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Newspaper article for GCSE: Task and Model.

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The task is a standard AQA format task from Paper 2 Q 5. The medal is by no means perfect. I am using it alongside a lesson to familiarise students with the mark scheme. Students could be encouraged to apply the scheme to this model passage or to their own work.

The model was written in 40 minutes during a writing assessment and shows this in terms of the content of the arguments, I think. It’s not an easy task. Students might be encouraged to recognise the devices and structural elements of the writing.

Example Question

Paper 2 Section B: Writing

You are advised to spend about 45 minutes on this section.

Write in full sentences.

You are reminded of the need to plan your answer.

You should leave enough time to check your work at the end.

‘Technologies such as mobile phones and computers are useful, but we use them too much. They are taking over our lives.’

Write an article for a newspaper in which you argue for or against this statement.

(24 marks for content and organisation

16 marks for technical accuracy)

All articles need a headline – provide one and offer a journalist’s name. If possible, make the headline memorable, either by imagery or emotive language.

Common Sense? Not if you’re glued to a mobile.

An Article by Hamish McCunn.

Then outline your argument and define the 3 areas you will be considering. Remember most articles are written in short paragraphs.

A recently released movie – Cyberlifesaver – is making waves because of the idea it presents: technology is vital. So vital that we should let it take over our thoughts and deeds and stop worrying about the issues raised by this idea. In this article I take issue with this premise and suggest that the message of the film is dangerous – personally, financially and morally.

Having established the 3 areas of consideration, take each in turn and explore them –sticking to your chosen pro or con side of the debater. Use the IED structure to build your point…

On a personal level, the danger of over reliance on technology comes down to the loss of common sense in areas which once we humans excelled. An example relevant to many is in the area of romance.

Romance? Consider this: over 75% of respondents to a recent poll on Twitter said that they let their dating apps find suitable matches for them. That is to say, they put their trust in technology and let it overrule the signals which for centuries have enabled humans to find partners for life.  (You don’t have to believe it, by the way, just make it sound as though you do).

Averil Cameron (23), a charming young lady with a bright future in taxidermy, is a good example of how this can cause havoc. Despite having plenty of opportunities to find romance and even love in her everyday life, Averil felt FOMO pressure to go online and to use dating websites based on a series of algorithms which seemed to offer a stress free route to her dreams. ‘It all seemed so easy and so safe’ she said. ‘I put all my faith into Lovefinders and now I am broken hearted. I can’t believe I was so stupid!’.

The truth is that all such sites take our personal information not to help us to find love but to target their advertising and to sell to the highest bidders in terms of personal information. On many sites such as this, photographs, often intimate photographs, are uploaded. These find their way to all corners of the internet.

Now move onto the next section –the second of the three ideas outlined. Maybe bring in some authoritative voice to quote in this section.

Another risk of such sites and many like them is the control that they can take over our money. Peter Jones, Senior Customer Support Officer at Barclay’s Bank takes this very seriously indeed.

‘Many people do not realise the danger of signing up to websites and entering into a legally binding agreement.’, says Jones, ‘Too often the website asks for money upfront with a requirement to cancel which in over 60% of cases is missed due to forgetfulness, misunderstanding or lethargy.’ In short, he continues, entering into these kind of arrangements, though seemingly for convenience, leads to potentially destructive downward spirals. Credit scores are affected. Loans refused. Lives ruined.

The moral argument is reflected in the attitudes of the Big Tech companies. They tell us that we can’t live without the benefit of EE total broadband, or wall to wall streaming of dubious content on Netflix or Prime, yet this is untrue.

And the third and final section before a conclusion:

Too often the glamorous pitches are linked to nothing other than making money for the shareholders. Why should they care about the individual. The one who spends hours scrolling through the content on these channels before giving up to see if there’s anything interesting on ‘real TV’. There isn’t. There’s no money left in ‘real TV’. Instead, such activities create a definite sense of failure and let down. A noted psychiatrist said:  ‘I work with teenagers. There’s so much low self-esteem these days. Although it sounds daft, much comes from the feeling that they are entitled to so much more from their online activities. It’s as though they think they have bought happiness.’

It is clear to me. Put aside the corporate hype and look at the reality of the way in which Big Tech is manipulating us and the danger is clear. Our freedom of thought, our freedom of action and our freedom to simply be human is endangered by our slavish adherence to technology.

It is time for a change. Time to put the clocks back.

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Words, words, words... well said Hamlet! A little blog to go off on tangents within the worlds of history and literature that interest me. From the Tudors to Tom Hardy's Tess, or from the Wars of the Roses to Wuthering Heights, feel free to browse through my musings to pick up extra ideas and points for discussion!

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Writing Magazine and Newspaper Articles

Writing Magazine/Newspaper Articles

As you may already be aware, there are a number of different magazines and newspapers out there. In the exam, you could get asked to write an article for any one of them, for example an article for a cooking magazine, a newspaper or perhaps a school newsletter. The type of magazine or newspaper that you are asked to write for and the purpose of the article will affect who your audience is (this will affect any piece you write, but we will discuss the audience of texts as a whole in more detail later). It is vital that you establish your audience before you begin planning your article. An example of a newspaper article has been provided below.

Metro paper cut-out

Although most magazine and newspaper articles include pictures (see above), you do not need to worry about this in the exam; what you need to write is purely textual; however, if you want to indicate the positions of images then a rectangular box with the word ‘image’ inside will suffice. A list of what should be included in a magazine or newspaper article is provided below:

  • A headline: this is used to grab the reader’s attention to the story – it is a good technique to use alliteration and other language techniques in your headings.
  • A subheading: this develops on from the headline and gives the reader more information on the story to grab their attention – again, it is a good technique to use alliteration and other language techniques in your subheadings as well. You may just decide to have one subheading below the headline or you may have a subheading before introducing each new paragraph of the article, if appropriate.
  • Split the rest of the story into paragraphs (make sure you include a topic sentence for each paragraph and you can also include subheadings above for each if it suits the magazine/newspaper style). The information that is placed in the article should be organised in the order of importance. The beginning paragraph should contain important information that the audience requires, whereas towards the end, less important information can be included; for example, opinions.
  • The article should be written in the past tense and in the third person as you will be narrating events that have already happened. In most cases, you will not be a part of the story so avoid using ‘I’ or ‘me’ even when giving your opinion.
  • Include quotations: quotations will make the story more interesting and factual for the reader as they will be hearing directly from the people that were involved.
  • Provide the facts and sometimes your opinion on the story. Use the 5 W’s in your plan to do this: who, what, why, where, when. These will provide the reader with as many facts as possible. Once the facts have been given then the writer will sometimes offer their opinion on the story (preferably right at the end – remember, write in the third person; never use ‘I’ or ‘me’).
  • The final paragraph should sum up the story; this is a good place to give your opinion if you want – remember, write in the third person.

An example of how you might lay out your magazine/newspaper article in the exam has been provided.

Your article will vary depending on what is being asked of you. Be careful not to copy the example provided if it does not fit with the task you are asked to complete. For example, it may not be appropriate to include a subheading above each new paragraph like is illustrated in the given example.

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AQA GCSE English Language Paper 2 writing tasks: speech and article

Downloadable worksheet for AQA GCSE English Language Paper 2: speech and article exam tasks

This popular, scaffolded lesson resource includes two practice exam questions for AQA GCSE English Language paper 2, Section B and helps students to explore the differences between two non-fiction forms — speeches and articles — in terms of the presentation of ideas and the use of language techniques.

It summarises a range of techniques that students might use in a speech and a newspaper article, including persuasive language (such as rhetorical questions and triplet/rule of three/triadic structure), anecdotes or examples and using a mixture of informal and formal language and direct address such as pronouns. The classroom worksheet also asks students to consider the most appropriate tone or register for purpose and audience, and whether using non-standard sentence structures (such as starting a sentence with a conjunction) could engage a reader’s attention.

It's perfect for exam practice and preparation for AQA GCSE English Language students. Suggested answers (a lesson ‘mark scheme’) are included to support young people with their exam preparation.

You might also our other AQA English Language Paper 2 resources, or see more speech and article lesson activities such as AQA GCSE English Language Paper 2 Section B exam task .

Practice GCSE exam questions for AQA English Language Paper 2, Section B from the resource:  Students work through a set of 4 activities which show them how to write the text for a speech or an article, in response to this statement: ‘Music has no value when you’re studying. It can be distracting; it can be too loud. Students should work in silence.’

a) Write an article for a broadsheet newspaper in which you explain your point of view on this statement.

b) Write the text for a speech in which you explain your point of view on this statement.

Task 1 This task prompts students to look for language features which are relevant to the text types of article writing and speech writing. Students are asked: Can you work out which were written for a speech and which were written for an article? What are the differences? What clues did you use? Task 2 Students look at example sentences for both non-fiction writing tasks and identify the persuasive features, demonstrating how to write an article and text for a speech. Task 3 Students practise the two forms of writing with their own sentences. Task 4 Students reflect on the activities: In summary, what have you learned from these activities about:

the language techniques you could use in an article and the text for a speech

the ideas you could cover in an article and the text for a speech

the differences between writing an article and the text for a speech?

They then respond to their chosen essay question and start their own piece of writing as exam practice for the GCSE English language exam, choosing a specific audience to make their use of language more appropriate, such as broadsheet newspaper readers of The Guardian , or a speech to young people their own age.

As an extension or stretch and challenge task, ask students to identify a range of other techniques they could use. Some students will be familiar with the mnemonic DAFOREST (Direct address, Alliteration, Facts, Opinions, Rhetorical questions, Similes and metaphors, Emotive language, Triplets) but they might also want to consider emotive language, hyperbole and their use of connectives. Alternatively, ask students to plan their first paragraph in the lesson, before finishing their piece of writing at home.

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Newspaper Article: Form

Overall Structure

  • A newspaper article aims to inform readers about a specific event, issue, or person.
  • The article should be divided into clear paragraphs each focusing on a different point or aspect of the story.

Headline and Byline

  • The headline should be catchy and concise, encapsulating the main point of the article. It’s often written in present tense and may use puns or play on words to attract the reader’s attention.
  • The byline usually includes the name of the reporter or writer and possibly, the source or newspaper name.

Standfirst (Lead Paragraph)

  • The standfirst or lead paragraph is a concise summary of the news story that answers key questions like who, what, where, when, and why (5W’s).
  • This section is designed to grab the reader’s interest and make them want to read on.
  • The main body should provide detailed information supporting the lead paragraph. It should offer context, expand on the 5W’s, provide quotes, or present a variety of viewpoints.
  • The information should descend in importance (the inverted pyramid structure) with the most critical details at the top, moving to less important ones towards the end.
  • Direct or indirect quotes from people involved in the story provide authenticity and insight. They should be used sparingly and appropriately, always in support of the story.
  • The article should end in a way that summarises the main points or provides a final thought.
  • It might also hint at future developments or offer a call to action.

General Tips

  • Write in third person, use active voice and maintain a neutral tone.
  • Sentence length and structure can vary depending on the flow of the article, but should generally be clear and straightforward.
  • Pay attention to word choice - using vibrant verbs, adjectives and adverbs can make the reading experience more engaging.
  • When possible, use visual elements such as photos, infographics, or charts to enhance storytelling.
  • Fact-check information to ensure credibility.
  • Practice different types of newspaper articles: reportage, opinion pieces, feature stories, etc.

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Newspaper Article Writing

Newspaper Article Writing

Subject: English

Age range: 11-14

Resource type: Lesson (complete)

English GCSE and English KS3 resources

Last updated

17 March 2022

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how to write newspaper article gcse

AQA English Language Paper 2 lesson that looks at how to put together a newspaper article, including creating headlines, straplines, introductory paragraphs, plans, using connectives, opening and closing sentences and more. Includes models, scaffolds, differentiated activities and more. Recently revamped and updated, this is a brilliant resource to use for Language Paper 2 and for revision. A fully differentiated and resourced lesson for KS3 and KS4 students to prepare to write newspaper articles. This lesson is ideal preparation for Section B of the AQA Language Paper 2 exam paper.

Check out our English Shop for loads more free and inexpensive KS3, KS4, KS5, Literacy and whole school resources.

AQA English Language Paper 1 and Paper 2 Knowledge Organisers AQA English Language Paper 1 Section A package AQA English Language Paper 1 Sections A and B package AQA English Language Paper 1 package AQA English Language Paper 2 Question 5 package AQA English Language Paper 1 Question 5 package AQA English Language Paper 2 Section A package AQA English Language and English Literature revision package

An Inspector Calls whole scheme package An Inspector Calls revision package

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Jekyll and Hyde whole scheme package Jekyll and Hyde revision package

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A bundle is a package of resources grouped together to teach a particular topic, or a series of lessons, in one place.

AQA English Language Paper 2

AQA English Language Paper 2 bundle that has recently been revamped and updated. Every lesson took around 7-10 hours to make and include modelled answers, scaffolds, differentiated activities, sources, engaging activities to open up challenging Q1, Q2, Q3, Q4 and Q5 (Non-fiction writing) tasks to all students.<br /> <br /> The bundle contains 20 resources that cover both Section A (Nonfiction reading) and Section B (Nonfiction writing) so you know you'll be looking at the whole exam.<br /> <br /> The lessons contained are:<br /> <br /> 1) Introduction lesson that looks at travel writing (Q1, Q2, Q4) - Armitage and Dickens<br /> 2) Lesson on Donald Trump article that covers Q1 and Q3<br /> 3) Lesson on travel writing (Rory Stewart, Dorothy Wordsworth) that covers Q1, Q2 and Q3.<br /> 4) Summary writing lesson that looks at Dickens and a Unicef speech<br /> 5) Crime and Punishment lesson on Q1 and Q2<br /> 6) Crime and Punishment lesson on Q2<br /> 7) Crime and Punishment lesson on Q3<br /> 8) Crime and Punishment lesson on Q4<br /> 9) Paper 2 walking, talking mock that uses the theme of crime and punishment<br /> 10) Section B opening and ending articles<br /> 11) Newspaper article writing / writing to explain<br /> 12) Magazine article writing / writing to argue<br /> 13) Speech writing (Winston Churchill)<br /> 14) Speech writing (Barack Obama)<br /> 15) Paper 2 exam preparation lesson<br /> 16) Paper 2 revision lesson<br /> 17) Escape room revision lesson<br /> 18) Paper 2 Section A knowledge organiser<br /> 19) Paper 2 Section A exam practice pack<br /> 20) Florence Nightingale themed Q1-Q4 lessons<br /> <br /> Bundle (20x 1hr PP, differentiated tasks throughout using new GCSE numbering system)<br /> <br /> All tasks differentiated according to new GCSE numbering system, this bundle is designed for the New Spec AQA Language Paper 2.<br /> <br /> Complete 1 hour, well differentiated lessons, with worksheets where applicable.<br /> Suitable for KS4 or adaptable for KS3<br /> Different level tasks for MA,LA or Core<br /> Designed to fit Ofsted criteria for' Good' or above.<br /> <br /> Many more inexpensive, high quality English resources are available at my shop:<br /> <a href="https://www.tes.com/teaching-resources/shop/Lead_Practitioner">Lead Practitioner's Shop</a>

AQA English Language Paper 2 Question 5

A collection of TWENTY English Language Paper 2 Question 5 lessons (17 x1 hour and 3x 2 hour) that cover writing to argue, writing to advise, writing to persuade, letter writing and essay writing. A great collection of differentiated activities, modelled examples, scaffolded sentences and guided peer and self reflection that enables students to learn from others and improve their non-fiction writing in preparation for AQA English Language Paper 2 Section B or Question 5. The suggested order of lessons is as follows (although this is by no means obligatory): * AQA Paper 2 Section B Speech Writing * Speech Openers * Churchill Speech Writing * Lincoln Speech Writing * Speech Structure * Newspaper Writing * Magazine Article Writing * Writing to Persuade - Football * Greta Thunberg Speech Writing * Black History Month - Essay Writing * Writing to Advise * Letter Writing - Writing A Formal Letter * Writing to Persuade - Letters of Complaint * AQA English Language Exam Prep/Mock prep lesson Pack also contains: * Assessment planning for writing to argue - could be used as a separate writing to argue lesson * Assessment planning for letter writing - could be used as a separate letter writing lesson * Paper 2 Question 5 revision pack * Knowledge organiser for revision * June 2018 AQA exam review lesson if you use this paper as a mock/prep **Check out our [English Shop](http://www.tes.com/teaching-resources/shop/Lead_Practitioner) for loads more free and inexpensive KS3, KS4, KS5, Literacy and whole school resources.** [AQA English Language Paper 1 and Paper 2 Knowledge Organisers](http://www.tes.com/teaching-resource/-12063979) [AQA English Language Paper 1 Section A package](http://www.tes.com/teaching-resource/-11757237) [AQA English Language Paper 1 Sections A and B package](http://www.tes.com/teaching-resource/-11747224) [AQA English Language Paper 1 package](http://www.tes.com/teaching-resource/-11561370) [AQA English Language Paper 2 Question 5 package](http://www.tes.com/teaching-resource/-11899610) [AQA English Language Paper 1 Question 5 package](http://www.tes.com/teaching-resource/-11483869) [AQA English Language Paper 2 Section A package](http://www.tes.com/teaching-resource/-11828984) [AQA English Language and English Literature revision package](http://www.tes.com/teaching-resource/-11449199) [An Inspector Calls whole scheme package](http://www.tes.com/teaching-resource/-11711589) [An Inspector Calls revision package](http://www.tes.com/teaching-resource/an-inspector-calls-gcse-9-1-exam-practice-11850503) [Macbeth whole scheme package](http://www.tes.com/teaching-resource/-11702645) [Macbeth revision package](http://www.tes.com/teaching-resource/-11904820) [A Christmas Carol whole scheme package](http://www.tes.com/teaching-resource/-11718691) [A Christmas Carol revision package](http://www.tes.com/teaching-resource/-12080244) [Jekyll and Hyde whole scheme package ](http://www.tes.com/teaching-resource/-11607362) [Jekyll and Hyde revision package](http://www.tes.com/teaching-resource/-11904852) [Romeo and Juliet whole scheme package](http://www.tes.com/teaching-resource/-11903624) [Power and Conflict poetry comparing poems package](http://www.tes.com/teaching-resource/-11843215) [Power and Conflict poetry whole scheme package](http://www.tes.com/teaching-resource/-11563766) [Love and Relationships poetry whole scheme package](http://www.tes.com/teaching-resource/-11924178) [Unseen Poetry whole scheme package](http://www.tes.com/teaching-resource/-11843275)

Newspaper Magazine Writing

Two incredibly detailed newspaper and magazine writing lessons, perfect for AQA English Language Paper 2 Question 5 but also useful for analysing these text types, purposes and audiences for Section A. **Check out our [English Shop](http://www.tes.com/teaching-resources/shop/Lead_Practitioner) for loads more free and inexpensive KS3, KS4, KS5, Literacy and whole school resources.** [AQA English Language Paper 1 and Paper 2 Knowledge Organisers](http://www.tes.com/teaching-resource/-12063979) [AQA English Language Paper 1 Section A package](http://www.tes.com/teaching-resource/-11757237) [AQA English Language Paper 1 Sections A and B package](http://www.tes.com/teaching-resource/-11747224) [AQA English Language Paper 1 package](http://www.tes.com/teaching-resource/-11561370) [AQA English Language Paper 2 Question 5 package](http://www.tes.com/teaching-resource/-11899610) [AQA English Language Paper 1 Question 5 package](http://www.tes.com/teaching-resource/-11483869) [AQA English Language Paper 2 Section A package](http://www.tes.com/teaching-resource/-11828984) [AQA English Language and English Literature revision package](http://www.tes.com/teaching-resource/-11449199) [An Inspector Calls whole scheme package](http://www.tes.com/teaching-resource/-11711589) [An Inspector Calls revision package](http://www.tes.com/teaching-resource/an-inspector-calls-gcse-9-1-exam-practice-11850503) [Macbeth whole scheme package](http://www.tes.com/teaching-resource/-11702645) [Macbeth revision package](http://www.tes.com/teaching-resource/-11904820) [A Christmas Carol whole scheme package](http://www.tes.com/teaching-resource/-11718691) [A Christmas Carol revision package](http://www.tes.com/teaching-resource/-12080244) [Jekyll and Hyde whole scheme package ](http://www.tes.com/teaching-resource/-11607362) [Jekyll and Hyde revision package](http://www.tes.com/teaching-resource/-11904852) [Romeo and Juliet whole scheme package](http://www.tes.com/teaching-resource/-11903624) [Power and Conflict poetry comparing poems package](http://www.tes.com/teaching-resource/-11843215) [Power and Conflict poetry whole scheme package](http://www.tes.com/teaching-resource/-11563766) [Love and Relationships poetry whole scheme package](http://www.tes.com/teaching-resource/-11924178) [Unseen Poetry whole scheme package](http://www.tes.com/teaching-resource/-11843275) Or check out some Citizenship GCSE, RE, PSHE + RSE resources at [EC Resources](https://www.tes.com/teaching-resources/shop/EC_Resources)

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How to structure broadsheet articles

How do you go about writing a broadsheet article.

A broadsheet article reports the facts and details of an event, without an author's opinion (as would be the case in a tabloid newspaper). In general, they are unbiased but this is often not the case in real newsprint. The idea is for the reader to form their own opinion based on the given information Before you start writing you need to think who your audience is and who the article is aimed at, use the who, what, where, when, why and how format in your opening then concentrate on the important information in the main section of the article The article should be written in complete sentences, using formal language, and be broken up in to sections to help the reader navigate the article. The article would usually be about something serious and newsworthy, including current affairs, rather than commenting on popular media and celebrities. Don’t forget to add a title, date, and author’s name to the article. The title should also be formal and to the point, avoiding puns or jokey headlines as in tabloids. The first thing when writing a newspaper article is to find some event worth reporting on . A newspaper article, as others have said, reports the facts and details of an event.  As you might expect, there is no rising action, falling action or climax – this is not a story, this is the fact. Begin with the most important, critical points of the article. For example, Yesterday night around 11 pm, a man, George Bluth, 41 was shot in front of Parker Square Mall.  Police responding to the scene of the shooting cordoned off a small area near the doors of the mall, and did not respond to questions. Mr. Bluth was taken to the St. Catherine’s Memorial Hospital, and is currently in stable condition. According to Mrs. Bluth, George was walking home from a night with friends, and the police say that he was attacked by several youths…You should progress through the story, and each paragraph should contain less important facts than the paragraph before. As many others have said, you should use formal language as I have above.  Instead of “I asked the police…”, you should write “police reported that…” and so on.

Below is the structure and features of a broadsheet article:

Emphasis on important global/national news, political, economic, social and cultural issues. Covers politics, finance, and current affairs. Often has a sports supplement.

Few photographs, A2 size, black/white. Frontpage should be more informative, about public issues. The design emphasizes content through detailed articles in small print, with some emphasis on photographs and restrained use of color.  

It should be informative, factual, serious language, black/white.  

Formal language, highly researched, factual details, neutral and unbiased, small print. Varied types of sentences. Emphasis on the information.

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How do you start a letter about yourself to your teacher?

How do you start a letter about yourself.

If you’ve ever had English homework or an English assignment , chances are you’ve probably had to do one of those ‘introduce yourself in x words or sentences’ moments. While it should be easy, writing about yourself can be one of the hardest skills to attain.   Let’s take a look at some scenarios in which you might be asked to write about yourself.  

drafting_letters

What are 5 words to describe yourself?

words_to_describe_you

  Let’s start with the informational letters. The types of descriptions about yourself you’ll want to include in these types of letters will be mostly surface level.  

  If, on the other hand, you’re soliciting a recommendation or are giving more details for your teacher to include in your recommendation, you should try to use descriptive words dealing with your accomplishments, both academic and professional. In addition, you should include any personal and professional aspirations.  

  When you’re interested in contacting a teacher for a professional opportunity that they’re offering or that you’re extending, you should focus more on the details of who you are and what the proposed project will be.  

How to introduce yourself

Whether you’re looking for English homework help or wondering how do you start a letter to a teacher, introducing yourself can be hard. When you introduce yourself, no matter who your audience is, you should always include a couple of key informational points.   Regardless of who your letter is meant for, you will most likely need to cover 3 basic points :  

  Introducing yourself can take anywhere from a sentence to a couple of paragraphs. Here is the rule of thumb for the length that introductions should take for different types of letters.  

Introduce yourself example

example_letter_teacher

Connecting words in English writing

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Teenagers playing guitar and listening

Learning music the informal way some popular musicians do could inspire more school students

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Lecturer in Education (music specialist), Edge Hill University

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Anna Mariguddi does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

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Music is a school subject facing difficult times . In England, fewer students are taking the subject at GCSE , not enough people are training to become secondary music teachers , and the subject is suffering from a lack of funding .

One problem may be that the way music is taught in school has become increasingly formal. The current music national curriculum , introduced in 2014, includes using staff notation , learning music history, and listening to the music of “great composers and musicians”. This was a shift in comparison to the previous, more child-centred national curriculum.

Wider education policy on how future teachers should be trained places emphasis on teacher control and well-structured lessons – again, perpetuating more formal, traditional approaches.

But this isn’t how many popular musicians – the artists students may be listening to on their way into school – learn how to play music . Their approach is often more informal. Many learn to play by ear , hearing a piece of music and figuring it out on an instrument.

Bringing this approach into the classroom to a greater extent could help both students and the subject of music itself.

Freedom to play

Informal learning can look and sound haphazard at times, but has close ties with more natural ways of engaging with music. In one example of the approach, pioneered by the professor of music education Lucy Green, students begin “in at the deep end” – tasked with copying a song of their choice, by ear, working together in groups. They are required to work out the various parts of the song, often building up to a performance.

This kind of learning gives students more freedom and independence in the classroom, and a more equal power balance with the teacher is encouraged. The role of the teacher is to set the task, then let the students choose how they approach it and help only when needed. The students can decide on their own pace of learning and the level of difficulty of the part they play within their group.

This can lead to increased student confidence in the music classroom. Although the teacher is still in control by default, this approach can prompt them to trust in the musical activity their students are engaging in, resisting the temptation to step in too soon.

Informal learning is linked with increased numbers of students choosing the subject at GCSE . This suggests it has the potential to capture the interest of some students who might have previously become disengaged with music lessons.

Learn what you love

Students are motivated by being able to choose what music they will play with their friends – often selecting popular music. By welcoming student choice of music into the classroom, increased links are forged between in- and out-of-school music. Students are engaging in a learning practice that exists beyond the confines of the classroom, and which has relevance to their musical interests and passions.

Children singing together

Also, this does not mean that informal learning cannot extend beyond popular music. While students often choose to bring popular music into the classroom, the underpinning research shows once they are motivated and engaged, the teacher can move beyond this genre and draw upon aspects of the approach to introduce other types of music into the classroom in later stages.

The non-profit Musical Futures has contributed towards the development of informal learning and continues to advocate and promote its ethos . And although the approach is largely aimed at secondary school students, primary students can benefit from adapted versions of informal learning.

Facilitating informal learning might feel risky for some teachers. They face a variety of pressures and requirements, and may feel this kind of learning does not align with wider education policy and the expectations of their role.

Informal music learning is not always easy to assess, either. And embracing learning that is informal and “haphazard” might lead to a fear of judgment – that the teacher lacks control of pupil behaviour.

However, informal learning offers a way to challenge thinking about how music is taught, and to consider alternative possibilities to enable the subject to flourish in school.

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Joe Biden gives the media a desperately needed lesson about Donald Trump

The president has to break the news to journalists that trump plans to jail us, by brian karem.

The most disturbing thing I’ve ever heard a president say did not come from Donald Trump.

It came from Joe Biden. Speaking with reporters in California on Thursday, the president said this  about Donald Trump. “Two of your former colleagues not at the same network personally told me if he wins, they will have to leave the country because he’s threatened to put them in jail,” Biden told Katie Couric. “He embraces political violence,” Biden said of Trump “No president since the Civil War has done that. Embrace it. Encourages it.”

Perhaps I should have been shocked at the revelation that Trump, should he return to power, would jail reporters. I wasn’t of course. I had to fight him (and beat him) three times in court during his first administration to keep my White House press pass. I had already privately heard Trump’s threats. It was just disturbing to hear Joe Biden confirm it publicly.  

I have already been jailed four times trying to defend my First Amendment rights when I covered a criminal case in Texas years ago.  I spent a total of about two weeks in jail for that and do not want to repeat my experience. I am not alone. There are at least a dozen reporters in this country who’ve done the same thing: gone to jail to protect their rights.  We call ourselves the First Jailbirds Club. 

A few years back we got together at the National Press Club to speak about our experience. The group had never gathered before. We found that while our experiences were very different, we all shared one thing in common: Those who demanded we go to jail, whether they were with a city, county, state or federal government agency,  claimed to support the First Amendment. They just didn’t think it applied in our case.

The fate of Alexei Navalny in Russia reminds us of the most extreme example of what can occur when members of the government don’t respect free speech or, for that matter, political opposition. But, the fate of Julian Assange is also a reminder that it isn’t just Trump who is an enemy of the free press. Biden’s Department of Justice could drop the prosecution of Assange picked up under the Trump administration yet  has not done so. The Wikileaks founder has been languishing in prison for five years and has been battling extradition and felony charges in the U.S. for nearly 13 years for publishing classified government documents based on the idea that the public had a right to know.

How long shall we tolerate politicians who are so hungry for power that they will risk destroying us all to get it?

Imagine if Assange were extradited back to the U.S. prior to the November election. Trump would accuse Biden of persecuting journalists while being guilty of the crime himself.

It boils down to this: For a reporter to trust what any politician says is not only foolish but dangerous. Some won’t jail you. They all will lie to you.

I have always had a mistrust of authority, since I was a young child and saw our next door neighbor, a police officer, harass and confiscate illegal fireworks from neighbors on the Fourth of July, only to bring them to his house and light them off.

“My contempt of authority … made me an authority myself,” Albert Einstein said . I know of what he speaks. Experience is the ultimate teacher and only those who have it can understand.

As an example, as often as I would preach to my oldest son when he was young that he should not stick his finger in a Christmas tree light socket, he didn’t really understand until he suffered the consequences of doing it. He soon became an authority on that subject.

My experience tells me that Donald Trump means exactly what he says, and there are plenty of politicians who would do the same if they had the chance. Worse, in covering the Hamas war, a record number of reporters have been murdered in an attempt to silence those of us who risk it all to inform others. Those in power do not want us to inform everyone else about what is going on. To do so would be to risk losing control over the masses. 

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How long shall we tolerate politicians who are so hungry for power that they will risk destroying us all to get it? 

The press, of course, are rascals in their own right. But the difference is we cannot do anything but report vetted facts, although many times we do that poorly – often because of government intervention – directly and indirectly. We remain trapped by the politician who owns the pulpit and can operate the levers of power. The politician can jail the reporter. The reporter cannot jail the politician. We also remain trapped by the public who’ve been manipulated by the government into thinking we’re the problem.

To be a reporter you must either have a thick hide if you wish to do your job correctly, or a limited intellect or lack courage if you do not. You can avoid being pilloried, but only if you either play the game with those who wield the power, or are too stupid to understand the game being played. 

While standing outside of President Biden’s appearance at a library in Culver City, California on Wednesday, I saw a protester screaming “Genocide Joe has to Go!” I approached the protester who carried a bullhorn and asked “why do you call him Genocide Joe?” It was a simple question and an obvious one to ask. Instead of answering it, the person I asked became angry and accused me of being stupid, a Zionist, a racist, a CIA operative, and several other choice invectives that caused me to chuckle. 

Shortly before Thanksgiving last year, I ran into a protester waving an Israeli flag outside of the White House. He was shouting that all Palestinians were Hamas terrorists. I asked, “Do you really think everyone in Gaza is a terrorist?” I had to ask for obvious reasons, but I was told then I was an anti-Zionist, a Hamas supporter and probably a terrorist. 

I’ve also been called a Trump supporter for asking someone if they thought Biden was old. And called a communist, a fascist, and a Biden supporter for simply pointing out the fact that Trump lost the 2020 election. I can’t help but chuckle at it all. 

Want a daily wrap-up of all the news and commentary Salon has to offer? Subscribe to our morning newsletter , Crash Course.

Since none of those who have said these things about me, or any other reporter , actually knows us, I cannot take the insults seriously. But I do take the emotion behind them seriously.

America is suffering from a disease. While we can only hope, as Einstein did, that the present crisis can lead to a better world, so far we’ve seen very little evidence of that possibility. We’ve only seen the psychic distemper brought about by excessive nationalism and the equally violent response to it. 

The extremists at both end of the political spectrum are contributing to a lack of trust of the press, but make no mistake, Trump’s intentions are beyond misunderstanding. He is the catalyst and the driving force behind the disharmony. Remove him and while there may not be a cessation of the stupidity, there will be a calming of the waters.

That is why the world cannot see Trump back in the White House. He knows nothing but divisiveness. And Biden was right to point out that Trump wants to jail reporters.

Trump supporters don’t care. But I’ve eaten Texas jail food, so I do.

When Einstein fled Germany he fled the poison of nationalism and longed for a country of civil liberty and tolerance. The closest he found was here in the United States. Where is it today? More importantly, where will it be after the November general election?

from Brian Karem on the 2024 election

  • Will Alexei Navalny's death finally break Trump's hold on evangelicals?
  • Biden and Trump are both too old – but only one is a traitor
  • Hiding Joe Biden from the media won’t help him win
  • There is no horse race — the stakes are too high this time

Brian Karem is the former senior White House correspondent for Playboy. He has covered every presidential administration since Ronald Reagan, sued Donald Trump three times successfully to keep his press pass, spent time in jail to protect a confidential source, covered wars in the Middle East and is the author of seven books. His latest is " Free the Press ."

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Pupils sitting an exam

GCSE grades a good predictor of life chances and wellbeing, research shows

Study of 23-year-olds found the exams were even more important for those from disadvantaged backgrounds

GCSE grades have an excellent track record in predicting the future lives and careers of young adults, according to researchers, who found the exams were even more crucial for those from disadvantaged backgrounds.

Academics from Leeds and York universities found that the predictive power of GCSE results outstripped those of gender or later qualifications, including university degrees, in charting the development of young people from the age of 16 into their early 20s.

“What we can definitely say is that GCSEs have a considerable impact on how your life develops into your early 20s, and that the benefits from GCSEs are over and above the education someone obtains later,” said Alexandra Starr, a post-doctoral researcher at the University of York and one of the study’s authors.

“The main message I would say is that GCSE grades are important in real life. We always talk about whether exams are only important within the education system, to climb the next rung in the educational ladder. But it’s also important beyond that.”

The research, published on Thursday in the journal Developmental Psychology , comes as nearly 800,000 students in England, Wales and Northern Ireland prepare to sit their GCSE exams this spring.

The researchers interviewed 6,500 people aged 23, recording their GCSE grades and later qualifications such as A-levels and degrees, along with their current occupation, income and questions on their financial and emotional wellbeing, as well as other measures including family background.

While those with strong GCSE results also did well in terms of university entry and prestigious occupations, the results were particularly marked for those from disadvantaged backgrounds.

“It’s important to encourage children to perform well in school because it’s important for their overall future. And it’s important to acknowledge this is especially true for children from less privileged backgrounds,” said Starr.

“For them it is more important to obtain good grades at GCSE level, to then have further educational opportunities such as going to university and being admitted into the courses they want to study, compared to their more privileged peers, who might have more of a support system they can rely on.”

Lee Elliot Major, professor of social mobility at the University of Exeter, who was not involved in the research, said: “Education can be the great social leveller for children from under-resourced backgrounds – the huge challenge we face in the post-pandemic era is that too few are securing the basic GCSE grades needed to function and flourish in later life.

“Our country would be a fairer and more productive place if we targeted more education resources to those pupils who have been held back by the rising levels of inequality we are now experiencing.”

The Sutton Trust, which campaigns for social mobility through education, warned that there is a “ticking time bomb” being created by the widening attainment gap between rich and poor pupils in England.

The trust is calling for the next government to create a long-term national strategy to close the gap, including rebalancing funding back towards schools serving the most disadvantaged communities.

  • Social mobility
  • University of York

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The Most Important Writing Exercise I’ve Ever Assigned

An illustration of several houses. One person walks away from a house with a second person isolated in a window.

By Rachel Kadish

Ms. Kadish is the author of the novel “The Weight of Ink.”

“Write down a phrase you find abhorrent — something you yourself would never say.”

My students looked startled, but they cooperated. They knew I wouldn’t collect this exercise; what they wrote would be private unless they chose to share it. All that was required of them was participation.

In silence they jotted down a few words. So far, so good. We hadn’t yet reached the hard request: Spend 10 minutes writing a monologue in the first person that’s spoken by a fictitious character who makes the upsetting statement. This portion typically elicits nervous glances. When that happens, I remind students that their statement doesn’t represent them and that speaking as if they’re someone else is a basic skill of fiction writers. The troubling statement, I explain, must appear in the monologue, and it shouldn’t be minimized, nor should students feel the need to forgive or account for it. What’s required is simply that somewhere in the monologue there be an instant — even a fleeting phrase — in which we can feel empathy for the speaker. Perhaps she’s sick with worry over an ill grandchild. Perhaps he’s haunted by a love he let slip away. Perhaps she’s sleepless over how to keep her business afloat and her employees paid. Done right, the exercise delivers a one-two punch: repugnance for a behavior or worldview coupled with recognition of shared humanity.

For more than two decades, I’ve taught versions of this fiction-writing exercise. I’ve used it in universities, middle schools and private workshops, with 7-year-olds and 70-year-olds. But in recent years openness to this exercise and to the imaginative leap it’s designed to teach has shrunk to a pinprick. As our country’s public conversation has gotten angrier, I’ve noticed that students’ approach to the exercise has become more brittle, regardless of whether students lean right or left.

Each semester, I wonder whether the aperture through which we allow empathy has so drastically narrowed as to foreclose a full view of our fellow human beings. Maybe there are times so contentious or so painful that people simply withdraw to their own silos. I’ve certainly felt that inward pull myself. There are times when a leap into someone else’s perspective feels impossible.

But leaping is the job of the writer, and there’s no point it doing it halfway. Good fiction pulls off a magic trick of absurd power: It makes us care. Responding to the travails of invented characters — Ahab or Amaranta, Sethe or Stevens, Zooey or Zorba — we might tear up or laugh, or our hearts might pound. As readers, we become invested in these people, which is very different from agreeing with or even liking them. In the best literature, characters are so vivid, complicated, contradictory and even maddening that we’ll follow them far from our preconceptions; sometimes we don’t return.

Unflinching empathy, which is the muscle the lesson is designed to exercise, is a prerequisite for literature strong enough to wrestle with the real world. On the page it allows us to spot signs of humanity; off the page it can teach us to start a conversation with the strangest of strangers, to thrive alongside difference. It can even affect those life-or-death choices we make instinctively in a crisis. This kind of empathy has nothing to do with being nice, and it’s not for the faint of heart.

Even within the safety of the page, it’s tempting to dodge empathy’s challenge, instead demonizing villains and idealizing heroes, but that’s when the needle on art’s moral compass goes inert. Then we’re navigating blind: confident that we know what the bad people look like and that they’re not us — and therefore we’re at no risk of error.

Our best writers, in contrast, portray humans in their full complexity. This is what Gish Jen is doing in the short story “Who’s Irish?” and Rohinton Mistry in the novel “A Fine Balance.” Line by line, these writers illuminate the inner worlds of characters who cause harm — which is not the same as forgiving them. No one would ever say that Toni Morrison forgives the character Cholly Breedlove, who rapes his daughter in “The Bluest Eye.” What Ms. Morrison accomplishes instead is the boldest act of moral and emotional understanding I’ve ever seen on the page.

In the classroom exercise, the upsetting phrases my students scribble might be personal (“You’ll never be a writer,” “You’re ugly”) or religious or political. Once a student wrote a phrase condemning abortion as another student across the table wrote a phrase defending it. Sometimes there are stereotypes, slurs — whatever the students choose to grapple with. Of course, it’s disturbing to step into the shoes of someone whose words or deeds repel us. Writing these monologues, my graduate students, who know what “first person” means, will dodge and write in third, with the distanced “he said” instead of “I said.”

But if they can withstand the challenges of first person, sometimes something happens. They emerge shaken and eager to expand on what they’ve written. I look up from tidying my notes to discover students lingering after dismissal with that alert expression that says the exercise made them feel something they needed to feel.

Over the years, as my students’ statements became more political and as jargon (“deplorables,” “snowflakes”) supplanted the language of personal experience, I adapted the exercise. Worrying that I’d been too sanguine about possible pitfalls, I made it entirely silent, so no student would have to hear another’s troubling statement or fear being judged for their own. Any students who wanted to share their monologues with me could stay after class rather than read to the group. Later, I added another caveat: If your troubling statement is so offensive, you can’t imagine the person who says it as a full human being, choose something less troubling. Next, I narrowed the parameters: No politics. The pandemic’s virtual classes made risk taking harder; I moved the exercise deeper into the semester so students would feel more at ease.

After one session, a student stayed behind in the virtual meeting room. She’d failed to include empathy in her monologue about a character whose politics she abhorred. Her omission bothered her. I was impressed by her honesty. She’d constructed a caricature and recognized it. Most of us don’t.

For years, I’ve quietly completed the exercise alongside my students. Some days nothing sparks. When it goes well, though, the experience is disquieting. The hard part, it turns out, isn’t the empathy itself but what follows: the annihilating notion that people whose fears or joys or humor I appreciate may themselves be indifferent to all my cherished conceptions of the world.

Then the 10-minute timer sounds, and I haul myself back to the business of the classroom — shaken by the vastness of the world but more curious about the people in it. I put my trust in that curiosity. What better choice does any of us have? And in the sanctuary of my classroom I keep trying, handing along what literature handed me: the small, sturdy magic trick any of us can work, as long as we’re willing to risk it.

Rachel Kadish is the author of the novel “The Weight of Ink.”

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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How to write a newspaper report

Did you know.

  • The Times is the UK’s oldest current daily national newspaper, founded as The Daily Universal Register in 1785 before changing its name to The Times in 1788.
  • The Sun  is currently Britain’s biggest selling daily newspaper.
  • The Observer was first published in 1791 and is the world’s oldest Sunday paper.

Introduction to newspaper reports

Have you ever wondered how newspapers came to exist or how newspapers decide what is ‘news’?

Key learning points

  • A brief history of newspapers.
  • The differences between broadsheet and tabloid newspapers.
  • How to write like a journalist, creating memorable headlines and writing informative articles.

Video about newspapers

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A video explaining the differences between tabloid and broadsheet newspapers and what goes in to making a newspaper report

Video Transcript Video Transcript

Newspaper reports are written for different audiences – the same story could be covered in a tabloid , or a broadsheet newspaper.

However, there are likely to be differences in the way the story is reported and presented - starting with the headlines :

Baked Britain Monday meltdown Believe it or hot!

Tabloid headlines often use humour. They might also slightly exaggerate (only slightly, though!). They often feature alliteration .

Baked Britain Burns

Tabloids often use shock tactics to make their headlines dramatic and enticing. On the other hand, the headlines in broadsheet newspapers tend to be less dramatic, appealing to an audience interested in reading longer articles:

Hottest day of the year in UK heatwave

Whether they’re writing for tabloids or broadsheets, journalists use facts to add substance and authority. Simple, succinct information can help to clarify specific details.

Hottest day of the year hits 37 C high

After the headline, comes the by-line . A by-line can just say who wrote the article, or it might add a short summary.

Amy Jones reports on how the heatwave is predicted to bring record-breaking temperatures.

Articles often follow an ordered structure, starting with the lead paragraph . The format is similar for either a tabloid or a broadsheet. Stories tend to start with the main news facts: what happened, when, who was involved and why it happened?

Then, in the main body of the article, we might find more details - facts, stats, quotations from relevant people or, perhaps, analysis. The main events of the story are described in chronological order. Quotes are often the heart of an article, and journalists try to build a picture of how this story fits into current trends or the wider world. The summary might point to the future.

So, the same story, a similar structure, but with a different approach to writing - to appeal to different audiences.

Informal, straightforward language in the tabloid, contrasted with more formal, often more complex language in the broadsheet.

And alongside the article, there’s the layout, presentation and images to consider, but that’s another story altogether.

History of newspapers

An image of roman lettering engraved in stone

The first regular recorded news service was the Acta Diurna (Daily Acts), which was published in ancient Rome from 59 BC. News was carved into stone or metal and displayed in public places. It contained births, marriages, deaths, and important announcements from Emperors to Roman citizens.

A newspaper with the heading 'The Daily Courant' and the date 'Thursday March 12, 1702'.

In the 17th century, newspapers in Europe were mostly business and trade newsletters, with political news from across the globe. News was censored if, for example, the government did not want people to read about bad news from wars or other events. The first daily newspaper in the UK, The Daily Courant, was produced by Elizabeth Mallet in 1702.

An image of lots of headlines cut out - Including words like; Culture, sale, arrested, richest'.

By the 19th and 20th century there were newspapers all around the world. Freedom and censorship of the press was different in every region – as it is today. Many newspapers gained more readers and made money by publishing ‘news’ that was entertaining, scandalous and sensationalised.

An image of a tablet computer on top of a stack of newspapers

Now in the 21st century, newspapers are also online, competing with free alternative news sources from social media and websites.

Broadsheets v tabloids

Broadsheets.

  • Historically broadsheets close broadsheet A newspaper with large format regarded as serious. were much larger than tabloid newspapers.
  • They first appeared in the 18th century to reduce the number of pages a newspaper needed, so as to reduce the amount of tax paid.
  • As they focused on political and business news, they had fewer readers.
  • They tend to have more in-depth, longer articles.
  • Traditionally, tabloid close tabloid A newspaper smaller than a broadsheet, with many images and sensational headlines. newspapers, were significantly smaller than broadsheets.
  • Their content was viewed as less ‘serious,’ less in-depth, for entertainment and easier to read.
  • Sometimes known as ‘red tops’ in the UK they were instantly recognisable because of their red mastheads close masthead The newspaper’s title or name, displayed on the front page. .
  • Also recognisable by their large photographs and less text on the front page.

However, both tabloid and broadsheet newspapers have shared elements of serious news, business, general interest and entertainment. Today, some of the traditional broadsheet newspapers have become smaller in size and some newspapers are now entirely online – so it is not as easy to split them into these two types.

Headlines and by-lines

To attract people to buy and read the news, newspaper articles need to grab readers’ attention. One way every article does this is through the use of headlines.

Headlines close headlines Headlines are headings that title newspaper articles. inform the reader about the content and purpose of the article. Headlines are usually short and remove unnecessary words, for example, this headline: ‘Baby found alive after earthquake’ has removed all the little words: A baby is found alive after an earthquake.

Headlines can:

  • be informative
  • be humorous
  • use famous quotes
  • use puns (word play) or alliteration close alliteration The repetition of the same sounds or consonants in two more words nearby each other.
  • make bold statements
  • ask a question
  • shock the reader

They are often accompanied by subheadlines or subheadings. A subheadline is a smaller title beneath the headline that adds information or makes it clearer what the article is about.

Near the headline or sub-headline, there is a by-line. By-lines give the names of the journalists that are involved in researching, writing and contributing to an article. This gives credibility to an article by showcasing the author, who may be an expert or well-informed about the subject matter in the article.

Puns and linguistic fun in headlines

Grabbing the reader’s attention through headlines needs more than a big bold font. The words selected for headlines are important. The way they are arranged requires linguistic creativity. Since headlines need to be short and punchy, linguistic devices close linguistic devices Words or phrases that convey a deeper meaning than the literal one. can be used to create as much impact as possible in the least number of words.

Images and influence

To attract a reader's attention, newspaper articles often use images that support the headline and the content in articles. Photographs in a newspaper are chosen by a picture editor and these choices play a crucial role in determining the look of a newspaper, especially the front page.

Photographs can provide evidence that the news article is authentic and truthful. They are usually accompanied by captions, below the picture, which describe what is happening in the picture.

Images can also include infographics, timelines, graphs – all of which collate and breakdown large and complex information for readers. Other images such as caricatures (distorted and exaggerated cartoons) can also be used to mock and parody close parody An imitation of something with deliberate exaggeration for a comedic effect. the subjects of the article.

Why images are used

Images provide fast and easily accessible information. The choice of photograph also plays a key role in influencing the reading of a story.

Images can influence readers through their ability to:

  • evoke emotion
  • ‘see’ what is being written about
  • allow the reader to view the evidence for themselves

A man gives a sprig of flowers to a heavily armed policeman holding a gun wearing an ammunition belt

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Brian Dietzen on Co-Writing an ‘NCIS’ Episode Honoring David McCallum: ‘The Ritual of a Memorial Is Something I Wanted Everyone to Be Able to Share’

The actor who plays Jimmy Palmer talks about giving Ducky his due... and also how things might shake out as his character enjoys an inter-office love interest.

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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ducky farewell episode died jimmy palmer

Brian Dietzen ‘s Jimmy Palmer is now the chief medical examiner on “ NCIS ,” having taken over that function as the character’s mentor, David McCallum ‘s Ducky character, slid into an emeritus role a few seasons ago. When McCallum died in September, it fell into Dietzen’s real-life lap to become something of a grief examiner, as he took on the duty of co-writing a farewell salute to Ducky — and to David — along with one of the series’ longtime executive producers, Scott Williams.

As McCallum’s primary scene partner for 20 seasons, Dietzen had a vested interest in celebrating Ducky for the third episode he has co-written for the show. (He talked about his writing debut for his series in an extensive interview with Variety almost exactly two years ago.) In this catch-up, he discusses wanting to provide both the audience and himself some catharsis with the double-duty on this episode… and what’s up for Jimmy Palmer beyond the current grief, with the show having the formerly bumbling character as one of its most solid rocks two decades into a historic run.

What was it like for you, to be co-writing a tribute episode, so soon after the death of the man you’d worked so closely with for 20 years?

You know, when you lose a friend, and then you process your grief by writing something immediately, that’s to be consumed by the masses — not writing and journaling about what you’re feeling, but writing something for performance, for public consumption… it was very strange in a way. But also very cathartic.

How quickly did the show move toward thinking about how to handle the death, and how did you come into the writing part?

You have some clips in the episode, but there are only so many you can work into 42 minutes when you also have to spotlight the team’s emotional responses… and have a crime, which no “NCIS” episode is ever going to go without, as a rule.

God knows we could have done a show where it was just clip after clip of David, and these wonderful, long diatribes that he’s had. But we wanted to make sure that there was something that brought the team together one last time with Ducky, and so we found a way to have this be something that Ducky had left undone, and that the team felt a need to honor their fallen friend by finishing something for him. You know, when you lose someone, it can sometimes feel like, “What do I do? What do I do with my hands? What do I do with my body right now?” And you can feel jittery, because this is a part of grief. And so our team actually gets to go into action, and not just sit in their distress but actually affect change in someone else’s life, and by proxy fulfill a wish of Ducky’s.

Was there anything that you specifically wanted to channel into the remembrance of the person or the character?

One of the biggest things that I wanted to talk about and explore had to do with the loss of any friend or a loved one, but that really works really hand-in-glove with the character of Ducky: He told so many stories, over the course of the last 20 years at NCIS, and that I think is what a lot of people remember that character for. I certainly will; me playing Jimmy Palmer, I listened to so many of those stories, some of them long, some of them very short and quippy. Ducky had a lot of those, and David had a lot of those over the course of his almost 70 years in Hollywood. The name of this episode is “The Stories We Leave Behind.” So that’s what I wanted to do to honor him, to recognize that those stories are earned and meaningful. You add ’em up altogether and you have a very full life, and that very full life is all we really leave behind to affect people; once we’re gone, those stories become our legacy.

You and your lab partner, Kasie (Diona Reasonover), have an interesting scene, where you discuss guilt that comes after a death over not having fully expressed feelings. And then that scene ends with an “I love you.” It’s like you’re telling the audience that we should feel good about actions having proved love… but hey, maybe we should be going beyond that with words.

Yeah. I’ve experienced that before and I have loved ones that have experienced that before, where you lose someone and you go, “Oh, man, did they know?” When my mom passed away, did she know how much I loved her? And of course she did, but still the question persists, and it still nags at you. And I think there is that moment for Kasie of saying, “You know what? I do love you.” It doesn’t hurt to say. There’s an “Our Town” sort of thing that happens there where it’s like: “Why are these people not saying they love one another every moment of every day? If I were able to go back and do it again, I would be doing that in a heartbeat.” And I love that idea that if if your eyes are open to (learning from) that, then maybe you savor that moment a bit more when you get to connect with someone on a Saturday morning, or the sandwich tastes a little better, and there’s something about life that you will look at and appreciate more than before you had lost anyone.

What were some of your thoughts about David, observing him up-close for almost 20 years? He had huge fame at an early age with “Man From U.N.C.L.E.,” then fell out of sight, then seemed to have a very casual relationship with the limelight when it came back to him, less intensely, in his career’s third act.

A lot of us would marvel at how young he seemed. You know, he was cast in this show when he was 70 years old, and everyone said, “Oh, he looks like he’s in his late 50s” when we started this show. And the guy had it figured out. He knew what stressed him out, and he avoided that. I remember saying, what’s the secret to the longevity and that sort of stuff, and he said, “I try not to stress myself too much. You know, if I find things that do stress myself out, I try not to do those things, or I try to get help with those from other people.”

But I think that some of the balance that you’re kind of alluding to — that he didn’t crave to be some rocketing, huge superstar — was that he loved his family more than anything. And I think that’s where his heart was a lot, and I’m so glad that over the past five, six years, he was able to spend a lot more time not just in California but in New York with all of his grandkids. He had a wonderful grounding that way.

David had been pretty much full-time with the show through the 15th season, and then he got on a semi-retirement path, it seemed, cutting his workload down to being on just half the episodes in a season, then six, then three, remotely. From the outside we didn’t necessarily know whether that was being realistic about what he could do health-wise, or whether that was just wanting to enjoy life. But fans did appreciate that he didn’t leave the show outright.

And what was incredible was that he was largely a very, very healthy person, keeping himself well. I mean, he was doing Pilates. And he still just hit the scenes hard. I mean, the scene that keeps being shown for these promos is a scene from a show where the character of Gibbs has just left (in the opening stretch of the 2021-22 season), and Jimmy is having a tough time with that and says, “We just lost Gibbs. Bishop just left, and I lost Breena last year, and I’m just about ready for people to stop leaving. I’m having a tough time here.” And David says — or sorry, Ducky says — “Change is the essence of life, and our pain is a small price to pay for his peace.” That scene, when we filmed that, that was probably one of the last handful of scenes that he and I got to film in person together. He just knocked it out of the park. And that was him at 88 years old, and just tremendous.

So, as far as him pulling back and wanting to do less, I think it had very, little to do with health or ability or anything like that, and much more to do with “what’s smart for my life, what’s good for me — but I never want to stop doing this, because it feeds my soul, it feeds my creative energy.” He always had been and always will be an actor. But he also wanted to just spend time with family. And he was so encouraging of me in my journey in taking over the role of medical examiner on the show. He couldn’t have been more supportive and more kind.

As someone who was his primary scene partner, you had a great introduction to the public, since an audience that had watched him for decades was going to be riveted to the few scenes they got with David every week, but with you as foil, he was not going to be sucking up all the oxygen.

To focus on Jimmy for a minute, the character has been considerably elevated over the years. His personal life has been highlighted. What do you foresee for any of that this season or going forward?

Jimmy’s been on on such a ride. Over the course of the last few years, Jimmy certainly has seen some tough stuff between obviously the biggest event of his life, which is the loss of his wife during COVID, and then his team shifting. And then, with the addition of Gary Cole and Katrina Law, there’s a very different team dynamic that this show has right now, and I absolutely love it. Being able to have Jimmy actually fall in love is great to play — not to mention, I get to do more scenes with Katrina Law, who’s an absolutely fantastic actor, and we work very well together. So we will definitely see some advancement of the Jimmy and Jessica storyline. That doesn’t necessarily mean that everything’s smooth sailing all the time. He loves her enough that he blurted out “I love you” in front of an entire bullpen full of people, and she was kind enough to say it back, later in the episode. But, yeah, there’s gonna be some stuff that they’re gonna go through that maybe is some growing pains, and maybe even some bigger stuff than that.

I’ve also already shot some stuff this season that is just some terrific, classic NCIS comedic stuff that I love digging my teeth into. Our writers have really given ussome incredible scenes to do. We have this truncated season of only 10 episodes, so everyone kind of feels like, “Oh, I get one at-bat, basically, this year,” and everyone swings hard and swings for the fences. Not to pat ourselves on the back too much, but when I read these scripts, I’m like, man, it’s just banger after banger. So, yeah, the comedic bits have been fantastic, the Jimmy and Jessica stuff has been great, and then, of course, you know, the crimes… There’s always the crimes.

It’s still a little surprising to see an inter-office romance treated comfortably on “NCIS,” for anyone who remembers the Tiva years, when the romantic tension between Tony and Ziva was always paramount and those lines into clear consummation wouldn’t be crossed. Then the audience got a real romance on the sister show, “NCIS Los Angeles,” and it seemed the franchise got a little friendlier with the idea that this doesn’t have to be played purely as torture. You can see why for a lot of years the show did not lean into anything like that, but at the same time, maybe the audience enjoys some contentedness.

No one can appreciate more than you the irony that, as a former bit player, you are one of the rocks of “NCIS” — along with Sean Murray, a year-one anchor the show’s O.G. viewers depend on.

Oh, I called it from day one! I got this one-day guest star role that I was gonna go audition for and I was like, “If I play my cards right, this is gonna turn into over two decades’ worth of work.” No, of course I couldn’t know, but I’m just happy and blessed to still be playing a character that’s changed and evolved quite a bit. And people keep enjoying the stories that we’re telling, and if we keep telling good ones, then I think hopefully they’ll keep ordering some more.

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As ‘coyote vs. acme’ hangs in the balance, warner bros. discovery takes $115m write-down on mystery projects.

The animated feature became the most talked about film in Hollywood for a moment in November, when Warners canceled the project, only to give it a temporary stay of execution.

By Aaron Couch

Aaron Couch

Film Editor

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CHARIOTS OF FUR, Wile E. Coyote, 1994

Those following the saga of Coyote vs. Acme waited with bated breath Friday for Warner Bros. Discovery ‘s earnings report to hint at any signs of the animated film’s fate.

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Warner bros. discovery stock drops as wall street reacts to earnings and lack of guidance, warner bros. discovery becomes first hollywood conglomerate to turn full-year streaming profit, hitting $103m.

Friday brought no definitive news on Coyote vs. Acme ‘s future, but there are troubling signs for those rooting for its release. As part of an earnings filing, Warner Bros. Discovery said it wrote off $115 million in content due to abandoning films in the third quarter of 2023 as part of a “strategic realignment plan associated with the Warner Bros. Pictures Animation group.”

Notably, Warners relaunched its theatrical animation division last year under the lead of Bill Damaschke and the plan is for the unit to have two features a year on its slate beginning in 2026, WBD CEO David Zaslav added on Friday in a call with analysts.

Part of those $115 million in newly disclosed write-down costs could conceivably belong to Coyote vs. Acme , a $70 million feature whose fate has been hanging in the balance for several months. Will Forte, John Cena and Lana Condor star in the film, a live-action, CG animation hybrid, alongside classic Looney Toons character Wile E. Coyote. Warner Bros. had no comment one way or the other.

Since last fall, there has been a grassroots campaign to save Coyote vs. Acme , with voice actor Eric Bauza among those championing the hashtag #ReleaseCoyoteVsACME. Observers were aware Friday could be judgment day for the project, as it was assumed the earnings disclosure would reveal its fate. Wrote Bauza Friday morning on X: “The fight to release ‘Coyote Vs ACME’ goes far beyond saving a great movie. We are trying to preserve the integrity & importance of these icon legacy characters, while protecting the creative process of storytelling all together.”

Alex Weprin and Borys Kit contributed to this story.

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Fake sexually explicit video of podcast host Bobbi Althoff trends on X despite violating platform’s rules

A fake sexually explicit video of podcast host Bobbi Althoff spread rapidly on X Tuesday afternoon, adding to the platform’s recent challenges in cracking down on deepfakes of female celebrities.

Althoff, a successful TikTok creator-turned-podcaster who has interviewed rappers including Drake and Offset on her show “The Really Good Podcast,” wrote in an Instagram story on Wednesday morning that “the reason I’m trending is 100% not me & is definitely AI generated.”

Deepfakes are a form of manipulated media that uses AI to edit previously existing content. Sexually explicit deepfakes like the one targeting Althoff often take the form of a stolen pornographic video where the original adult performer’s face is “swapped” with the victim’s face.  

X has in recent weeks become a breeding ground for nonconsensual deepfakes following the viral spread in January of digitally created, sexually explicit images of Taylor Swift . Such content violates X’s nonconsensual nudity policy , which specifically prohibits “images or videos that superimpose or otherwise digitally manipulate an individual’s face onto another person’s nude body.” 

X did not respond to a request for comment.

Bobbi Althoff smiles as she arrives at the Variety Power Of Young Hollywood.

Posts depicting Althoff have remained up on X for nearly 24 hours, and new posts with the video continued to be published as of Wednesday afternoon, many of them soliciting likes and shares — an effort known as “engagement farming” that can sometimes be monetized.

Genevieve Oh, an independent internet researcher who has tracked the rise of deepfakes, shared data with NBC News on Wednesday that tracked more than 40 posts on X containing the Althoff deepfake video or links to the material. Only one of the posts had been removed for violating X’s rules, and the account that posted it was not banned. The posts Oh collected amassed more than 6.5 million views in less than 24 hours. 

Oh also shared data that showed views of deepfakes of Althoff on specialized deepfake pornography websites spiked sharply after the video hit X.

Althoff did not respond to a request for comment.

Oh noted that the deepfake video of Althoff posted to X on Tuesday has since migrated to Reddit, too. 

An NBC News review of dozens of recent X posts with Althoff’s name found that many of the posts showed signs of inauthentic activity and engagement farming, with many repeating the same caption verbatim that encouraged people to like the post in order to be sent a “leak” of Althoff. “Bobbi Althoff leaks” was a recommended search term on X on Wednesday. Many of the posts also mentioned a “leak” of Rubi Rose, a rapper whose popularity grew around the same time as Althoff’s online presence. Referring to the material as “leaks” implies it is authentic, when it is actually manipulated media.

Some of the posts using this strategy are from X accounts that have blue check marks, which means they pay for X Premium. Premium accounts can elect to monetize the engagement on their posts. 

Some verified accounts on X often use manipulated media to build sizable followings and then make money by promoting cryptocurrencies or other products.

Kat Tenbarge is a tech and culture reporter for NBC News Digital. She can be reached at [email protected]

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    In your article, I would include your standpoint in the very first sentence or two. Form Your exam question will often specify what type of article you are supposed to write: it could be a newspaper article (it might even specify what type of newspaper, for example, broadsheet newspaper, or tabloid), a magazine article, or a blog.

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    Although most magazine and newspaper articles include pictures (see above), you do not need to worry about this in the exam; what you need to write is purely textual; however, if you want to indicate the positions of images then a rectangular box with the word 'image' inside will suffice.

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    a) Write an article for a broadsheet newspaper in which you explain your point of view on this statement. or b) Write the text for a speech in which you explain your point of view on this statement. Task 1 This task prompts students to look for language features which are relevant to the text types of article writing and speech writing.

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    Writing an article - Writing non-fiction - AQA - GCSE Spanish Language Revision - AQA - BBC Bitesize. Example Question. Paper 2 Section B: Writing. You are advised to spend about 45 minutes on this section. ... Write an article for a newspaper in which you argument for or against this statement. All our need ampere head - provide ne and offer ...

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    Write an article for a broadsheet newspaper in which you explain your point of view on this statement. Attempt one Go to the library We shouldn't get rid of libraries because they are places...

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    Don't forget to add a title, date, and author's name to the article. The title should also be formal and to the point, avoiding puns or jokey headlines as in tabloids. The first thing when writing a newspaper article is to find some event worth reporting on. A newspaper article, as others have said, reports the facts and details of an event.

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