IB English Paper 1 can feel intimidating: you're given an unseen text, a blank page and a limited amount of time, and somehow you're expected to produce a sophisticated literary analysis. The good news? You don't need to spot every technique in the text. Focus instead on building a convincing argument about how the writer has constructed meaning.

Table Of Contents 

• What does paper 1 consist of? 
• What is required
• 2025 Release
• Exemplar response 

What does paper 1 consist of? 

IB English Paper 1 is essentially an exercise in close analysis. You are given an unseen text and asked to explore how the creator’s choices communicate meaning. You can be given either literary (novels, short stories, plays, poems) or non-literary (news articles, speech transcripts, blog posts) extracts. Depending on the text, these choices may include language, structure, tone, imagery, symbolism, typography, layout, colour, visual composition and the relationship between words and images. The key word is analyse. You aren’t rewarded for simply pointing out techniques. You’re rewarded for explaining why these choices matter. Depending on whether English is taken at a standard or higher level, paper 1 contributes anywhere between 25-35% of your final grade. 

What is required of IB English A Language and Literature Paper 1?

You are asked to use language, structure, and style to interpret the meaning of the provided texts. Additionally, you should be able to identify and explain how stylistic or linguistic techniques such as imagery, symbolism, tone, perspective, and structure contribute to how meaning is conveyed in the work. I like to think of it in 3 different ways:

a) What did the creator do? 

What linguistic, visual or structural choices did the writer make? 

b) Why did they do it?

What does that choice make the reader notice, think or feel?

c) Why does that matter? 

How does it contribute to the creator’s message, purpose or representation of the issue?

As you read the response below, pay attention not just to the identified techniques, but to how each technique is connected to the campaign’s overall purpose.

2025 Release

Exemplar response  

The campaign by the National Road Safety Partnership Program seeks to persuade drivers that mindfulness can reduce distracted driving and consequently make roads safer. [Begin with a clear introduction and ‘purpose statement’.] To achieve this, the campaign combines accessible explanatory language with simple, colourful illustrations, repeatedly contrasting mindfulness with distraction. While the written text establishes mindfulness as a practical and evidence based solution, the accompanying images make the concept visually immediate and memorable. Together, these elements transform an abstract idea into a clear behavioural message: drivers should remain focused on the road and consciously manage distractions. [Avoid simply naming textual and visual features. Instead, analyse their effect on the intended audience.]

The campaign first uses typography, colour and hierarchy to establish its central message immediately. The title, “Distracted driving and Mindfulness”, appears in large white lettering against a bright green background, making it one of the first elements to attract the reader's attention. [Start with what is most striking about the campaign.] The contrasting colours further establish a visual association with safety and positivity, while the large typeface gives the campaign an authoritative and accessible appearance. Beneath this, the question “What is mindfulness?” introduces the concept in a conversational and explanatory manner. Rather than assuming that its audience already understands mindfulness, the campaign defines it as being “fully engaged” in the present and “free from distraction”. This language directly connects mindfulness to the problem of distracted driving. The visual hierarchy therefore mirrors the campaign's intended reasoning: to first introduce mindfulness, explain its relevance, and finally encourage the driver to apply it. [Clear, succinct explanations conveying the message. To note: You could further elaborate on the choice of diction: simple, uncomplicated which can reach a wider target audience.]

The campaign reinforces this message through a repeated visual contrast between mindfulness and distraction. In the upper section, two illustrations of a person's head are placed beside an equals sign. [Describe the images to someone as if they never have the photo in front of them.] In the first, the brain is associated with a single mindfulness symbol, whereas in the second, the brain is accompanied by distracting objects such as a vehicle. The accompanying statements claim that “Mindful people are more task focused” and that increased mindfulness is associated with decreased time spent on potentially distracting tasks. This relationship is later reversed: a second pair of illustrations shows a distracted mind surrounded by numerous objects, while the text explicitly states that “Mindfulness” decreases as “Distraction” increases. The repeated equation-like structure makes the relationship almost mathematical: mindfulness is presented as a force that reduces distraction. This simplification is particularly effective for a broad public audience because a potentially complex psychological relationship becomes something that can be understood almost instantly. [Again, break the images apart when explaining them.]

The images themselves also externalise an otherwise invisible mental process. Distraction is normally something occurring inside a driver's mind, and therefore difficult to represent visually. The campaign solves this problem by placing recognisable objects including mobile phones, food, dialogue bubbles and other visual stimuli around the illustrated heads. The audience can consequently “see” what distraction looks like. [Think in the shoes of the author of these texts, and the effect of size, shape and colour]. In contrast, the mindful figure contains fewer competing stimuli and is visually less cluttered. This creates a strong visual binary between a focused and distracted driver. The campaign therefore does not merely tell its audience that distraction is dangerous; it gives the audience a simple visual model of how distraction operates. [For visual texts, be really specific about each choice of image/tool.]

This relationship between text and image becomes particularly persuasive in the central illustration of the driver with a divided visual field. [The argument is clear in the topic sentence.] The driver is shown holding the steering wheel, while the area around her head contains different coloured segments and objects representing potential distractions. Above her, a second visual depicts the same concept from the perspective of the driver's mind. The accompanying statement asks, “Distracted driving and mindfulness: where is the connection?” and then explains that “Focused attention” is particularly important because drivers need to keep their attention on the road. The campaign subsequently provides the imperative slogan, “Keep your eyes and mind on the road!” The conjunction of “eyes” and “mind” is significant: safe driving requires not merely physical observation but mental attention. The image reinforces this by visually locating potential distractions around the driver's head. Thus, the campaign connects the abstract concept of mindfulness directly to the physical act of driving.

The campaign also uses direct address and imperative language to move from education to behavioural change. [Notice the persona, point of view, and pronouns used throughout the campaign.] In the blue “Mindfulness tips for driving” box, the reader is instructed to “take a minute or two to sit” before driving, to “notice” their emotional state and to return their attention to driving when they recognise that their mind has wandered. The repeated use of imperatives creates a practical and encouraging tone rather than simply presenting mindfulness as an abstract theory. Similarly, the final recommendation to “keep in mind” that everyone shares the road appeals to the driver's sense of social responsibility. This is important because the campaign's purpose is ultimately behavioural: informing drivers about mindfulness is insufficient unless that knowledge changes how they drive.

However, the campaign's simplicity may also be viewed as a deliberate limitation. The use of cartoon illustrations, bright colours and simplified cause and effect relationships risks making the issue appear less complex than distracted driving actually is. Nevertheless, this apparent simplicity is arguably what makes the campaign effective for its intended audience. [Good to always have different interpretations of the same tools.] A road safety campaign must communicate quickly to a broad population, and the combination of short sections, bold headings, visual contrasts and practical instructions allows the central message to be understood without requiring specialist knowledge.

Ultimately, the campaign's effectiveness comes from the interdependence of its textual and visual elements. [Conclusion to your entire argument is really key- draw the attention of the marker back to the main point(s).] The text defines mindfulness, explains its relationship with distraction and provides practical instructions, while the images simplify and reinforce these ideas through repetition, contrast and visual symbolism. Most importantly, the campaign progresses from explanation to visual demonstration and finally to direct instruction. By presenting mindfulness not as an abstract psychological concept but as a practical driving behaviour, the campaign encourages its audience to recognise distraction, regain their attention and ultimately “keep (their) eyes and mind on the road”.

5 Key takeaways for your own responses 

1. Answer the question, not the text.

The question is your compass. Keep returning to its key words throughout the response.

2. Don't technique-dump.

Purely identifying a metaphor, colour or imperative isn't analysis by itself. Explain why the creator made that choice.

3. Always ask "so what?"

What does the choice make the audience notice, feel, understand or question?

4. Analyse combinations.

Especially for non-literary texts, look at how language, images, layout, typography and structure work together.

5. Have a line of argument.

Your paragraphs shouldn't feel like five unrelated observations. Each should contribute to your overall interpretation of the text. 

A high-scoring Paper 1 response isn't about identifying the greatest number of techniques or pointing out the use of colours and visuals. It's about building a clear argument about how the creator's choices construct meaning. Use the questions above as a checklist when you plan, but remember that the strongest responses are selective, specific and written in your own voice.

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Written by KIS Year 7-10 and IB academic tutor, Esther Chua. Esther is currently pursuing a Bachelor of Medical Studies/Doctor of Medicine at UNSW, Sydney. Esther is extremely passionate about equipping students with the best approach to their subject and beyond. You can view Esther’s profile here and request her as a tutor.