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or discussing events in narrative order."},{"text":"A focused argument that directly answers the question.","correct":false,"explanation":"A focused argument is something effective planning creates, not something it prevents. The plan should instead prevent a tour of the novel that fails to answer the question."},{"text":"A careful selection of evidence from across the novel.","correct":false,"explanation":"Careful selection of evidence is a benefit of planning, so it should not be avoided. Planning helps avoid a tour of the novel that substitutes plot coverage for argument."},{"text":"A clear line of thought sustained throughout the essay.","correct":false,"explanation":"A clear line of thought is essential to an effective essay and is strengthened by planning. What must be avoided is a tour of the novel instead of an answer."}]},{"id":"fa3628fb-2383-428a-84f5-dd315431e3c5","cardType":"cloze","points":null,"front":"Essay planning is selection: choose evidence for the [ ], not [ ].","back":"Essay planning is selection: choose evidence for the exact question, not everything you know.","mcqOptions":[{"text":"Essay planning is selection: choose evidence for the exact question, not everything you know.","correct":true,"explanation":"Effective planning means selecting only material that addresses the precise wording and focus of the task, rather than including every remembered point regardless of relevance."},{"text":"Essay planning is selection: choose evidence for the whole novel, not everything you know.","correct":false,"explanation":"Selecting evidence for the whole novel encourages an unfocused survey. Evidence should be chosen for the exact question, while everything known but irrelevant should be excluded."},{"text":"Essay planning is selection: choose evidence for the exact question, not your strongest examples.","correct":false,"explanation":"Restricting evidence to the exact question is correct, but rejecting the strongest examples reverses good practice. The material to exclude is everything known that does not serve the task."},{"text":"Essay planning is selection: choose evidence for the general topic, not every plot detail.","correct":false,"explanation":"This confuses broad recall with purposeful selection. A plan should choose evidence for the exact question rather than gathering everything known and merely excluding plot details."}]},{"id":"c0e68ca4-af51-4377-8825-2f8fbae20dca","cardType":"cloze","points":null,"front":"A thesis should answer the question [ ] and show a [ ].","back":"A thesis should answer the question directly and show a line of thought.","mcqOptions":[{"text":"A thesis should answer the question directly and show a line of thought.","correct":true,"explanation":"A strong thesis responds explicitly to the task and establishes the central argument that the essay will develop, giving all subsequent paragraphs a coherent direction."},{"text":"A thesis should answer the question indirectly and show a line of thought.","correct":false,"explanation":"Answering indirectly makes the argument ambiguous, even if a line of thought is present. A thesis must address the question directly and establish the essay’s reasoning."},{"text":"A thesis should answer the question directly and show a plot summary.","correct":false,"explanation":"A plot summary recounts events rather than presenting an interpretation. The thesis should answer the question directly and show the line of thought that the essay will pursue."},{"text":"A thesis should answer the question tentatively and show a list of quotations.","correct":false,"explanation":"Tentative answering and a list of quotations do not establish a controlling argument. A successful thesis answers directly and presents a coherent line of thought."}]},{"id":"3a504a3f-64a0-4730-b791-6d6ebc194eca","cardType":"basic","points":1,"front":"In the storytelling thesis, what do immigrant mothers transform suffering into?","back":"Guidance for their daughters.","mcqOptions":[{"text":"Guidance for their daughters.","correct":true,"explanation":"The mothers’ stories turn painful experiences into practical and emotional guidance, allowing their daughters to learn from suffering they did not personally endure."},{"text":"Entertainment for their daughters.","correct":false,"explanation":"The mothers do not primarily transform suffering into entertainment; their storytelling has a serious instructive purpose. They turn painful experience into guidance for their daughters."},{"text":"Guilt for their daughters.","correct":false,"explanation":"Although the stories may provoke guilt, guilt is not their intended transformation of suffering. The immigrant mothers use their experiences to provide guidance for their daughters."},{"text":"Obedience from their daughters.","correct":false,"explanation":"The stories are not designed to create obedience, even when mothers hope to influence behaviour. Suffering is transformed into guidance that daughters can interpret and inherit."}]},{"id":"9ab8ee79-8d1f-4146-9fa7-1d56338bddf2","cardType":"basic","points":2,"front":"Why do daughters often misunderstand mothers’ stories at first?","back":"They grow up in America, separated from the mothers’ language and memories.","mcqOptions":[{"text":"They grow up in America, separated from the mothers’ language and memories.","correct":true,"explanation":"The daughters’ American upbringing creates cultural and linguistic distance from their immigrant mothers, so they initially struggle to understand the experiences encoded in the mothers’ stories."},{"text":"They grow up in China, surrounded by the mothers’ language and memories.","correct":false,"explanation":"Growing up in China would connect the daughters more closely to the mothers’ cultural references, not explain their misunderstanding. Their American upbringing separates them from maternal language and memories."},{"text":"They grow up in America, sharing all of the mothers’ language and memories.","correct":false,"explanation":"The daughters do not share all their mothers’ memories; the generational gap means they cannot initially access that past. Growing up in America produces this distance."},{"text":"They grow up in America, separated from their own childhood experiences and ambitions.","correct":false,"explanation":"The daughters’ misunderstanding is not caused by forgetting their own experiences. It results from growing up in America, culturally separated from their mothers’ language and memories."}]},{"id":"3ed87211-1c44-4ef3-95c7-40e831a88fe6","cardType":"basic","points":1,"front":"Which mother-daughter pair is best for inheritance?","back":"Suyuan and Jing-mei.","mcqOptions":[{"text":"Suyuan and Jing-mei.","correct":true,"explanation":"Suyuan’s hopes, stories and unfinished journey pass to Jing-mei, who travels to China and accepts the family identity and responsibilities she has inherited."},{"text":"Lindo and Waverly.","correct":false,"explanation":"Lindo and Waverly are especially useful for analysing identity, cultural pride and maternal influence. Inheritance is most clearly explored through Suyuan and Jing-mei."},{"text":"An-mei and Rose.","correct":false,"explanation":"An-mei and Rose primarily illuminate silence, voice and the need for self-assertion. Suyuan and Jing-mei provide the clearest pairing for inheritance."},{"text":"Ying-ying and Lena.","correct":false,"explanation":"Ying-ying and Lena are strongly associated with passivity, imbalance and reclaiming personal power. The central pairing for inheritance is Suyuan and Jing-mei."}]},{"id":"a0840c13-37cf-4773-bf0b-933e8a92fec2","cardType":"basic","points":1,"front":"Which mother-daughter pair is best for identity and pride?","back":"Lindo and Waverly.","mcqOptions":[{"text":"Lindo and Waverly.","correct":true,"explanation":"Lindo and Waverly’s conflict centres on cultural identity, public image and pride, including Waverly’s chess success and her complicated response to her mother’s influence."},{"text":"Suyuan and Jing-mei.","correct":false,"explanation":"Suyuan and Jing-mei are most useful for discussing inheritance, storytelling and the continuation of a mother’s hopes. Identity and pride are best explored through Lindo and Waverly."},{"text":"An-mei and Rose.","correct":false,"explanation":"An-mei and Rose chiefly illustrate silence, speech and learning to assert oneself. Lindo and Waverly more directly develop the themes of identity and pride."},{"text":"Ying-ying and Lena.","correct":false,"explanation":"Ying-ying and Lena are closely linked to passivity, marital imbalance and recovering strength. Lindo and Waverly are the stronger pairing for identity and pride."}]},{"id":"ea110505-85b0-4ca2-9948-933b66128b76","cardType":"basic","points":1,"front":"Which mother-daughter pair is best for silence and voice?","back":"An-mei and Rose.","mcqOptions":[{"text":"An-mei and Rose.","correct":true,"explanation":"An-mei learns the destructive consequences of silence and teaches Rose to speak with authority, making their relationship central to the movement from voicelessness to self-assertion."},{"text":"Suyuan and Jing-mei.","correct":false,"explanation":"Suyuan and Jing-mei are chiefly associated with inheritance, storytelling and fulfilling a mother’s hopes. Silence and voice are explored most clearly through An-mei and Rose."},{"text":"Lindo and Waverly.","correct":false,"explanation":"Lindo and Waverly are particularly effective for identity, pride and conflict over maternal influence. An-mei and Rose offer the clearest development of silence into voice."},{"text":"Ying-ying and Lena.","correct":false,"explanation":"Ying-ying and Lena do involve passivity and recovering agency, but the deck’s central pairing for silence and voice is An-mei and Rose."}]},{"id":"84dd5411-14b3-4327-96b3-133fa0344499","cardType":"cloze","points":null,"front":"For most essays, [ ] are stronger than [ ].","back":"For most essays, two or three well-chosen pairs are stronger than four rushed ones.","mcqOptions":[{"text":"For most essays, two or three well-chosen pairs are stronger than four rushed ones.","correct":true,"explanation":"A small number of carefully selected comparison pairs allows each point to be analysed fully, producing a clearer and more convincing essay than several underdeveloped comparisons."},{"text":"For most essays, four rushed pairs are stronger than two or three well-chosen ones.","correct":false,"explanation":"This reverses the sound planning principle by prioritising quantity over depth. The stronger approach is two or three well-chosen pairs rather than four rushed ones."},{"text":"For most essays, one highly detailed pair are stronger than three balanced ones.","correct":false,"explanation":"One comparison pair usually provides insufficient breadth, while three balanced pairs need not be excessive. Two or three well-chosen pairs are stronger than four rushed ones."},{"text":"For most essays, five briefly explained pairs are stronger than two developed ones.","correct":false,"explanation":"Using five pairs encourages superficial coverage rather than sustained analysis. Most essays benefit from developing two or three well-chosen pairs instead of attempting four rushed ones."}]},{"id":"8c6af60b-6ecd-4f27-b6d8-0b51e7894308","cardType":"basic","points":1,"front":"Which quote shows Suyuan demanding obedience in “Two Kinds”?","back":"“Only two kinds of daughters”.","mcqOptions":[{"text":"“Only two kinds of daughters”.","correct":true,"explanation":"Suyuan divides daughters into the obedient and the self-willed, using this uncompromising declaration to demand Jing-mei’s obedience and assert parental authority."},{"text":"“Only two kinds of mothers”.","correct":false,"explanation":"Changing “daughters” to “mothers” shifts the statement away from Suyuan’s demand for filial obedience. Her actual declaration is “Only two kinds of daughters”."},{"text":"“Only one kind of daughter”.","correct":false,"explanation":"The singular wording removes Suyuan’s forceful division between obedient and disobedient daughters. She demands obedience through the phrase “Only two kinds of daughters”."},{"text":"“Only two kinds of children”.","correct":false,"explanation":"The broader word “children” loses the passage’s specific mother-daughter conflict. Suyuan’s exact demand is expressed by “Only two kinds of daughters”."}]},{"id":"358744a4-1c03-4fb8-aa67-de82308b536e","cardType":"cloze","points":null,"front":"Suyuan’s “[ ]” exposes hidden history and misunderstanding.","back":"Suyuan’s “You don’t even know little percent of me!” exposes hidden history and misunderstanding.","mcqOptions":[{"text":"You don’t even know little percent of me!","correct":true,"explanation":"Suyuan’s broken English emphasises the emotional distance between mother and daughter, revealing that Jing-mei understands only a fraction of her mother’s past and identity."},{"text":"You don’t even know half of me!","correct":false,"explanation":"Replacing the tiny “percent” with “half” weakens Suyuan’s emphasis on profound misunderstanding. She says, “You don’t even know little percent of me!”"},{"text":"You know every little part of me!","correct":false,"explanation":"This reverses Suyuan’s accusation by claiming complete understanding. Her point is that Jing-mei knows almost nothing: “You don’t even know little percent of me!”"},{"text":"You don’t even know little percent of China!","correct":false,"explanation":"Suyuan is describing Jing-mei’s ignorance of her as a person, not simply ignorance of China. The correct completion is “You don’t even know little percent of me!”"}]},{"id":"0abe0705-3828-47d9-9364-81d3531582e4","cardType":"basic","points":1,"front":"Which quote marks Jing-mei’s growing sense of Chinese identity?","back":"“I am becoming Chinese”.","mcqOptions":[{"text":"“I am becoming Chinese”.","correct":true,"explanation":"Jing-mei recognises Chinese qualities within herself as she travels to meet her sisters, marking a developing acceptance of her inherited cultural identity."},{"text":"“I am becoming American”.","correct":false,"explanation":"“American” reverses the direction of Jing-mei’s realisation during her journey to China. Her growing ancestral identity is marked by “I am becoming Chinese”."},{"text":"“I was becoming Chinese”.","correct":false,"explanation":"The past tense wrongly presents the change as an earlier, completed process. Jing-mei’s identity is developing in the present: “I am becoming Chinese”."},{"text":"“I am finally Chinese”.","correct":false,"explanation":"“Finally Chinese” suggests a completed transformation, whereas the original captures an identity still emerging. The exact quotation is “I am becoming Chinese”."}]},{"id":"64526535-f573-4856-aa54-4f848a3fc302","cardType":"basic","points":1,"front":"Which final chapter quote suggests inheritance and reconciliation?","back":"“Together we look like our mother”.","mcqOptions":[{"text":"“Together we look like our mother”.","correct":true,"explanation":"The sisters’ shared resemblance reunites Suyuan symbolically with all three daughters, suggesting that her identity and hopes survive through their family inheritance."},{"text":"“Together we look like sisters”.","correct":false,"explanation":"Looking like sisters suggests family connection but omits Suyuan’s symbolic presence. The final reconciliation centres on maternal inheritance: “Together we look like our mother”."},{"text":"“Together we remember our mother”.","correct":false,"explanation":"Remembering Suyuan would express grief, but the actual image makes her visibly present in her daughters. The quotation is “Together we look like our mother”."},{"text":"“Together we become our mother”.","correct":false,"explanation":"“Become” implies the daughters replace or transform into Suyuan, rather than inherit her likeness. The final chapter states, “Together we look like our mother”."}]},{"id":"93d2c26c-9e8d-4f12-9959-d7191fc3e1b4","cardType":"basic","points":1,"front":"Which Lindo quote shows survival under arranged marriage?","back":"“I once sacrificed my life”.","mcqOptions":[{"text":"“I once sacrificed my life”.","correct":true,"explanation":"Lindo describes marriage as a sacrifice of her former life, while “once” also signals that she survived the oppression and eventually reclaimed control."},{"text":"“I once surrendered my life”.","correct":false,"explanation":"“Surrendered” makes Lindo sound purely defeated and removes the language of imposed sacrifice. Her survival is framed through “I once sacrificed my life”."},{"text":"“I once sacrificed my freedom”.","correct":false,"explanation":"Freedom is relevant to arranged marriage, but the quotation describes the sacrifice more completely as her entire life: “I once sacrificed my life”."},{"text":"“I had sacrificed my life”.","correct":false,"explanation":"The past-perfect construction is not the quoted wording and loses the concise emphasis of “once”. Lindo says, “I once sacrificed my life”."}]},{"id":"99cfa7e4-4441-44f3-9786-0d81870379be","cardType":"basic","points":1,"front":"Which phrase names Waverly’s quiet strategic power?","back":"“the art of invisible strength”.","mcqOptions":[{"text":"“the art of invisible strength”.","correct":true,"explanation":"The phrase names Waverly’s ability to gain advantage through restraint, silence and calculation rather than openly displaying force, especially in chess and family conflict."},{"text":"“the art of visible strength”.","correct":false,"explanation":"“Visible” contradicts the power’s defining secrecy. Waverly learns to conceal her intentions and control others through “the art of invisible strength”."},{"text":"“the game of invisible strength”.","correct":false,"explanation":"Calling it a “game” limits the idea to chess, although the strategy also shapes Waverly’s relationships. The phrase is “the art of invisible strength”."},{"text":"“the art of silent resistance”.","correct":false,"explanation":"“Silent resistance” suggests passive refusal rather than calculated strategic power. Waverly’s subtle method is specifically called “the art of invisible strength”."}]},{"id":"8c856598-7c34-4398-ab4b-feba9f04a1cb","cardType":"basic","points":1,"front":"Which An-mei quote presents suffering as internalised?","back":"“swallow other people’s misery”.","mcqOptions":[{"text":"“swallow other people’s misery”.","correct":true,"explanation":"The bodily image of swallowing shows An-mei absorbing other people’s pain and keeping it within herself, presenting suffering as deeply internalised and inherited."},{"text":"“witness other people’s misery”.","correct":false,"explanation":"“Witness” keeps suffering external to An-mei rather than showing her absorbing it. Internalised pain is expressed by “swallow other people’s misery”."},{"text":"“escape other people’s misery”.","correct":false,"explanation":"“Escape” suggests successful avoidance, the opposite of taking suffering into oneself. An-mei’s internalisation is captured by “swallow other people’s misery”."},{"text":"“share other people’s misery”.","correct":false,"explanation":"Sharing pain suggests mutual support and outward communication, not silent absorption. The visceral phrase presenting internalised suffering is “swallow other people’s misery”."}]},{"id":"aa9e82d2-98cd-4e43-aef7-226a25a9c9b7","cardType":"cloze","points":null,"front":"The swan feather is a [ ] of mothers’ hopes and the difficulty of passing them across [ ].","back":"The swan feather is a symbol of mothers’ hopes and the difficulty of passing them across language and migration.","mcqOptions":[{"text":"The swan feather is a symbol of mothers’ hopes and the difficulty of passing them across language and migration.","correct":true,"explanation":"The feather symbolises the mothers’ hopes for their daughters, while its unfinished journey reflects how language differences and migration obstruct the transmission of those hopes."},{"text":"The swan feather is a souvenir of mothers’ hopes and the difficulty of passing them across language and migration.","correct":false,"explanation":"Treating the feather merely as a keepsake overlooks its wider literary function. It is a symbol of mothers’ hopes and the barriers created by language and migration."},{"text":"The swan feather is a symbol of mothers’ hopes and the difficulty of passing them across wealth and social status.","correct":false,"explanation":"This substitutes class barriers for the novel’s central cultural barriers. The mothers struggle to pass on their hopes across language and migration, not wealth and social status."},{"text":"The swan feather is a burden of mothers’ hopes and the difficulty of passing them across age and gender.","correct":false,"explanation":"This misreads both the object and the barriers it represents. The feather is a symbol, and the mothers’ hopes are difficult to communicate across language and migration."}]},{"id":"587b4bf8-ab64-45b4-b9b9-0cdfe3a7f02c","cardType":"cloze","points":null,"front":"Suyuan’s expectations are shaped by Chinese ideas of [ ] and immigrant hope for [ ].","back":"Suyuan’s expectations are shaped by Chinese ideas of parental authority and immigrant hope for success in America.","mcqOptions":[{"text":"Suyuan’s expectations are shaped by Chinese ideas of parental authority and immigrant hope for success in America.","correct":true,"explanation":"Suyuan expects obedience partly because of traditional Chinese parental authority, while her ambitions for Jing-mei also reflect an immigrant belief that America offers exceptional success."},{"text":"Suyuan’s expectations are shaped by Chinese ideas of individual independence and immigrant hope for success in America.","correct":false,"explanation":"Individual independence reflects Jing-mei’s resistance rather than the Chinese values shaping Suyuan. Her expectations combine parental authority with immigrant hope for success in America."},{"text":"Suyuan’s expectations are shaped by Chinese ideas of parental authority and immigrant hope for a return to China.","correct":false,"explanation":"Suyuan’s ambitions are directed towards opportunities in her new country, not permanent return. They combine Chinese parental authority with immigrant hope for success in America."},{"text":"Suyuan’s expectations are shaped by Chinese ideas of romantic freedom and immigrant hope for social acceptance in China.","correct":false,"explanation":"This confuses Suyuan’s ambitions with values the episode does not emphasise. Her expectations arise from parental authority and the immigrant hope of achieving success in America."}]},{"id":"c2444efb-bcb1-4bc5-9a56-97859418d13e","cardType":"basic","points":2,"front":"What contextual pressures make Lindo’s “sacrifice” clearer?","back":"

Arranged marriage.
Family honour.

","mcqOptions":[{"text":"

Arranged marriage.
Family honour.

","correct":true,"explanation":"Lindo is bound by an arranged marriage and by the expectation that she protect her family’s honour, making her apparent submission a culturally enforced sacrifice."},{"text":"

Romantic freedom.
Personal ambition.

","correct":false,"explanation":"These modern individualist pressures do not explain why Lindo submits to the marriage. Her sacrifice becomes clearer through the expectations of arranged marriage and family honour."},{"text":"

Economic independence.
Political protest.

","correct":false,"explanation":"Neither economic independence nor organised political protest creates Lindo’s central dilemma. The relevant pressures are arranged marriage and the duty to preserve family honour."},{"text":"

Religious duty.
Social mobility.

","correct":false,"explanation":"This wrongly attributes Lindo’s sacrifice to religion and advancement. It is clarified by the social authority of arranged marriage and the demand to defend family honour."}]},{"id":"87e4c734-2ad8-4438-88dc-c03159ca620c","cardType":"cloze","points":null,"front":"Lindo’s “[ ]” captures immigrant identity as a difficult mixture.","back":"Lindo’s “American circumstances and Chinese character” captures immigrant identity as a difficult mixture.","mcqOptions":[{"text":"American circumstances and Chinese character","correct":true,"explanation":"The phrase captures Lindo’s hybrid identity: her external life has been shaped by American circumstances, while her inner values and character remain rooted in Chinese culture."},{"text":"American circumstances and American character","correct":false,"explanation":"Making both parts American suggests complete assimilation and removes Lindo’s cultural tension. The phrase contrasts American circumstances with an enduring Chinese character to express immigrant hybridity."},{"text":"Chinese circumstances and American character","correct":false,"explanation":"Reversing the two cultures misrepresents Lindo’s experience. She lives within American circumstances but understands her enduring character as Chinese, creating the difficult mixture of immigrant identity."},{"text":"Chinese circumstances and Chinese character","correct":false,"explanation":"Making both elements Chinese erases the effect of migration and American life. Lindo’s identity combines American circumstances with Chinese character rather than remaining culturally unchanged."}]},{"id":"cb7fb51c-e7c6-45b3-8caa-118a2147b8c7","cardType":"basic","points":2,"front":"What does the final reunion in China suggest about Jing-mei’s identity?","back":"Her mother’s story is part of her own identity.","mcqOptions":[{"text":"Her mother’s story is part of her own identity.","correct":true,"explanation":"Meeting her sisters and completing her mother’s journey allow Jing-mei to understand that Suyuan’s history and Chinese heritage form an essential part of her identity."},{"text":"Her American upbringing is separate from Chinese identity.","correct":false,"explanation":"The reunion connects rather than separates Jing-mei’s American and Chinese selves. She recognises that her mother’s story belongs within her own developing identity."},{"text":"Her sisters’ appearance replaces her mother’s influence.","correct":false,"explanation":"The sisters help Jing-mei recognise Suyuan’s continuing presence rather than replacing it. The reunion shows that her mother’s story is part of Jing-mei’s own identity."},{"text":"Her father’s history is the sole basis of her identity.","correct":false,"explanation":"This makes Jing-mei’s identity exclusively paternal and ignores the reunion’s focus on Suyuan. The ending reveals that her mother’s story forms part of her own identity."}]},{"id":"c8ca788c-1d6a-44f8-9970-3d3016c27991","cardType":"cloze","points":null,"front":"Tan presents female strength as endurance, strategy and the recovery of [ ] in societies that silence women.","back":"Tan presents female strength as endurance, strategy and the recovery of voice in societies that silence women.","mcqOptions":[{"text":"voice","correct":true,"explanation":"Recovering voice allows women to narrate their experiences, challenge oppression and pass their stories to their daughters, making expression itself a form of female strength."},{"text":"silence","correct":false,"explanation":"Silence is the condition the women must overcome, not the power they recover. Tan presents female strength through reclaiming voice alongside endurance and strategic resistance."},{"text":"status","correct":false,"explanation":"Social status may constrain or motivate characters, but it is not the central recovery presented as female strength. Tan emphasises women recovering voice after being silenced."},{"text":"obedience","correct":false,"explanation":"Obedience reflects the restrictive expectations placed upon women rather than their recovered power. Tan associates female strength with reclaiming voice through endurance and strategy."}]}]}],"examCountdown":{"examDate":"2027-05-12","paperLabel":"Paper 1"},"heading":"Essay Plans","title":"Essay Plans Flashcards","topbar":{"backHref":"/igcse/english-literature/edexcel/flashcards"},"topicSidebar":"$L37"}]}],"topicId":"e038255f-6e69-5ed4-ba79-8029d9b9fad1","walled":"$L38"}],"$L39","$L3a"]