this text is to depict the suddenness of the
arrival of a storm and the degree of
damage caused by the storm.
Here, Brontë used verbs such as ‘rattling’,
‘split’ and ‘fell’ to suggest the intensity of
the storm. The adjective ‘violent’ and the
phrase ‘full fury’ reinforce this idea. Then,
repeating the ‘tt’ sounds in ‘rattling’ and
‘clatter’ gives an onomatopoeic quality to
the description, alongside the destructive
movement.
The harsh effect of the storm is later
captured using “split a tree”, causing “a
huge bough” to fall, to “knock down”
some part of a chimney-stack.

24. ‘The boat moved with a nauseous,
relentless rhythm, like someone chewing
on a rotten tooth. The islands just visible
through the mist also looked like teeth,
Faith decided.’
SAMPLE ANALYSIS OF LANGUAGE
"The Lie Tree” by Frances Hardinge In the first sentence, Hardinge has
used a simile to create a disturbing
comparison between the motion of
the boat and the action of biting.
The language helps to build up, in
readers’ minds, an image of what’s
being described.
A simile is a form of comparison
between two things, using ‘like’ or
‘as’. It seems as if Faith is actually
being chewed up inside a rotten
mouth and hints that her
destination might be a dangerous
place.

25. Read the next text carefully. Then, identify
about words or phrases and
explain/analyze how the writer has used them
to create effect in the text.

26. He attempted to push the door open but the smarter door slid open, unaided. Then, the first
sign that his probing eyes perched on as he lumbered through the automated door into an
anteroom was a screaming inscription on the adjacent wall: “The walls of hospitals have heard
more sincere prayers than religious houses.” He halted, sighed and started pondering over
those uncanny words. But again, his attention was abruptly arrested by something else – an
illuminated signboard on which was etched the images of medical tools: a stethoscope, a
microscope, an ultrasound scan machine, and pharmaceutical drugs. He abandoned the earlier
thought and the latter sight and moved on.
He shambled into the capacious lounge, where a fair number of people were seated, with
diverse emotions plastered on their faces – gleam and gloom. He had nursed a protracted
phobia for hospitals – a condition known as nosocomephobia – and only recently was he able
to slough off that unexplainable dread. His chain of thoughts got interrupted by a soft voice
calling out his name and a gentle touch on his shoulder.
“Garry?”
He turned to see a sexagenarian woman, whose eyes were widened in surprise.
“Garry in my hospital?” She said, chuckling. “History is made today!”

28. He attempted to push the door open but the smarter door slid open, unaided. Then, the first
sign that his probing eyes perched on as he lumbered through the automated door into an
anteroom was a screaming inscription on the adjacent wall: “The walls of hospitals have heard
more sincere prayers than religious houses.” He halted, sighed and started pondering over
those uncanny words. But again, his attention was abruptly arrested by something else – an
illuminated signboard on which was etched the images of medical tools: a stethoscope, a
microscope, an ultrasound scan machine, and pharmaceutical drugs. He abandoned the earlier
thought and the latter sight and moved on.
He shambled into the capacious lounge, where a fair number of people were seated, with
diverse emotions plastered on their faces – gleam and gloom. He had nursed a protracted
phobia for hospitals – a condition known as nosocomephobia – and only recently was he able
to slough off that unexplainable dread. His chain of thoughts got interrupted by a soft voice
calling out his name and a gentle touch on his shoulder.
“Garry?”
He turned to see a sexagenarian woman, whose eyes were widened in surprise.
“Garry in my hospital?” She said, chuckling. “History is made today!”