thesis statement examples ib english

Higher Level Essay

Whether you are an HL Literature student or HL Lang/Lit student, the HLE requires some special attention.  The good thing about this assessment is that it’s a processed – rather than on-demand – piece of writing.  This means you can take your time, put in the work, and produce something that you love and makes you proud.  Our students crush this assessment!  Use the same resources they do and enjoy your success.

HLE Writing Guide

Writing this assessment doesn’t have to be challenging.  In fact, we think it can be fun and rewarding!  Let us guide you through the entire writing process, from line of inquiry to the last word of your conclusion.  Our students do well on this assessment, and so can you.

Part of our  IBDP English A Student Toolkit , this resource includes:

• 100-page course book with guidance on films, photos, cartoons, and many other non-literary BOWs
• 5 sample papers across genres
• Examiner scores and comments
• Line of Inquiry guidance
• Step-by-step approach to building the HLE in small and manageable chunks
• Complete set of graphic organizers to guide students from start to finish

Developing a Line of Inquiry and Thesis

The Line of Inquiry (LOI) and thesis are the cornerstone of the assessment, so don’t proceed until these are under control.  Sadly, many students get off to a poor start with this step, and this means they end up writing either a shallow essay or one that doesn’t really satisfy the requirements of the task.  These videos should help you unlock the task.

Start with a text you love and work toward developing a literary or linguistic perspective. Watch this video and start your pathway to success.

How To Write the Line of Inquiry

If the first method didn't work for you, please try another approach.

How to Write the Line of Inquiry (part 2)

Turn that LoI into a clear, precise, and insightful thesis statement that will drive the essay.

HLE Sample Thesis Statements and Writing

The HLE Complete Course from Start to Finish

We feel this is some of our best work.  Teachers and students around the world have commented that this HLE series gets the job done and results in some powerful writing that makes students proud.  Please take the time and work through the videos sequentially.  Work along side with us.  Let us guide you to HLE success!

Choose your text and write the LOI.

Student planning doc

Model Student planning doc

Time for brainstorming and outlining.

Student Organizer

Completed Sample Organizer

Master the intro and conclusion.

Sample Intro and Conclusion

Learn how to write strong HLE body paragraphs.

Sample Body Paragraphs

Learn to revise, edit, and polish the final product.

Final instructions before submission

Dave’s complete sample HLE

Some Sample Papers

Sometimes it’s easier to just look at a final product, break it down, and see how other students have approached the HLE.  That’s why Dave and Andrew selected some strong papers, highlighted them, and discussed their strengths and weaknesses.  We’ve examined tons of these things, so listen carefully.  Lots of tips and tricks in these videos to help you pick up some extra points and crack into that mark band you want and deserve.  Understand the task.  Work hard.  Defeat the HLE and allow yourself to beam with pride.  Go ahead, you’ve earned it.

You’ve probably noticed that Andrew and Dave love drama. Dialogue, stage directions, props…they’re amazing! Watch our student crush this HLE on Death and the Maiden by Dorfman. What can you steal from this essay in terms of ideas, organization, and overall approach? Document: HLE Student Sample – Drama

Poetry anyone? Andrew and Dave love poetry for the HLE. They are complete “mini works” with a clear beginning, middle, and end. They are rich in techniques. They are complex and have deep meaning. In short, they rock. Just remember that for the HLE, “short texts need friends.” Document: HLE Student Sample – Poetry

Looking For More Support?

Hey, nobody said this thing would be easy.  No worries.  We’ve got you covered.  Perhaps you want to see some more student writing?  Check.  We’ve got that.  Perhaps you want to know some key points to include?  Check.  We got that too.  You’re almost there!  Finish these last two videos, add some finishing touches to your work, and submit that baby in with pride and confidence.

So you watched the videos above but are still concerned about “showing deep thinking” on the HLE? It’s ok – we know this is tough. Check out this video to see several samples of how to build big thinking into your writing. Document: Showing Deep Thinking in the HLE

We know, we know. The content is overwhelming and it’s just too much at times. You just want the top ten tips for success? Fine. Here you go. But don’t forget to go back and watch the rest of these videos when you’re feeling more energy. They’re a set. Watch them all and ace the HLE.

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   HL Essay Home Free Access Weekend! P1 - Examination Questions P2 - Examination Questions Start Here Paper 1 Paper 2 Individual Oral The Learner Portfolio Extended Essay Essential Knowledge Resources  

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• HL Essay - Student Samples

Here you will find examples of real student HL Essays. Take a read and, using the marking criteria, grade them. You can compare your marks with those of the examiner.

Student Samples

The Characterization of Luis Alberto Molina through the use of Films, Dialogue and Stream of Consciousness in Manuel Puig’s Kiss of the Spider Woman 

Luis Alberto Molina, commonly referred to as Molina, is arguably the most fascinating and captivating character in the prose novel Kiss of the Spider Woman, written by the Argentine author Manuel Puig. The novel, first published in its original Spanish in 1976, revolves primarily around the relationship between two convicts in a Buenos Aires prison, presumably during the military dictatorship of the late 1970s: Molina, a homosexual cross-dresser imprisoned for sexual perversion, and Valentin, imprisoned and tortured for being a member of a Marxist resistance group. Puig employs several narrative techniques to reveal the intrinsic nature of Molina’s character while confined in a cell with an initially hostile companion. Firstly, Molina frequently submerges the reader into the realm of film, as he narrates several romantic films throughout the novel, the most significant being the 1942 film Cat People and one described as Nazi Propaganda. The films express Molina’s longing for escapism and his mannerism. Secondly, the author’s use of unmarked, outer dialogue establishes Molina’s self-identity. Furthermore, the dialogue portrays Molina in relation to Valentin, as the two develop a strong bond throughout the novel, to the point where they share complete intimacy and engage in sexual activities. Lastly, Puig’s use of stream of consciousness writing provides vital insight into Molina’s internal conflicts and reveals his true identity as a spy. 

The author employs films narrated by Molina as a medium through which his character is introduced to the reader and developed throughout the novel. In order to combat boredom and help pass the time, Molina vividly narrates the plots of several movies, often embellished with romance. As the films are presented through Molina’s eyes, they give vital insight into his perception of the world around him. The novel begins with Molina describing the appearance of the main protagonist of the film Cat People: Irena, a Romanian immigrant who fears she will turn into a panther if a man kisses her. In the film, she falls in love with a charming architect, who takes on a protective role and attempts to take away her fears. Molina goes into great detail, stating that “[her] face, [is] more oval than roundish, […]” (1) and that her hair is “ […] cut in bangs […], and is down to the shoulders, […], with little curls at the end too, almost like a permanent wave.”(1). This vivid description portrays Molina as a man who admires feminine features. Throughout the narration, Molina pays special attention to fashion, decorations in homes, and romance, highlighting his obsession with escaping into fantasy worlds. This message is further reiterated when Valentin “break[s] the illusion” by criticizing Molina’s narration, to which he responds that he would rather have “the panther woman’s boyfriend to keep [him] company instead of [Valentin].” (17). Additionally, the film is riddled with symbols of femininity and masculinity, which Molina sympathizes with. When asked by Valentin who he relates to in the film, he reveals that he identifies with Irena, as “[…] She’s the heroine,[…] Always with the heroine.” (25). This shows Molina’s desire to be the hero of his own life story. This foreshadows the ending of the novel, where Molina dies in an attempt to deliver information to Valentin’s resistance movement. Furthermore, Molina strongly connects with the pipe-smoking architect, due to him being “ […] the gentle type, and understanding.” (17). This subtly hints towards Molina’s submissiveness, as he desires a partner that protects him like the architect protects Irene. The second film follows the story of a French woman who falls in love with a Nazi officer and is forced to spy on him for the French resistance. While Valentin is quick to point out that the film is portraying the nazis as the saviors of Europe and calls it “Nazi junk”, Molina decides to ignore him, stating that “The film [is] divine, and for me, that’s all that’s what counts.” (78). Molinas unwillingness to see past the superficial glamour of the film and recognize that it intends to vilify the french resistance furthers the notion of Molina’s disconnect from a hostile society and his need to escape into fictional, romantic scenarios. Additionally, the themes of espionage and betrayal in the second film foreshadow the revelation that Molina is a spy for the prison warden, and has been promised early release if he extracts information on Valentin’s resistance movement. Consequently, the films are key to decipher Molina’s personality as they display a disconnect from reality and give insight into his feminine nature. 

Traditionally, novels are told by a narrator who exists either inside (internal) or outside (external) the story’s universe. What sets the novel apart from others is the fact that the author omits an external narrator entirely, using outer dialogue between the two characters to reveal Molina’s character. This narrative device effectively places the reader into the head of Molina and provides information about his self-identity. Furthermore, the change in dialogue from one character to another is indicated solely by a dash, forcing the reader to, at times, deduce who is speaking solely by their diction. When Valentin brings up Molina’s tendency of escapism and mocks his femininity, Molina retaliates, exclaiming that “You’re all alike, always coming to me with the same business.” (19), expressing his anger towards the society that rejects him. Molina continues by saying that “If a woman’s the best there is, […] I want to be one.” (19). This powerful phrase is the first glimpse the reader gets of Molina’s identity, as it becomes clear he doesn’t consider himself a stereotypical, masculine man. Once Valentin opens up to Molina about his relationship with his girlfriend, Molina reciprocates, revealing he is in love with a heterosexual waiter named Gabriel. Molina perceives Gabriel as a “real man” due to him being “elegant, […] soft and masculine.” (61). When asked about his definition of masculinity, he responds by stating “[…] it’s knowing what you want, where you’re going.” (61). The reader automatically recognizes that Molina doesn’t fit his own definition of masculinity, as he pursues the impossible goal of living with Gabriel, despite him being married. Furthermore, when talking about himself in the third person, Molina calls himself a “woman”, stating that “[…] when it comes to him, I can’t talk about myself like a man, because I don’t feel like one.” (60). This reveals Molina’s self-identity as a stereotypical female and accordingly, his attraction to a “real man”.Therefore, the author’s choice to employ outer dialogue between the prisoners is effective in refining Molina’s character as the device forces the reader to see things from his perspective, simultaneously allowing for a great deal of personal interpretation due to the first-hand narration. 

A third narrative technique that Puig employs to great effect is stream of consciousness writing. The device, meant to give the reader an insight into Molina’s disturbed state of mind, is used extensively throughout chapter 5 (96-112), where Molina privately pictures the plot of a third movie while Valentin studies politics. In the stream of consciousness writing, several of Molina’s thoughts help the reader understand his internal conflicts. Firstly, Molina’s resentment towards the society that loathes him is once again shown when he thinks: “[…] it feels so bad when someone gives you a black look, […] or when they refuse to look at you all together.” (105). This is strongly contrasted by feelings of guilt, which is expressed when he thinks of his sickly mother, whom he fears will die of a broken heart due to having a son “steeped in vice” (105). In the next few sentences, the reader gets a glimpse into an emotion once thought impossible by the sensitive, gentle character: rage. When Molina reflects on the judge that was determined to bring on him “[…] the full weight of what the law permitted […]” (106) and his mother’s horrified reaction, he becomes furious:“[…] if he dared to say one stupid word about her, I would kill the son of a bitch […]” (106). Towards the end of the passage, Molina thinks about the promise the warden gave him of a reduced sentence, giving the reader the first clue that he is a spy. The stream of consciousness section is therefore vital in the portrayal of Molina’s character as the reader interprets his potential for violence as the ultimate expression of affection towards his mother, as well as emotions such as resentment, rage and guilt. 

In conclusion, the narrative techniques mentioned above combine synergistically to give Molina his charismatic, romantic, and conflicting character. The films ‘told’ by Molina are central to the construction of his identity as they reveal his disconnect from reality and his feminine personality. The author’s use of outer dialogue adds to Molina’s characterization as his communication with Valentin reveals his self-identity. Finally, Puig’s use of stream of consciousness writing displays conflicting emotions that plague Molina. The construction of Molina’s character is vital as he is central to the plot of the novel and challenges the readers perception on homosexuality, gender expression and identity. 

Puig, Manuel, and Thomas Colchie. Kiss of the Spider Woman. Vintage International, 1991. 

Bibliography

Cat People. Directed by J. Tourneur, RKO Pictures, 1942.

Examiner's Marks

The motif of death and the interconnection between the Netflix series  13 Reasons Why  and the novel  Crossing the Mangrove

Word Count: 1500

Bibliography:

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IB English A: Language and Literature Paper 1 Commentary Advice

Many students, both HL and SL, come to Elite IB for assistance with Paper 1, the unseen aspect of the IB Language and Literature course. This blog aims to address some of the most common concerns and to provide students with a highly useful method to write the ideal commentary.

Standard Level

The biggest difference between SL and HL is that you only have to write a commentary on a single piece at Standard Level. The IB selects a diverse range of sources for Paper 1 extracts so the key here is flexibility. This adaptability is something you can acquire by doing lots of practice on different types of text, going above and beyond the mocks you do with your teacher.

It is very important to appreciate the IB’s assessment criteria when thinking about how to structure your commentary. These are broken down below.

Criterion A – Understanding and Interpretation

The IB is looking for an excellent overall appreciation of the text: its main message, the central purpose of the author, as well as an understanding of its basic features. You should aim to show this at the very beginning of your commentary, and this should be the first thing you are trying to understand about the text when you read it for the first time.

Criterion B – Appreciation of the Writer’s Choices

Throughout your commentary, you should bear this criterion in mind. Try not to stray too far into the broad themes of the passage because the examiners are always looking for a focus on the linguistic features of the text , and the exact techniques by which the author is conveying their overall meaning.

Criterion C – Organization and Development

You should avoid a line-by-line approach to your commentary: instead, organise your paragraphs around specific themes and features of the text.

Criterion D – Language

Write in a formal fashion, using as much precise vocabulary as possible. Avoid slang and make sure you quote frequently from the passage – around three times each paragraph.

How to write a commentary in 14 steps

• When you open the paper, look at each of the extracts and decide which text you will focus on. You should aim to practice various different types (articles, adverts, travel writing etc.) so you are comfortable with them, but it is natural for students to have a preference. Pick the text with the most substance you feel you can comment on in an intelligent manner. Spend a maximum of 5 minutes making this decision.
• Give an initial reading of your chosen passage and try to identify its overall message. Helpful questions you can ask yourself at this stage are: What is the essence of the text? What meaning is the author trying to convey? What is the central emotional resonance? What can you infer about the context?
• Spend some time thinking about this, and then formulate a thesis statement : a single sentence that states very clearly your exact impression of the text. Think of this as the what section of your commentary.
• Go over the text, this time asking yourself the question: how is the author accomplishing this aim? This should not be an attempt to spot features randomly but considering how language has been used to fulfil the essential meaning of the text . Annotate thoroughly, scouring the text for as many different linguistic devices that serve your thesis statement as you can.
• After about five minutes of close reading, you should hopefully have found three or four major linguistic areas. Select three quotations from each of these areas and organise them under headings, trying to add adjectives before them to make your points more specific: e.g. sensationalist language, use of juxtaposing quotations and erratic structure.
• Now you are ready to begin your plan. Write your full thesis statement . For example: ‘throughout the article, the author performs a subtle piece of satire that ridicules the current US President comprehensively, and this is achieved through the use of dark humour, effective linguistic motifs and a simple structure.’ The thesis statement should combine your overall impression of the passage with a precise indication of the three main linguistic areas you are going to focus on .
• Now plan each of your three paragraphs. Ideally, you will select three quotations, one from the beginning, middle and end of your text, demonstrating an appreciation for the device across the passage and noting any differences or developments. For each quotation, write a few words in your plan that will prompt you to analyse the language of the quotation directly . Overall this will mean around nine quotations, each of which you will analyse in turn throughout your commentary.
• Try and find good linking sentences between these paragraphs as you plan them, rather than beginning each paragraph with ‘Another aspect of the text is…;’ Using good conjoining sentences will make your commentary seem more than the sum of its parts and help you fulfil Criterion C.
• Once you have completed this for all your paragraphs, you are ready to start writing! You should spend around 30 minutes on your plan : this may seem like a lot but it will mean that when you come to writing the commentary you will be able to do so much more fluently and will save yourself time.
• Begin the commentary with some brief context about the passage, no more than a few sentences. After that should be your thesis statement, which should be stated in a precise and clear manner. Then outline the three main areas you will be focusing on, indicating the approach you will take, remembering to include precise adjectives.
• Next, go into your first paragraph. Think of each paragraph as being a mini-essay. Just as the introduction serves as the basis from which the rest of your essay is expanded, each paragraph should unfold neatly from its opening sentence. Therefore each of your quotations should merely be illustrations of the point you make in your opening sentence. Make sure you analyse the specific language of each quotation, remembering each time to connect those thoughts to the message of your thesis statement.
• In between each paragraph, try to use as many connecting sentences as possible. If, for example, the sarcastic tone of an article is conveyed through its structure, use this as the bridge between those two paragraphs.
• As you progress through the commentary, remember to quote frequently from the text. Keep the quotations short so you can go into lots of details about the techniques being used.
• Your conclusion, much like your introduction, should not be very long. Hopefully, the process of writing the commentary has prompted you to think of something in addition to your original thesis statement. Perhaps there is greater subtlety you wish to add at this stage. Make one additional comment on the text overall and then recap the main areas you have written about. End with a direct reference to your original thesis statement.

The more you practice, the more you will feel able to write four or five paragraphs in your commentary. This is absolutely fine, and the same method suggested here can also be used.

Higher Level

This is a great chance to display your skills in comparison and contrast, something you will be familiar with from other parts of the IB.

Assessment Criteria

The main difference with the HL criteria is Criterion A: Understanding and comparison of the texts

Level 5 – ‘There is an excellent understanding of the texts, their context and purpose, and the similarities and differences between them; comments are fully supported by well-chosen references to the texts.’

A lot of the method for planning and structuring the commentary at HL is similar to the SL method, so what follows is some useful advice on how to Compare and Contrast.

• Always organise your paragraphs around particular themes and features of the text.
• Focus on the points of similarity in these themes within each paragraph, and then move on to discussing the differences. You should avoid writing a commentary that deals entirely with one passage and then another since the IB is looking for a coherent structure that can synthesise both passages into a single effective commentary.
• In your paragraphs, remember always to directly analyse any language that you quote. This should involve some comment on the way in which the author’s language is shaping their meaning, and also the effects on the reader .
• You should always use the guiding questions that the IB gives as part of the Paper 1 question, but be sure to be more precise than this when you are structuring your essay. In your introduction, it can be tempting to follow the guiding questions broadly and write something like, ‘and this is achieved through the use of tone’ but this is actually rather imprecise and not what the examiners are looking for. It is absolutely fine to use these prompts in your commentary, but always be sure to specify the way in which this feature has been used rather than just a generic reference. Therefore, rephrase it in your introduction by saying, for example, that you will discuss the use of ‘sardonic tone’.
• Try to infer as much about the context as possible: the date of the publication, the information in the passage, your own knowledge about what is being discussed. Use this to inform your ideas about who the readership of the text might be, and therefore the effects that certain techniques might have on these readers.
• Finally, remember to keep quoting directly from both texts. Avoid going off into broad comparisons between ideas in both texts, and remember to keep your commentary grounded in the language that is being used, and the relationship that has to the overall meaning of the text.

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Mastering the IB English IO: A Comprehensive Guide

The International Baccalaureate (IB) English Individual Oral (IO) is a pivotal component of the IB curriculum, carrying a significant weight in the final assessment. With the right approach, students can navigate this challenge and emerge with top marks. Drawing insights from seasoned IB educators, let’s delve into strategies that can help you secure a Level 7 in your IO.

Understanding the IO’s Significance

The IO is more than just a presentation; it’s a showcase of your analytical skills, understanding of literature, and ability to connect texts to global issues. For Standard Level (SL) students, it accounts for 30% of the final score, and for Higher Level (HL) students, 20%. This assessment involves a 10-minute presentation and a 5-minute Q&A session, making preparation crucial.

Selecting Your Texts and Global Issue

Begin by choosing a literary work and a non-literary body of work that you have studied. These texts should provide a rich ground for exploring a global issue—a theme that is significant, transcends national boundaries, and resonates with daily life, such as inequality or cultural conflict. Your task is to examine how these texts portray the selected global issue.

Crafting Your Presentation

The structure of your IO is paramount. Here’s a recommended framework:

•Introduction (1 minute): Introduce the global issue and its relevance, followed by a brief overview of the chosen works and your thesis statement.

•Body Paragraphs: Analyze how the global issue is presented in the overall texts and specific extracts. Dedicate about four minutes to each work, employing the Point-Evidence-Explanation (PEE) method for a robust analysis.

•Conclusion: Recapitulate your main arguments, reinforcing the connection between the texts and the global issue.

The Four Pillars of Assessment

Your IO will be evaluated based on four criteria, each with a ten-point scale:

1.Knowledge and Interpretation: Demonstrate a deep understanding of the texts and their nuances.

2.Analysis and Evaluation: Critically analyze the texts, providing insightful evaluations.

3.Focus and Structure: Maintain a clear, logical flow throughout the presentation.

4.Language: Utilize an academic register and appropriate literary terminology.

Level 7 Tips and Preparation

•Sample IOs: Listen to exemplary IOs to understand the caliber of a top-scoring presentation.

•Essay Practice: Write a comprehensive essay based on your IO structure and practice delivering it.

•Expert Guidance: Consider seeking feedback from IB experts who can provide tailored advice based on the texts you’re studying.

•Memorization and Practice: Memorize your essay and rehearse your delivery, aiming for clarity and confidence.

Final Thoughts

The IO is an opportunity to demonstrate the culmination of your IB English studies. It requires not just understanding of the texts and issues but also the ability to communicate your insights effectively. By following a structured approach, practicing diligently, and seeking expert advice when needed, you can approach your Individual Oral with the assurance that you’re prepared to excel.

Remember, the IO is as much about preparation as it is about performance. Take the time to understand your texts, connect with the global issues at hand, and refine your presentation skills. With these strategies in place, you’re well on your way to achieving a Level 7 in your IB English Individual Oral.

A friendly reminder: we’re here whenever you need help with your IO! Just send us a message now via WhatsApp or Facebook Messenger , or fill out our online form .

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IB English A (Lang & Lit) IO IA examples

Type a search phrase to find the most relevant English A (Lang & Lit) IO IA examples for you

Not sure what to search for? You can always look through our example Internal Assessments below for inspiration.

All English A (Lang & Lit) IO IA Examples

Filter exemplars, the relevance of mental health stigmas in eventuating self-actualisation, how oppression fuels rebellion, want to get full marks for your ia allow us to review it for you 🎯, how the expectations of gender and sexuality influence the roles that individuals play., the physical and mental impact of unrealistic beauty standards on women (english individual oral script), io on mental health discussed in nannette and 'advertisement', fast track your coursework with mark schemes moderated by ib examiners. upgrade now 🚀, the need for human connection and belonging in kithcen by banana yoshimoto and inside by bo burnham., how women navigate unbalanced power dynamics in relationships to achieve personal growth and empowerment., how the desire to gain social validation can result in social conformity and perpetuate feelings of personal inauthenticity, women's ability to defy stereotypical gender roles in a patriarchal society, the confirmation towards a collective identity in order to preserve personal identity, by exploring the field of inquiry of ethics and belief systems, can we determine how culture and education can influence moral reasonings around right and wrong, and by extension whether a universal moral framework could be a solution to the moral dilemmas faced in our society, how impossible beauty standards cause insecurities among the youth, the impact of technology on human relationships and communication, investigating the intricacies of self-valuation and holistic personal development, the ongoing struggle and progress of women breaking free from societal expectations placed upon them, superficial marriages built on women’s financial dependency on men, global issue: social indifference toward war and violence as an obstacle to resolving conflict, the adverse effects of classism on the change of societal and personal values, marriage as a source of oppression for women, global issue: culture, identity, and community. how is community formed or challenged as a result of social restrictions based on identity, the global issue of the reluctance to have conversations about death in society, full english ioc outline + script, the power and resilience of women in society, the universal prevalence of stereotypes surrounding gender roles, community responses to returning veterans and how these impact their rehabilitation., politics, power, and justice: how do authors portray institutionalized power for their characters to overpower and to what effect (io script), how men’s stereotypes of women can lead to violence against women, expectation of masculinity, the characterisation of women by their possessions and status, the negative repercussions of evading responsibility in pursuit of selfish gains, global theme of brutality and inhumanity of war and conflict with emphasis on how it affects individuals., english individual oral on the persepolis and the art of ugur gallenkus (with script), english io sample level 7 transcript, ethan frome & banksy, how the use and development of technology break the balance of our daily life and become a threat in our society., marginalisation of women through the assignment of conventional gender roles in a marital context through time and space.

Individual Oral

IB English Individual Oral (IO) Explained

Free introductory guide to the IB English Individual Oral by IB45 and IB43 graduates Richard Nguyen & Jerica Nieva.

In this guide, IB45 graduate Richard Nguyen and IB43 graduate Jerica Nieva will share their wisdom on how to tackle the IB English IO. The guide covers everything from choosing global issues to selecting a good extract to structuring the IO to preparing for the question section at the end!

Richard and Jerica both achieved 7s in IB English Language and Literature, with Richard scoring an almost perfect 38/40 for his IB English IO.

Meet your instructor Jackson Huang, Founder of LitLearn. His mission is to make IB English as pain-free as possible with fun, practical lessons. Jackson scored an IB45 and was accepted to Harvard, Amherst, Williams Colleges, and full scholarships to University of Melbourne & Queensland.

What is the IO?

First things first, what is the IB English Individual Oral ?

• It's a 15 minute oral exam.
• The first section is a 10 minute presentation by you, the student, followed by a second section consisting of 5 minutes of questions asked by your teacher.
• The IO is centered around a Global Issue.
• For IB English Language and Literature, you must analyze a literary text and a non-literary body of work.
• For IB English Literature, you must analyze two literary works (one of them must be a work-in-translation).
• Comparison and contrast is not a requirement (unlike in Paper 2)

How do I choose a good Global Issue?

A strong house requires a stable foundation. And if you want to get a 7 for your Individual Oral, then you must have a strong global issue (GI).

The global issue should* belong to one of the following 5 themes:

• Culture, identity and community 
• Beliefs, values and education
• Politics, power and justice 
• Art, creativity and the imagination 
• Science, technology and the environment 

*Actually, that's a lie. According to the current IB English syllabus (First assessment 2021), your global issue doesn't need to belong to any of the suggested themes. The themes are simply suggested by the IB to help you with brainstorming.

First, an excellent Global Issue is one that is relevant to our current society. It must be relatable to many people across diverse cultures and national borders.

Global Issue Examples

To make it clear exactly what we mean, here is a weak global issue as an example…

Now let's look at an example of a strong global issue …

If you're stuck on choosing a global issue, check out this detailed lesson on choosing your global issue. We also include 25 global issue starters to get your creative juices flowing.

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How do I pick good extracts for my IB English IO?

Throughout IB English, you'll study various literary and non-literary texts in class that you may choose to use in your IB English IO. How you select your extracts can greatly impact your IO as they need to relate to your global issue. 

Before selecting your extract, you should consider how well it can support your chosen global issue. To do this, consider breaking down your main topic into different explanations for how and why it is a global issue, and making these specific for each text. 

Let's read about Richard's experience to see how he approached this process:

“I talked about societal expectations placed on women for one body of work ( The Thing Around Your Nick by Chimamanda Ngozi Adichie), and how these expectations reduce their autonomy in Nigerian society. For another body of work (this was a collection of essays by Marina Keegan my school put together), I discussed how several different norms affect human life: having a stable and high-income job rather than pursuing a risky passion, doing vain acts of charity such as saving whales rather than making a homeless man walk to a shelter. Everything links back to the global issue, that's how you remain focused.” Richard Nguyen, IB45 graduate

You should also consider how the maximum number of lines that you can include in your extract for each text is 40 lines. This gives you some freedom in choosing how in-depth you want your analysis to be. Overall, you want your close analysis to be covering the whole extract – meaning that there is no point in choosing 40 lines and only analyzing the first 20 lines of it. You could lose marks for failing to demonstrate your full knowledge of the extract in Criteria A! So sometimes, less is more and choosing 20-25 lines is the better call. 

Alternatively, you may find that analyzing a long extract is necessary for having enough evidence to support your global issue in a close analysis. Using up to 40 lines in this case would instead be a good approach! Having an effective close analysis will make more sense when we learn about structuring an IO in the next section.

Steps for selecting extracts:

• Read both texts and find a common global issue.
• Find different extracts within your texts that relate to the global issue.
• Compare the different extracts for each text, and pick the one that has a variety of literary and structural techniques that will best support your global issue. Remember these techniques must serve a purpose in portraying the author's intention and commentary on your global issue.
• Consider cutting down your number of lines if you are struggling to include everything in your analysis planning, or adding more lines if you find you need more evidence. 

For Step 3, you must know how to find and analyse literary, visual and structural techniques. Analysis is one of the most difficult skills to master–and yet it is crucial to scoring highly on the IB English IO (and HLE, Paper 1, and Paper 2).

How should I structure my IB English IO?

Overall, an IO speech is 10 minutes long and covers an introduction, text analyses, and a conclusion. Afterwards, there is a 5-minute period in which your examiner will ask different questions – this may seem daunting, but we will guide you on how to prepare later on. It is very important that you are spending the correct time on each section of your speech as criteria C is about organization! Generally, you should aim to have 1 minute for your introduction and conclusion, and 4 minutes for each text analysis.

What do I say in my introduction?

Firstly, your introduction is vital in establishing your global issue and how you plan to explore it through your literary and non-literary texts. As it is only 1 minute, you want to ensure that the information you include is necessary and wholly contributes to your examiner's understanding of your IO.

• Introduce the global issue. Don't be vague in this section and spend around 2-3 sentences specifying how and why your global issue is relevant and multifaceted enough for an IO.
• Introduce your first text. Give only the most significant details such as the author's name, date, text type, and text source. You may also consider detailing the extract pages and whether your text is from a collection. 
• Briefly explain (1-2 sentences will be sufficient!) how your first text relates to the global issue.
• Complete steps 2 and 3 for your second text. It would also be helpful when introducing your texts to specify which is literary and non-literary. 
• Don't be tempted to include a comparison in your introduction! It works better in your conclusion if you wish to include it. 

Secondly, how you structure your textual analyses can vary a lot depending on the number of ideas you aim to cover, and how you organize them to appear cohesive. Before planning your IO structure, you should thoroughly understand the difference between close analysis and wide analysis .

How do I analyze in IB English IO?

There are two different types analysis required in the Individual Oral: Close analysis and Wide analysis. It's important to pick an essay structure that balances the two types of analysis.

What is close analysis?

Close analysis is similar to how you would analyze for a Paper 1 – you reference specific quotes, images, or scenes from the extract when making your analysis and evaluations. Of course, we need to link to the Global Issue in the right way, and also find insight in these links. This is why choosing your extract lines is a critical process as you want to be demonstrating a full understanding of your extract.

Just like in Paper 1, we recommend that you learn how to analyze the 7 main techniques. There are a lot more, but these are a great starting point if you're unfamiliar with literary techniques and analysis.

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How do I choose a balanced IO structure?

The Close and Wide analyses for both texts need to be balanced. There are two main structures that we recommend, which we delve into in the Pro lesson below.

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How do I prepare for the IO Questions?

Not gonna lie–the questions can be curveballs.

While your response to these questions cannot make you lose any marks in an IO (which is a relief!), this section is still very crucial in securing those bonus marks to bring you up a grade. 

Questions that are asked may be about:

• Ideas in your IO speech that could be explored in more detail (this is the most common source of questions!). 
• Providing further examples from the text or extract on a certain topic or line of inquiry. 
• Providing further explanation on the author's intention or audience effect of a specific literary technique that you mentioned. 

While these questions are generally relevant to your global issue, they may not be. Ultimately, it is up to your examiner. 

For example, your examiner may ask if there are other extracts that explore “how patriarchal values inhibit women in Nigeria”. And you'll have to answer if there is such an extract and do some light analysis on how this inhibition is caused. Does it inhibit opportunities? Or self-expression? Freedom?

Although your preparation for the IO questions is crucial, the timing of your responses can also influence your performance as you want to be making the most out of the 5-minute period. Here are some tips for during an IO: 

• Spend around 1-1.5 minutes for each response – this allows you to answer up to 4-5 questions. While it might seem insightful to give a 4-minute-long answer, it also restricts the examiner from asking more questions which are generally about parts of your speech that needed a bit more support. 
• If you are nearing 4.5 minutes, it is best to not finish your current response for a new question as you won't be able to give another response in 30 seconds.

Let's read Richard's wise words on how he prepared for his IB English IO questions:

“The best advice I can give you is to know your texts inside out. After each section or chapter from a body of work, write notes about what is explored regarding your global issue. This way, you'll be actively thinking about how the global issue is depicted through your texts. Think: 'what does this section tell me about the global issue?' You should also prepare other examples that prove your point in your analysis. When writing about how the author portrays the global issue through a scene, know if a similar scene pops up in your body of work where the global issue is portrayed in the same way or another one. Essentially, read the entire bodies or work and have a general idea of how the global issue seeps through the entirety of the texts.” Richard Nguyen, IB45 graduate

More lessons in the IO Study Guide

We can't cover everything in this introductory guide.

LitLearn's Pro lessons take you step-by-step through choosing your global issue, planning your IO and choosing the right structure.

We also show you how to approach the IO with the right mindset to avoid costly mistakes, and detailed worked examples to show concrete strategies to score a 7 in your analysis and IO insights.

Wrapping up

We hope this guide has helped you navigate one of the most important (and stressful!) parts of your IB English assessment. Thanks to Jerica and Richard for collaborating on this guide to help fellow IB English students out there.

Question​bank

Paper 1 Practice Exams

Past Paper 1 Solutions

Paper 2 Guide

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Questionbank

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Free introductory guide to the Paper 1 guided analysis exam

The 3 ingredients you're not including in your thesis

Free introductory guide to the Paper 2 comparative analysis exam

Covers the levels of knowledge crucial to Paper 2 preparation

Free introductory guide to the Individual Oral assessment

Helpful list of global issue starters to kickstart your imagination.

Higher Level Essay

Free introductory guide to the HLE assessment