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The Small Art of Enjoying What We Do

Victor Tan
 

If we enjoy what we do, we are more likely to do it, for it is what we enjoy.

That’s the small insight that appeared in my mind today; that it is through enjoyment that a person practices for long hours, refines their craft, creates entire tapestries from mere words stitched together beyond exam sheets and scripts – it is how a person can write a book without using AI when the payoff is uncertain and the hours are long.

It is true that writing a book or practicing for an exam shouldn’t purely be a matter of passion and should be a matter of systems, processes, and discipline; without systems, you limit your attainment to the height of your passion, after all.

Yet, it is true that without enjoyment, you limit your motivation to the dictates of planning – useful and needed – but discount the greater possibilities ahead that come from a genuine passion.

To find that passion is almost a matter of chance – and I was deliberate with that wording. Passion must be ‘found’ – actively located, whether searched for or come across; yet it is ‘almost’ a matter of chance and not certainly, for while it is possible that the literary child can form in a home with books, so too can she come into being in one without them through the sheer force of will and conscious effort to see…

These words matter.

The words I choose matter.

If I stitch the quilt a different way, people will understand it differently – by the staccato drumbeat of my fingers on this page and by the smell and markings of black ink on my fingers, they will see new possibilities – possibilities that I will unearth by the written page word by word, minute by minute, asking myself:

Why is this good?

Why is that better?

Why was that bad?

Why was what he did, she said, they wrote so incredibly captivating?

I want to know – I want to know – I want to know!!!

When that frame of mind begins to set in, a subtle realignment happens; refining your craft ceases to be a chore, but instead a higher aspiration; work becomes play, and practice becomes meaningful in ways that it never had before – something valuable for the possibilities that it unlocks within a person’s soul and something valuable enough that you would set forth on the journey of writing even if the chance of a reward was that of a snowflake’s right to exist in an inferno – and thus you refine ceaselessly no matter where you are, what you are doing, wherever you are, without anyone telling you to do so; before you know it, you are directing the ship and improving for your sake, not mine.

It’s strange that it’s through that frame of enjoyment for enjoyment’s sake that a person might be best able to reap the external rewards of an A*, isn’t it?

To go above, one must first go below.

It is a strange irony.

Narrative Essay Reflection and Breakdown:  Write a story which involves an extraordinary journey. (May 2025 Variant 2, Question 4) 

Victor Tan
 

Welcome back, friends!

We call everything extraordinary now—a sandwich, a sunset, a Tuesday afternoon.

The word comes from Latin: extra ordinem, “outside the usual order.”

It was meant to describe things that break the pattern, that violate what we expect from the world. But we’ve inflated it until it’s lost all pressure. Maybe that’s because we’re afraid of ordinariness, or maybe it’s because English doesn’t give us a good middle ground between “boring” and “life-changing.” We don’t have words for the subtle gradations of remarkableness—the moment that’s interesting but not stunning, memorable but not transformative. So we reach for “extraordinary” and flatten its meaning. Here’s what I find fascinating: when something truly extraordinary happens, we often go quiet. We strip away the adjectives. We say, “I can’t describe it.” The real extraordinary resists language altogether.

This week’s essay prompt: “Write a story which involves an extraordinary journey.”; it’s question 4 from the May 2025 Paper 2 series.

This prompt sets a trap that most students will walk straight into: they’ll confuse “extraordinary” with “exotic.” They’ll write about plane crashes in jungles, time travel, or epic quests through fantasy landscapes. But here’s the challenge buried in that single word “involves”—it doesn’t say the journey is extraordinary; it says the story involves one. That’s a crucial distinction. The strongest responses understand that an extraordinary journey isn’t necessarily about spectacular events; it’s about a journey that transforms the person taking it. This is where narrative writing diverges from adventure storytelling: you’re not just chronicling what happens, you’re revealing why it matters. Can you write about a bus ride up a mountain and make it feel extraordinary because of what the narrator is carrying—guilt, fear, unfinished business? Can you create a journey where the external obstacles (fog, landslide, broken bridge) mirror the internal ones (shame, courage, the decision to return home)? The prompt tests whether you understand that “extraordinary” is a judgment made in retrospect, not a quality inherent to the events themselves. A journey becomes extraordinary when the person who took it is no longer the same person who began it—and your job as the writer is to show us that transformation through action, choice, and consequence, not through telling us it was extraordinary.

You’ll find the essay here!

The full essay is available for our premium members. If you haven’t signed up already, then make sure to sign up over here!

Thank you all, and look forward to seeing you in the next one!

Descriptive Essay Reflection and Breakdown: Describe a tense moment during a competition. (May 2025 Variant 2, Question 2) 

Victor Tan
 

Welcome back, friends!

February’s here, and I’ve been thinking about how the word “tense” does double duty in English. There’s tense as in tight, strained, pressured—the feeling in your shoulders before a difficult conversation. And there’s tense as in grammatical tense: past, present, future. What’s fascinating is how these two meanings collapse into each other during moments of high stakes. When you’re under real pressure, time becomes elastic and unreliable. A second stretches into an hour. The future condenses into a single choice that feels simultaneously inevitable and impossible. The present tense stops being a neutral narrative device and becomes the only tense that matters—because in moments of crisis, you don’t have the luxury of retrospective storytelling. You’re in it, making decisions in real-time with incomplete information and consequences that can’t be undone. Maybe that’s why writing about tension is so technically demanding: you have to make the reader feel time warping without losing narrative control.

This week’s essay prompt: “Describe a tense moment during a competition.”; it’s question 2 from Variant 2 of the May 2025 Paper 2 series.

Here’s what makes this prompt surgically precise: it doesn’t ask for “a tense story” or “describe tension”—it asks for the moment itself. That word “the” is doing enormous work. It demands specificity, a singular point of maximum pressure where something hangs in the balance. Most students will write about approaching the moment or recovering from the moment, but the strongest responses understand that the prompt is asking you to live inside the eye of the storm. Can you sustain intensity without resolution for an entire essay? Can you make a reader’s pulse quicken not through external action alone, but through the character’s internal experience of stakes, consequence, and choice? This is where narrative technique becomes crucial: you need to control pacing so tightly that every sentence either tightens the vice or reveals what the pressure is exposing about your character. The trap is writing action without stakes, or stakes without texture. The goal is to make tension feel earned—grounded in specific sensory detail, complicated by moral weight, resolved (or deliberately left unresolved) in a way that changes how we understand what was really being tested.

As always, the essay will be marked according to the IGCSE First Language English marking criteria available in the rubrics, and you will understand clearly what works and what doesn’t, and why. As always, so you can understand the logic of why what works works and get inspiration for your own writing.

You’ll find the essay here!

The full essay is available for our premium members and is also marked and graded. By reading it, you can get a clear picture of what works, as always. If you haven’t signed up already, then make sure to sign up over here!

Thank you all, and look forward to seeing you in the next one!