English is tested in the 11+ by almost every grammar school in England — and it is the subject where raw ability and systematic preparation interact most visibly. A child who reads widely and has a strong vocabulary starts with a natural advantage. But even the strongest readers lose marks through poor exam technique, weak time management, or unfamiliarity with the specific question types the exam uses. This guide covers everything: the full structure of the 11+ English paper, every comprehension question type, vocabulary strategies that work, creative writing guidance, and a preparation plan that builds the skills that matter most.
What does the 11+ English paper test?
The 11+ English paper is not a test of creative imagination or personal expression in the way that school English often is. It is a test of precision — the ability to read carefully, understand exactly what is being asked, and respond with appropriate evidence and language.
Most 11+ English papers contain two or three components, depending on the exam board and school:
Reading comprehension
All schools 25–35 minA passage of 400–700 words — fiction, non-fiction, or poetry — followed by questions testing understanding at multiple levels. The core of almost every 11+ English paper.
- Literal questions — retrieving information directly stated in the text
- Inferential questions — working out what is implied but not stated
- Language and technique questions — analysing word choice, tone, effect
- Vocabulary questions — meaning of words in context
- Structure and purpose questions — why the author has made specific choices
Vocabulary and grammar
GL Assessment 15–20 minStandalone questions testing word knowledge, grammar rules, punctuation, and sentence construction — often in a multiple-choice format in GL papers.
- Synonyms and antonyms — closest or opposite in meaning
- Cloze passages — fill the gap with the most appropriate word
- Word types — identify nouns, verbs, adjectives, adverbs, conjunctions
- Punctuation — correct placement of commas, apostrophes, speech marks
- Sentence construction — reordering, combining, or completing sentences
Creative writing
Some schools only 25–35 minA timed piece of writing in response to a prompt — a story opening, a descriptive scene, a continuation, or occasionally a non-fiction piece. Marked on vocabulary, structure, style, and technical accuracy.
- Narrative writing — stories with clear structure, character, and atmosphere
- Descriptive writing — sensory detail, precise vocabulary, figurative language
- Persuasive or discursive writing — some selective and independent schools
- Continuation — continuing a provided passage in the same style and tone
Reading comprehension: the complete question type guide
Comprehension is the heart of the 11+ English paper. Every question type has a specific technique that produces better answers than simply writing what comes to mind. Children who understand these techniques — and practise applying them — consistently outperform those who approach comprehension questions as open-ended responses.
Literal retrieval
Very common — usually the first questions on any paper
The answer is stated directly in the text. The child’s job is to find it accurately and express it clearly — not to interpret, infer, or add information from outside the passage. These questions reward careful reading and precise location skills.
Question signals
“According to the text…” / “What did X do when…?” / “Find two things that…” / “How many…?”
Technique
Locate the relevant paragraph first. Scan for the key word from the question. Find the specific detail — do not add outside information. Quote or paraphrase exactly as the question requires.
Inference and deduction
Very common — often the highest-mark questions
The answer is not stated directly. The child must read between the lines — combining clues from the text to work out what a character feels, what is implied, or what is likely to happen next. These questions reward justified thinking, not guesswork.
Question signals
“How do you think X felt…?” / “Why do you think…?” / “What does this suggest…?” / “What can you tell about…?”
Technique
Find the relevant passage. Identify clue words (actions, dialogue, description). State the inference explicitly — “I think… because…” Link every inference to evidence from the text.
Never use outside knowledge — infer only from what the text provides.
Vocabulary in context
Common — standalone section or embedded in the passage
The child must explain what a word or phrase means in this passage — not give a dictionary definition that ignores context. The surrounding sentences usually narrow the meaning to one sensible interpretation.
Question signals
“What does the word ‘X’ mean in line…?” / “Find a word that means the same as…” / “Which word tells us that…?”
Technique
Read the sentence before and after the word. Replace the word with a simpler synonym mentally — does the sentence still make sense? Give a one- or two-word answer unless more detail is required.
Evidence questions
Common — often one or two marks each
The child must find a phrase or sentence in the text that proves a point — usually about character, mood, or a stated fact. Accuracy of selection matters more than clever writing. Copying the wrong phrase earns no marks.
Question signals
“Find a phrase that shows…” / “Copy one sentence that tells us…” / “Which words suggest that…?”
Technique
Decide what you are proving first. Scan for the shortest phrase that clearly shows it. Copy precisely — check spelling. Do not paraphrase unless the question explicitly asks you to explain in your own words.
Author’s purpose and viewpoint
Regular — tests understanding of why the writer wrote this way
The child explains why the writer included something — a detail, a paragraph, a particular word choice — or what attitude the writer takes towards the subject. The answer must link to effect on the reader: inform, persuade, entertain, build tension, create sympathy, and so on.
Question signals
“Why does the writer…?” / “What is the writer trying to make the reader feel?” / “How does the writer present X?”
Technique
Name the writer’s purpose or viewpoint in one clear sentence. Support with a short quote or specific reference. Explain the effect on the reader — what the writer wants us to think or feel.
Language analysis
High value — often three or more marks when it appears
The child names a literary technique or word choice and explains its effect. Identifying the technique alone is rarely enough — markers reward the explanation of what it does to the reader. Use PEE: Point, Evidence, Explain.
Question signals
“How does the writer describe…?” / “What effect does X create?” / “Find a simile/metaphor and explain…”
Technique
Name the technique or choose a powerful word. Quote briefly. Complete the sentence: “This makes the reader feel / think…” or “This creates the impression that…”
Summary
Common on longer papers — strict word limits apply
The child condenses information from part or all of the passage in their own words. Summary questions punish copying chunks of the text and punish including opinions or information not in the passage. Word limits are strict — every word must earn its place.
Question signals
“Summarise what happens…” / “In no more than X words, describe…” / “Write a brief account of…”
Technique
List the key points in note form first. Combine into clear sentences in your own words. Count words as you write. Stick only to the relevant section of the passage the question specifies.
Do not include your own opinion or details that are not in the passage.
True / false / not stated
CEM and some GL papers — tests careful reading, not guessing
The child decides whether a statement is true, false, or cannot be determined from the text alone. “Not stated” is a valid and important answer when the passage does not give enough information — children who guess true or false lose marks.
Question signals
Statements to label true, false, or not stated / “Tick the correct box” for each claim about the passage
Technique
Find the exact place in the text the statement refers to. True = clearly supported. False = clearly contradicted. Not stated = the text neither confirms nor denies it. Do not use general knowledge.
If the passage is silent on the point, “not stated” is correct — even if you think you know the answer from real life.
The 12 best comprehension tips for the 11+
These are the techniques that directly translate into higher marks on the comprehension paper. Each one is specific, learnable, and backed by what exam markers consistently reward.
Read the questions before reading the passage
Skim the questions first so you know what to look for as you read. You will notice the relevant paragraphs immediately rather than having to re-read the whole passage to find the answer. This single habit saves two to three minutes on a timed paper — often the difference between finishing and not finishing.
Time managementRead the passage actively — annotate as you go
Underlining key moments, putting a star beside a character’s feelings, and circling unfamiliar words as you read the first time means you can navigate back to relevant sections instantly when answering questions. Children who read passively and then start answering from scratch waste significant time.
Reading strategyMatch your answer length to the marks available
A one-mark question needs one clear point. A four-mark question needs four distinct points or two points with detailed explanation. Children who write three sentences for a one-mark question and one sentence for a four-mark question are misallocating their time and effort. Count the marks before writing.
Exam techniqueAlways use evidence from the text
Every answer to a comprehension question — except pure vocabulary questions — should be grounded in specific words or details from the passage. The marker cannot reward an interpretation, however accurate, that is not connected to the text. Develop the habit of including a short quote or specific reference in every substantive answer.
Answer qualityFor inference questions, use the “I think… because…” structure
State your interpretation clearly, then justify it with evidence from the passage. This structure separates guesswork from reasoned inference and gives markers exactly what they look for on two- and three-mark inference questions — a view plus proof from the text.
InferenceRead the full passage once before answering
Inference, summary, and author’s purpose questions need the whole passage in mind. Answering as you read — before understanding how the text develops — produces weaker answers on questions that depend on the full picture, not just one paragraph.
Reading strategyUse PEE for language and analysis questions
Point — name the technique or idea. Evidence — a short quote from the passage. Explain — what it does to the reader or why it matters. This pattern is the most reliable route to full marks on language and writer’s craft questions.
Answer structureUnderline command words in every question
Explain, two words, how does the writer, line 12, find a phrase — the command word tells you exactly what kind of answer is required. Misreading “explain” as “describe” or “summarise” as “infer” loses marks before the child has written a single useful sentence.
Exam techniqueAnswer exactly what is asked — not more, not less
If the question asks for two words, give two words. If it asks how the writer creates tension, do not retell the plot. Precision beats length — and word limits on the paper are there because markers penalise answers that ignore the question’s scope.
Answer qualityQuote briefly — a phrase, not a paragraph
Markers want proof your child found the right place in the text. Three or four words in quotation marks are enough. Long quotes waste time and suggest the child cannot select what matters — both cost marks under time pressure.
EvidenceNever leave a question blank
A partial answer with a short quote may earn partial credit. A blank earns nothing. In the final minutes, children should write a reasoned attempt for any skipped question — especially retrieval and vocabulary items where a sensible guess can still score.
Exam techniqueLeave two minutes at the end to review
Use the final two minutes to return to skipped questions, check spellings in copied quotes, and reread answers that were rushed. This short review routinely recovers marks that hurry or panic would otherwise lose — and costs almost nothing if time has been managed well through the paper.
Time managementLiterary techniques: what children need to know
Language analysis questions require children to name techniques and explain their effects. These are the techniques that appear most frequently in 11+ English papers.
Simile
A comparison using “like” or “as.” Makes an abstract quality concrete and vivid by linking it to something familiar.
Example
“Her voice was as cold as ice.”
Typical effect
Creates an immediate, vivid image. Makes the reader feel the quality more intensely than a direct description would.
Metaphor
A direct comparison that says one thing is another. More forceful than a simile — asserts the comparison as a fact rather than a likeness.
Example
“The classroom was a prison.”
Typical effect
Creates a stronger impression than a simile. Implies all the qualities of the second thing apply to the first — confinement, restriction, lack of freedom.
Personification
Giving human qualities, feelings, or actions to non-human things — objects, animals, or abstract ideas.
Example
“The wind whispered through the trees.”
Typical effect
Makes the natural world feel alive and animate. Creates atmosphere and can make settings feel threatening, comforting, or mysterious depending on the verb chosen.
Alliteration
Repetition of the same consonant sound at the beginning of closely connected words.
Example
“Silent and still, the snake slid forward.”
Typical effect
Creates rhythm and draws attention to the words. The specific consonant chosen matters — sibilant “s” suggests stealth; hard “k” or “cr” suggests harshness or violence.
Onomatopoeia
Words that sound like the thing they describe — the sound is built into the word itself.
Example
“The rain pattered and drummed on the roof.”
Typical effect
Brings the scene to life for the reader. Makes action and setting feel immediate and sensory — the reader almost hears what is happening.
Repetition
Deliberately repeating a word, phrase, or structure for emphasis or effect.
Example
“She ran and ran and ran until her lungs burned.”
Typical effect
Builds emphasis and can suggest exhaustion, obsession, or rising tension. The reader feels the weight of the repeated idea.
Short / long sentences
Varying sentence length controls pace and mood. Short sentences feel sharp and urgent; long sentences feel flowing, descriptive, or calm.
Example
“He stopped. The door creaked.” vs a long sentence that describes a scene in slow, lingering detail.
Typical effect
Short sentences create tension, shock, or speed. Long sentences slow the reader down for description or reflection.
Powerful verbs & adjectives
Precise, vivid word choice shows mood or character without stating it directly — the writer shows rather than tells.
Example
“She crept along the corridor” rather than “she walked”; “a ferocious storm” rather than “a big storm.”
Typical effect
Creates a sharper picture of character and atmosphere. One precise word often does the work of a whole explanatory sentence.
Rhetorical question
A question asked for effect, not because an answer is expected. The writer involves the reader in thinking about the idea.
Example
“Who could blame her for leaving?”
Typical effect
Involves or challenges the reader. Suggests the writer’s point of view without stating it as a plain fact.
Pathetic fallacy
Weather or setting reflects characters’ emotions — the environment mirrors what people are feeling inside.
Example
“Thunder growled as she opened the letter.”
Typical effect
Storm and darkness often signal danger or misery; sunshine can signal hope. Makes mood feel woven into the setting, not only stated about the character.
The most important point about literary techniques is that identifying them is only half the mark. The other half — and often the harder half — is explaining what the specific technique does to the reader. Teach your child to always complete the sentence: “this creates the impression that…” or “this makes the reader feel…” A correct identification with no explanation earns half marks at best.
Vocabulary: the foundation of 11+ English performance
Vocabulary is the single most important underlying skill in 11+ English. It affects performance across every question type — not just the explicit vocabulary questions. A child who knows the meaning of “melancholy,” “apprehension,” “reluctant,” and “bewildered” will infer a character’s emotional state far more accurately than one who does not. A child with a broad vocabulary writes comprehension answers that are precise rather than vague.
The challenge is that vocabulary cannot be built quickly. It develops over years of reading and deliberate word acquisition. This is why beginning preparation early — in Year 4 or early Year 5 — gives vocabulary-focused preparation time to have a meaningful effect.
Read widely and regularly
No strategy builds vocabulary as effectively as sustained reading. Fiction, quality non-fiction, newspapers, and magazines all expose children to words in context — which is how vocabulary is most durably acquired. Thirty minutes of reading daily is more valuable than any vocabulary workbook.
Word of the day — in context
Introduce one new word each day. The key is context: look up the definition together, find it used in a sentence, use it in conversation during the day, and revisit it the following week. Words learned in isolation fade quickly; words learned with context and use stick.
Learn word families together
Learning “melancholy” alongside “melancholic,” “melancholically,” and the concept of sadness and its synonyms (doleful, despondent, forlorn, sorrowful) is far more efficient than learning each word individually. Word families cluster vocabulary in a way that reinforces recall and builds range simultaneously.
Use prefixes and suffixes as clues
Teaching children to decode unfamiliar words using roots, prefixes, and suffixes is a powerful strategy for vocabulary questions where an unfamiliar word appears. “Bene-” means good (benefit, benevolent, benign). “Mal-” means bad (malevolent, malicious, malfunction). “Un-,” “dis-,” “mis-” all signal negation.
Keep a vocabulary notebook
A dedicated notebook for new words — with definition, example sentence, and a small drawing or memory aid — creates a personalised vocabulary resource children return to. Reviewing it for five minutes before a practice session reinforces words that are on the edge of being learned.
Work from targeted word lists
Several organisations publish 11+ vocabulary lists — words that appear with high frequency in comprehension passages and vocabulary questions. These lists prioritise efficiently: they focus on words that a child is likely to encounter in the exam and may not know from everyday reading.
High-value vocabulary by category — words to know for the 11+
Emotions and character
Description and atmosphere
Movement and action
Useful adjectives
The words in the panel above are not a complete list — they are examples of the level and type of word children encounter in 11+ passages. The goal is not to memorise a fixed set of words but to build a vocabulary range that reaches this level across multiple categories. A child who knows twenty precise words for emotions will answer character and inference questions with far more confidence and specificity than one who reaches for “happy,” “sad,” or “scared” every time.
Creative writing: how to score highly in 35 minutes
Which schools include creative writing?
Not all 11+ papers include creative writing — check whether your target schools require it before investing heavily in this area. The Sutton consortium grammar schools are among the few state grammar schools in England that include creative writing as part of their entrance assessment — see the Sutton grammar schools — creative writing in the exam guide for full details. But for those that do, creative writing is a significant component and one where marks are surprisingly easy to improve through structured preparation.
The examiner is looking for four things above all else: a clear structure, precise and varied vocabulary, effective use of literary techniques, and accurate grammar and punctuation. Originality matters — but a conventionally structured story with excellent vocabulary and strong technique will outscore a wildly original idea written without craft.
Planning: the two minutes that change everything
Children who begin writing immediately without planning almost always produce weaker work than those who spend two minutes planning first. A plan does not need to be detailed — a simple structure of beginning, build, climax, and resolution scribbled in a margin is sufficient. What it provides is direction: the child knows where they are heading before they write the first sentence, which means every paragraph moves towards the ending rather than wandering.
Teach your child to plan in this order: ending first (what is the final image or moment?), then the climax (what is the turning point?), then the opening (how do I hook the reader immediately?). Knowing where the story ends before you write the opening makes the whole piece more cohesive.
Openings that hook the reader
The opening of a creative writing piece sets the examiner's impression for the entire piece. An opening that creates immediate atmosphere, raises a question, or drops the reader into the middle of action signals a confident writer. An opening that begins with "One day..." or retells backstory before anything happens signals a weak one.
Five strong opening techniques to practise:
- In medias res — drop the reader directly into the action. "The door was already open when she arrived." The reader immediately wants to know why.
- Atmospheric description — establish a vivid mood before introducing character or plot. Lead with sensory detail and precise vocabulary.
- A striking image — open with one powerful, specific detail that creates an instant impression. "The candle had been burning for three days."
- A question or mystery — pose a question that the rest of the story answers. "She had always known this day would come."
- Dialogue — begin with a line of speech that immediately establishes character and tension. "Don't look back," he said. "Whatever you do."
Vocabulary in creative writing
The single biggest vocabulary mistake in creative writing is using the first word that comes to mind. "He walked" — could he saunter, trudge, stride, shuffle, dart, stagger? Each implies a completely different mood and character. "She was angry" — could she be seething, indignant, incandescent, bitter, quietly furious?
Teach your child to pause on any describing word and ask: is this the most precise word I know for what I am trying to convey? One precise word is worth three vague ones.
Endings: avoid the most common mistake
The most common creative writing mistake at 11+ level is a rushed or incomplete ending — the story runs out of time or ideas and finishes abruptly. Good endings either return to an image or idea from the opening (creating a sense of circularity and completeness) or leave the reader with a final image that resonates. They do not summarise the story or explain what the character has learned.
Grammar and punctuation: what the 11+ tests
Grammar and punctuation questions appear explicitly in GL English papers and implicitly in all papers through the accuracy marks in comprehension and writing responses. These are the areas children most commonly lose marks.
Apostrophes for possession
Singular nouns: add ’s. Plural nouns ending in s: add ’ only. Irregular plurals: add ’s.
Correct
the dog’s lead / the dogs’ leads / the children’s shoes
Common error
the dog’s are barking (contraction error — “dog’s” = “dog is”)
Commas in complex sentences
Use a comma after a fronted adverbial, to separate a subordinate clause from the main clause, and to separate items in a list (before “and” is optional but must be consistent).
Correct
After the storm, the village was silent. / She ran quickly, although her legs ached.
Common error
Comma splices: “She was tired, she went to bed.” (needs a conjunction or full stop)
Speech punctuation
Speech marks enclose the spoken words. Punctuation goes inside the closing speech mark. New speaker = new paragraph. The reporting clause is separated by a comma, not a full stop, if speech continues.
Correct
“Come here,” she said quietly. / “Where are you going?” he asked.
Common error
“Come here”. She said quietly. (punctuation outside speech marks; full stop before reporting clause)
Subject-verb agreement
The verb must agree with the subject — not with the nearest noun. Collective nouns take singular verbs in formal writing. “Each,” “every,” “neither,” and “either” take singular verbs.
Correct
The group of students was quiet. / Neither of them was ready.
Common error
The group of students were quiet. / Neither of them were ready.
Commonly confused words
Homophones and near-homophones are a frequent 11+ trap. Children must choose the spelling that matches the meaning in context — not the one that sounds right when read aloud.
Correct
They’re going to their house. / It’s raining; she will practise daily.
Common error
Your going over there. / Its a difficult test (should be it’s).
Sentence types
Simple (one main clause), compound (two main clauses joined by and/but/or), complex (main clause + subordinate clause). Avoid run-on sentences and comma splices in creative writing and comprehension answers.
Correct
She opened the door, and the dog bounded out. / Although it was late, they continued reading.
Common error
She was tired she went to bed. / She ran, she was fast. (run-on / comma splice)
Preparation plan: building 11+ English from foundation to exam day
Reading habits and vocabulary foundations
Year 4 — early Year 5 · Daily reading · 20 min sessions
The most valuable preparation at this stage is simply reading — widely, regularly, and across different genres. A child who reads thirty minutes every day in Year 4 and 5 builds vocabulary, comprehension stamina, and an intuitive feel for how good writing works. Introduce a word of the day habit and a vocabulary notebook from the start.
- Daily reading — fiction and non-fiction
- Word of the day in context
- Vocabulary notebook begun
- Discuss books — plot, character, why
Comprehension technique and grammar
Late Year 5 — early Year 6 · 3 sessions/week · 35 min
Introduce all eight comprehension question types systematically. Teach the specific technique for each — particularly PEE for language questions and “I think… because…” for inference. Work through grammar and punctuation rules explicitly, using a dedicated workbook. Introduce comprehension passages at the right difficulty level.
- All 8 comprehension question types
- PEE structure for language questions
- Grammar — apostrophes, speech, commas
- Literary techniques — definition and effect
Timed practice and creative writing
Months 6–9 before exam · 4 sessions/week · 45 min
Move to timed comprehension practice — full passages under time pressure with review afterwards. If your target schools include creative writing, begin weekly timed writing sessions with structured feedback. Focus feedback on vocabulary precision and structural control rather than on idea generation.
- Timed comprehension papers — full review
- Weekly timed creative writing (if required)
Mock papers and exam readiness
Final 4–6 months before exam · 1 full paper/week · mark scheme review
Run full GL-format English papers under exam conditions. Review every paper with the mark scheme — not just wrong answers, but whether technique was applied. Keep a short error log so recurring issues (time, evidence quotes, vocabulary precision) are drilled in the final weeks.
- Full GL English mock papers weekly
- Mark scheme review every paper
- Error log by question type
- Final vocabulary consolidation
Recommended books for 11+ English preparation
- Bond 11+ English (age 10–11) is the standard preparation resource. The comprehension passages are well-chosen and pitched at the right difficulty level. The vocabulary and grammar sections cover what the exam tests. Complete the age 9–10 book first to build confidence.
- CGP 11+ English Practice Papers provide the most realistic timed practice for GL-format exams. Use these in Phase 3 and Phase 4. Work through each paper with the mark scheme — the mark scheme tells you what markers are specifically looking for, which is more useful than simply knowing the right answer.
- Letts 11+ English provides useful additional comprehension passages, particularly for variety in non-fiction text types.
- Collins 11+ English is particularly strong on vocabulary and grammar questions and works well as a supplementary resource alongside Bond.
- "Vocabulary in Practice" (Glennis Pye) and similar vocabulary-focused workbooks are useful for children whose vocabulary development needs the most attention. They systematically cover word categories at the right level for the 11+.
For wide reading recommendations, quality fiction for this age group — Michael Morpurgo, Eva Ibbotson, Frances Hardinge, Philip Pullman, Jacqueline Wilson — consistently produces children with better comprehension ability than any workbook can replicate.
Frequently asked questions about 11+ English
How long is the 11+ English comprehension passage?
Passages in GL papers typically run to 400–700 words. CEM papers may include shorter, faster passages with more questions. Some independent school papers use longer literary extracts of 800 words or more. The length matters for time management — children should practise with passages of roughly the right length for their target school.
Do children have to memorise quotes from the passage?
No. The passage is always available to refer to during the exam. Children should annotate and navigate it efficiently rather than trying to memorise content. The skill is knowing where to look, not what to remember.
My child reads a lot but still struggles with comprehension questions. Why?
Reading widely and answering structured exam questions are related but different skills. A child who reads for pleasure reads for narrative enjoyment — they follow story and character without analysing technique, vocabulary choice, or structure. Exam comprehension requires a different mode of attention: analytical, evidence-focused, and structured around specific question types. Both are needed, and the analytical skill must be taught explicitly.
Should my child read the whole passage before answering or answer as they read?
Read the questions first, then read the full passage, then answer. Reading the questions first primes the brain to notice relevant sections as they appear. Answering as they read — before understanding the passage as a whole — produces weaker answers on inference, summary, and author's purpose questions that depend on a complete understanding.
What is the difference between GL and CEM English?
GL English papers have a clear, consistent structure — a comprehension passage, vocabulary section, and sometimes creative writing — with well-documented question types. Kent uses the GL English format — for full details of what the Kent Test English paper involves, see the Kent regional guide. CEM English is blended with verbal reasoning into a mixed paper, is more varied in its question style, and changes format year to year. This is especially important for families targeting Birmingham grammar schools CEM English paper. This applies equally to Warwickshire grammar schools CEM English, which use the same CEM format and place the same weight on vocabulary range. The underlying skills are the same; the preparation strategy differs in the emphasis on timed mixed practice for CEM.
How much does creative writing count?
Where it appears — typically in GL papers and many independent school exams — creative writing is usually worth 20–30% of the English total. It is a significant component and warrants specific preparation if your target schools include it. If your target schools do not test creative writing, preparation time is better invested in comprehension technique and vocabulary.