Hello everybody. It's Mrs. Wear of Stream English here and today I'm going to be doing a last minute revision with you on AQA English language paper one question number five. Let's do this. Now I'm going to assume for this video that you already know the basics of this question. How many marks it's worth, what it is you got to do, how long you should spend on it. You know that basic information. If you don't, you need to have a look at my video, the top five things that you need to know about AQA English language paper one, question five. In this video, I'm going to be getting much more detailed and much more thorough, really talking you through the mark scheme for this question and all the different tricks and strategies that you can use to help yourself get the best mark possible. I'm going to start off with looking at assessment objective five, content and organization. The reason I'm going to look at this one first is because that the 40 marks of question five break down as 24 for AO5 and then 16 for AO6 technical accuracy. So this one in theory is the one you want to be putting most of your kind of attention to. That being said, I do tend to find that what happens with students is they tend to do really, really well with AO5 and then it's AO6 that pulls them down overall. So obviously the dream scenario is you'll do equally well in both. The first bullet point in AO5 is about your register being matched to your audience. And the way that it varies across the levels. So with level one, there's a simple awareness of register/ audience. Level two, you're attempting to match your register to audience. Level three, you're generally or consistently matched. And at level four, you're convincing or compellingly matched. But of course, you might be wondering to yourself, well, what does that mean? What is register? How can it be convincing versus attempting? The answer to that question is different for paper two, question five. It's a little bit more complex there. But for paper one, question five is pretty straightforward. That bullet point means when I read your work, do I feel like I'm reading a real book or does it not read like a book? For example, if you started your story, hello, I am here today to tell you a story about that is not how books go. Similarly, if you started, I am going to describe this picture. This is a picture of a man in a shop. The man looks angry. The shop looks dirty. This is what the picture has in it. That doesn't sound like a book either. So, the skill to that bullet point is how much do you sound like you are writing real fiction? So, how do you do that? How do you make sure you sound like you're writing real fiction? Well, my first top tip is to use the third person narrative viewpoint. If you don't know what I mean by that, I recommend having a look at my video how to analyze narrative viewpoint because there I talk through the different kinds of narrative viewpoint. But for right now, I'll just explain that you've basically got um first and third person narrative viewpoint as your options when you write. First person means you use I and we and you're a character in the story telling the story. Third person means you use he or she and you are not the person in the story. So instead of saying I went to school one day, you would say Sarah went to school one day. Now fiction novels can be written in first person. In fact, it's it's common for them to be written in first person. However, for teenage students, I overwhelmingly find that when they write in third person, they tend to write much more like fiction rather than when they write in first person. When they write in first person, it tends to read a little bit more like almost like a diary kind of. So, my first big tip is to write in third person. My second tip is to always have a main character. Okay? Always have at least one person in your story that you're going to follow through the story. And always give them a name from the very beginning of your story. Do not call them old man. Do not call them the little girl. Tell me about Roger. Tell me about Sarah. Do not just give them generic human being. Give them a name. That will immediately make them feel so much more real and your writing will feel so much more convincing as a piece of fiction. My next tip for how to make it convincing to fiction is that you must have in there a combination across your piece. Three things at some point. You must have detailed description of setting. And I'll go in more detail a little bit later on about how to create that effective detailed description of setting. at some point in your story have detailed description of what a character looks like. And again, I'll talk a little bit later about how to do that. Well, number three, have dialogue. Now, a lot of students try to do dialogue by having their character think to themselves, but that isn't dialogue. Dialogue requires a second person. Have them have a conversation with someone about something. Have a conversation somewhere in your story. And importantly, make sure you have punctuated that correctly. I don't have time in this video to go through how to correctly punctuate dialogue, but I know that BBC byte-size have a great uh revision resource on this, which is called something like how to punctuate direct speech. So go have a look at their website for the kind of rules of how to punctuate dialogue. But as well as having that dialogue, you must punctuate it correctly. And then finally, you need to have action. What I mean by that is not that you need to have some kind of big car crash or you need to have a zombie apocalypse or you need to have, you know, a wedding go wrong and somebody gets amnesia and then falls in love or whatever. You don't need to have masses of stuff happen, but something needs to happen. It can't just be description. Even if the action in your story is as small as girl gets up for school and gets ready in the morning and then goes to school and you do a really really good job of making me feel like that girl is a real person and you create a real sense of what her family's like and I really feel for her and then you help me understand that she's about to go in for a day of school she's really nervous about cuz she's got an exam. That could be great writing. It doesn't have to have a huge plot. And if you've seen my top five tips on question five, you know I warn against having a really huge plot, but you do want to have some kind of action in there. The second bullet point in the mark scheme is all about how well you've met the purpose. So you can see that a level one is about a simple awareness of purpose. Level two, you're attempting to match the purpose. Level three generally and consistently. level four convincingly um assuredly. Again, for paper two, question five, matching to purpose is much more complex because there's so many different purposes you can have. For paper one, it's really straightforward. Fiction has two purposes. Number one, to describe or tell a story. Number two, to entertain. The describing or the telling a story, you will naturally achieve in the process of your writing. You're going to describe things, especially if you listen to my tips about how to make your register work. You're also going to tell a story, again, if you follow my tips and have some action. The harder purpose to really meet and the one that makes the biggest difference to your different levels is the entertaining. The examiner does not want to read your work thinking, "Man, this is like, can I stop yet? It sounds horrible, but that is the way some of them think when they read students work. Instead, you want them to be thinking, "Oh, this is such a good story. I wish it kept going. I wish I could get to read on." That's what you want them to be thinking. And therefore, being able to do well in this second bullet point actually means doing well in the next bullet points that I'm going to talk about. So this second bullet point about being matched to purpose. If you tick the boxes of the bullet points I'm going to talk about next, you will tick this box and you will be entertaining. Our third bullet point is in my view the most important because if you get this one right, you're going to be definitely getting your purpose right. And if you get this one right and get the purpose right, you're going to be getting the register right. So I cannot stress enough that this bullet point is the most important and this bullet point is about your vocabulary and your use of what they call linguistic devices. In other words, language techniques like metaphors, simileies, repetition, juxtiposition, semantic fields, all that good stuff. So if we look again at the mark scheme and the different levels that you have at level one, simple vocabulary, simple linguistic devices, that basically suggests that you speak in really kind of plain basic English. Think of it kind of like primary school. The cat is sat on the mat and he's wearing a hat. That kind of very basic small words. You're also not really using any linguistic devices. Even in that example of cat, hat, matt, I was using linguistic devices cuz they all rhyme. Um, but if you're using simple linguistic devices, you're not even doing that. You're just telling a story. There is a man, he goes to the shop, the man is sad. You're not using any kind of uh techniques to help make the telling of the story more entertaining to read. At level two, we now have you attempting to do these things. So, you have some use of linguistic devices and you're beginning to vary your vocabulary or you've got a conscious use of vocabulary. At level three, your vocabulary is clearly chosen for effect and you've got successful linguistic devices or appropriate linguistic devices. And at the top of level three, it's increasingly sophisticated vocabulary. And at level four, you've got extensive vocabulary with conscious crafting um and ambitious vocabulary and sustained crafting. So, let's think about how we're going to take ourselves through these different levels for the vocabulary and for the linguistic devices. First of all, the vocabulary. A lot of students think that because um AQA puts so much uh emphasis on vocabulary, the best thing that they can do is go and get a thesaurus and just memorize some words and just swallow a thesaurus and be done. It's not that simple. And I'm going to show you now why it's not that simple. I typed the word cold into a thesaurus and these are the words that it offered me. Now, when I'm trying to use a more sophisticated word than cold, I might be tempted to look through this list and ask myself, hm, which one sounds the fanciest? And I might be tempted to go for hyper berean. Oh, now that sounds ambitious and extensive. Let me go for hyper berean. But here's the problem. I'm doing that just because it sounds fancy. I'm not doing it trying to think about what effect do I want to have with this word. And the problem is that hyperaran, if I actually look in the dictionary at what hyperaran means, this is what the dictionary says. People believe to have lived beyond the north wind in a sunny land, an inhabitant of the extreme north. If I was not trying to have that effect, I'm not remotely trying to suggest that it's people of the extreme north. And actually, I'm just trying to suggest like, oh, it's a little bit, you know, oh, it's a little bit cold. Hyperorean is not the word I want. And therefore, what I've done is I've used this really fancy word, but I'm not using it for effect, and it's not appropriate. So, it's not going to get me the marks I need. If we look back again at that list of other synonyms, frigid, frosty, snowy, wintry, those words all have different levels of cold associated with them. Something being frigid has connotations of being much more uncomfortable and freezing and painful kind of cold compared to snowy, which sounds quite kind of pretty and picturesque and gentle. So when it comes to me thinking about my vocabulary, I need to think about what is the meaning of the word and how is it going to help me to convey a particular effect. So when it comes to you thinking about how you're going to vary your vocabulary, I absolutely do recommend that you learn in advance of the exam some sophisticated vocabulary for basic words. What I mean for basic words, in fact, I would say specifically basic adjectives and verbs. What I mean by basic words are the ones you kind of instantly think of if you were just having a conversation. It's hot. It's cold. It's busy. It's noisy. Um, it's I don't know, I'm I'm talking. I'm walking. What are the more sophisticated alternatives to those? But when you look for the sophisticated alternatives for those, don't just memorize the first fancy word that you see. Instead, get a range of three to five words that help indicate different levels. For example, with walking, five, three to five different sophisticated words that indicate perhaps the speed at which you're walking or the emotion behind how you're walking. for example, strolling versus stomping. So, try to find vocabulary that's going to give you that ability to work with really specific understanding of what that word means. That is going to be your key to hitting that high level of vocabulary. It's that you've learned the sophisticated vocabulary, but you've also learned how to use it appropriately, considering what it means and considering what you want it to mean in your story. And you're using it for effect. You're trying to have an impact with your word choice in your story. That is the key to doing well with the vocabulary part of this bullet point. for the successful linguistic devices part of it. The area of your story where you're going to achieve this is where I mentioned earlier in that detailed description of setting and your detailed description of character. So, what I'm going to do now is explain for each of those detailed descriptions, what kind of techniques should you be aiming to use that are going to help you ensure that your description is seen as being successful. For a start with the description of setting, we need to get sensory language. Sensory language basically means that your description will cover the five senses. So you will not just tell me what you can see, you will also tell me what you can hear, you will also tell me what you can smell. And if it's appropriate, which it might not always be, you'll tell me what you can taste and anything you can like feel on your skin. You usually feel the weather on your skin. That's usually what students go for. But you should aim to cover all five senses in your description. You should also aim to go from macro to micro. What I mean by that is describe things on a big scale. And then imagine that you had a camera and you were taking a picture and you're suddenly zooming in on something much smaller and specific. Let's take for example a tree. You're going to describe, you know, this big tree and how it's full of, I don't know, bright green leaves and it's got sturdy bark or whatever it is you're going to say about this tree. Okay, you're going to give me the big picture. I can visualize that tree. You're then gonna zoom in on that tree and maybe describe just one leaf as it slowly falls to the ground or maybe just one bird that's sitting up in its branches and singing. Similarly, you can take let's say a big description of a house. So, you describe this house to me and you tell me that it's brick and you tell me that it's twostory and you tell me it has all these windows. And then you're going to zoom in and you're going to tell me about how the paint is flaking off the door because the door is so old. So, when you describe your objects, you'll give me a big picture description of what they look like, but then you'll also zoom in and give me little details as well. You also want to use something we call sympathetic background and pathetic fallacy. What I mean by that is that you will make the description of your setting fit the emotion that you want in your story as a whole. So, if your story is supposed to be really suspenseful and tense and creepy and filled with ominous feelings, don't make your description of setting really bright and sunny and birds like singing and, you know, children laughing and the bright sunshine, all that kind of stuff. Make your setting fit in with the emotion you want to have in your story. Match up that pathetic fallacy of what your weather is doing and match up that sympathetic background of what your setting looks like with the emotion of how you want to uh make your readers feel in your story as a whole. You also want as much as possible to use show don't tell. So don't tell me it's an old city. Describe the crumbling walls. Don't tell me that it's a busy city. Show me the hundreds of people banging into each other cuz they can't all fit in and they're trying to get on their way to work. As much as possible, show me, don't tell me what this uh setting is like. One of the things you can often do is in advance of the exam, write a description of some set places. you can really work on refining your craft and working on how you're going to describe it to make it really good. And then you're not necessarily able to like, you know, copy paste that over to an exam, but you have at least already thought about how you'd write about certain settings and you might find you're able to reuse some stuff. So, I would recommend in advance of an exam, having a go at writing a description of somewhere by the sea, of somewhere in a city, of somewhere that's very kind of like um quiet and green, like the countryside or a village or something like that. I would also recommend covering the four seasons, spring, summer, autumn, and winter. Have a go. How would you describe what a tree looks like in spring versus what it looks like in the winter versus versus what it looks like in the autumn? How are you going to describe it in those different ways for those different seasons? Preparing that in advance is going to help you with making sure you've thought about what linguistic devices am I going to use, what vocabulary am I going to use, and kind of preparing that in advance. I don't recommend then like memorizing that and trying to force it into your exam paper. You want to be able to respond to the question, but you at least might find like, oh, that description I came up with of this tree that works here or ooh that metaphor I came up with works here or something like that. Now, for the description of character, how do you do that? Well, well, you absolutely want to be using that sensory language again in the sense of giving a sense of what something looks like. You might also give a bit of smell. Maybe if they're like wearing perfume or they perhaps don't shower as often as they should do, but you might not find you have as much of a reason to talk about, oh, I guess you could talk about the sound of the sound of their voice, but again, less of a reason to talk about taste or touch there. You also want to be using really specific um word choices. Again, thinking about your vocabulary of how you're going to describe what your different parts of the character look like. Again, so that you can show don't tell. What you're specifically looking to show and not tell is your character's personality. For example, if I was to say to you, this person that you're about to describe is messy. How are you going to show me that through the way that they look? How would you describe their hair or their clothes or the way that they walk to show that they're messy? If I said to you, "This character is a perfectionist, how are you going to show that to me rather than telling me through the way that they look and the way that they perhaps behave, the actions that they take?" So, when you're doing your description of character, you want to make sure you're trying to show their personality in that description. And you do that with the really specific word choices that zooming in on like, yes, big picture, they have brown hair. Zoom in, all the curls are kind of falling out of place. Or big picture, yes, they're wearing a t-shirt. Zoom in. That's got really nasty pit stains in the corners. So you use that similar strategy I mentioned with describing setting of giving the big picture description but also zooming in to describe little details as well across all of your writing. Not just the descriptions of character and setting but just across all of it. You also want to be using metaphorical language. At least one metaphor, at least one simile, at least one personification. When it comes to your metaphors and simileies, I encourage you to use more than one, but you should not have one in every single sentence. If you've got one in every single sentence, you've got too many. When it comes to your metaphors and simileies, you also want them to have what I call unified imagery. What I mean by that is that with metaphors and simileies, you're comparing something to something else. You need to make sure that what you're comparing to is always things that have a similar idea. For example, if you've got a student who's used a lot of different metaphors and simileies and it goes like this, like a frog, like a roller coaster, like a tornado, like a robot. Those are some really different images and it becomes really conflicted in our reader minds. On the other hand, if you've got a student that uses a lot of metaphor, metaphors and simileies and it goes like this, like bullets, like guns, like the enemy, like a trench, all of those, they're so similar. They're so connected by that idea of war. And we call that having a semantic field. And you can see my video on what is a semantic field if you want a little bit more of an understanding of what that is and then how you can use it. But you want to make sure that all of the images and all your different metaphors and simileies have that like similar uh imagery to them. That's going to help make sure that your metaphors and simileies are successful rather than them just kind of not quite all fitting together and not quite working. The next bullet point is all about the structure of your writing. Now, this one is one that students often don't think about at all, but actually there are some really easy ways to think about it and help yourself do well. So, if we look first at the mark scheme of what the different levels are, level one, there's limited or no evidence of structural features. Level two, you're attempting to use them. Level three, you're starting to have effective use. Level four, you've got varied and inventive use. Like inventive, that's that's a challenge. Oh, hey 15y olds, just go and invent a way of structuring a story, could you? Anyway, I have one big tip when it comes to doing well with this structural uh bullet point and then two strategies within that. So my big tip is that your story should always have a contrast. Something where it's this and this and they are different. Now what exact form that contrast take can vary in loads of different ways? Is it that you've got a setting used to be like this and now it's like this? or a character used to be like this and now is like this or you're contrasting this setting against that setting or that character against that character. There's loads of different ways that you can take it. But by having a contrast in your writing, you're showing that level of thought of like, oh, there's something structurally I'm trying to achieve here. I am trying to show you how something is different to something else. In terms of how you show that contrast, there's two main ways you can do it. Way number one is flashbacks. A flashback is when during a story you flash back to a previous point in time before the events of the story. Flashbacks can be a great way of showing a contrast because, for example, you could describe what a train station is like in 2021 and contrast that in a flashback with what it was like in 1950, for example, and you can highlight how things have changed between then. Similarly, you can contrast what a character is like when they are 60 with what they were like when they were 20 and you can create that contrast there. So flashbacks are a great way of creating contrast. With flashbacks, the only thing you have to make sure you do is make it clear that a flashback is happening. And then when the flashback is over, make it clear you've returned to the present. Now, on a simple level, the easiest way to do this is just by referencing time. For example, Sarah thought back to 10 years ago when she was just coming out of high school. Or 15 years ago, this train station was very different. Then you bring it back to the present day by saying something like, "Now Sarah looks around and thinks about her life." Or, "In 2021, this train station couldn't be more different." That's a simple way of doing it, but not a particularly high level. So, I would recommend that strategy. Um, if you're aiming for like grade six and below, if you're going for grade seven and above, you want to get more creative. Now, there's no set way of doing it when you're more creative. There's lots of different ways, but essentially what you need to make sure you do is you have a character for some reason thinking back to the past. So it might be they're sitting in a chair not doing anything and their mind is wandering or they're flicking through a newspaper and they see something that reminds them of that event in the past. You need to give it a reason. Okay? You need to have there be a spark for why that flashback has come to them. That's the kind of grade seven to nine level there. You want to give a reason why this flashback is really happening. Remember grade six below we just want to establish time has moved. Okay? You can say 3 years later, 3 years ago, that kind of thing. So the flashback is one great way of creating that contrast. The other way that is harder but can work really well if you can do it well is a transition. For example, you could start off your story by describing a city at sunrise and describe how kind of quiet it is, the streets being empty, there's just some pigeons pecking at breadcrumbs. We now shift to it being the morning rush hour and you can slowly transition to how the streets are going to get busier and busier and busier and more and more intense so that you end on that city in its kind of like peak busy morning rush hour. So you're creating a contrast of what the city was like at sunrise versus what the city's like at rush hour, but you're doing it slowly. you're slowly shifting through time and increasing the intensity of something. So that's a transition. Again, that is a much harder strategy and one I would again recommend for your grades 7 to nines and above above. There is no above grade nine yet. Anyway, you know what I mean. The kind of highest grades, I'd recommend the transition, but flashbacks that's open to everybody and I recommend flashbacks to anybody and everybody. This bullet point is in my view the hardest to achieve, but I'm going to go through it because that gives us even more reason to talk about it. This bullet point is about how engaging your writing is with the clear connected ideas. Now, I know what you're thinking, Mrs. Wear, you said being entertaining was all about the purpose, and that's true, but it's basically so important they've got it in here twice. The reason I say this is the hardest is not because of the entertainment factor because you can achieve that with like your successful language devices, your vivid descriptions that we've talked about. The reason I think this is the hardest is because of that second half of the bullet point using a range of uh well at level three using a range of connected ideas or at level two increasing variety of linked and relevant ideas or at level four incorporating a range of convincing and complex ideas. So, we've got to ask ourselves what does AQA mean by that? And again, the answer is very different for paper 2 question five compared to this question. For this question, this is essentially a test of your plot. Now, you might be thinking, well, okay, if I've got to have convincing and complex ideas, easy. I'll have like someone fall in love with somebody else, but then they find out they cheated and then they get amnesia and then they're in a car crash and then they rediscover the love of their life. And that's not what AQA mean by convincing complex ideas. What AQA mean by that is that you have a theme. That's right. You have come up with a deeper human experience that you are trying to explore in your writing. That's why it's hard. Let's say you had a story about a girl getting ready for school. If your story is just about that, it's just here's a girl. She's getting ready for school. She goes to school. It doesn't matter if you describe it in a really engaging way, you're not going to be able to get into the level four. If you describe a girl getting ready for school, and through that story, you explore the fear and anxiety that a human being goes through when embarking on a new journey. Mate, you're going to get into the level four. Because what you've done is you've taken something that seems small and you've made it mean a lot. So you might be sitting there thinking, well, how how do I come up with these themes that I'm going to explore? I don't know what to talk about. Fair enough. But I've got a tip for you. You are studying English literature. When you're studying English literature, you spend a lot of time talking about themes. You talk about death and you talk about love and you talk about the power of nature and you talk about loneliness and you talk about the challenges of growing up and how parents don't want to let go of their children. Take a theme that you've studied in English literature and write your version of it. Let's say for example that you are studying the power and conflict cluster in AQA um poetry anthology. You study poems like um checking out me history which are all about identity uh and how somebody tries to like take your identity from you. You could write a story inspired by that idea. You're not ripping off checking out me history. It's not going to be a story about a guy saying, you know, Dem tell me, but you're taking inspiration from the theme. And so when you look at an AQA question that says something like um write a story about a difficult experience, you're going to write a story about a time that somebody tried to take your identity away from you. And you're going to tell that story through a small moment. Something like a little girl who loves football and the day that boys wouldn't let her play. Simple. So, take the themes that you have been learning in English literature and use those to help you. If you're not doing English literature and you don't know any themes from English literature, do the same but with themes from TV shows, films, and songs. What is the theme of your favorite song? Is it about never giving up? Is it about persevering through difficult times? Is it about enjoying every moment that life has to offer? Take inspiration from that. Write a story that it has that theme behind it. Write a story that is about an old man watching some kids play in a park. I know that sounds dodge, but bear with me. And you're going to have a flashback to when he was a child and how he enjoyed those moments. And it's all going to be a story about how he wishes he could go back to that time and hold on to that time in his life. So if you can't think of any themes from English literature, draw the ideas from your favorite books, TV shows, films, video games, and songs. Ask yourself, what are the beautiful ideas of human experience that they explore that I could also take inspiration from and use to inspire my story? You want to make sure that the small plot you've got means something. It's not just a story about a woman sitting in a chair and putting on makeup. It's a story about how women feel pressured to look a certain way. Yours is not just a story about a girl sitting on a bus. It's a story about the diversity of life that we experience when we travel. You are going to take a small action and give it a big meaning. The last bullet point for AO5 is probably the easiest to achieve, but one that is like the rarest achieved because students just don't think about it. So, this one is a real easy win for you if you just remember to do it. And that is to write in paragraphs, people. So, you can see here that right down at the bottom of level one, you have one or two unlin ideas and no paragraphs. I cannot tell you how many times a student who's going to go on to write a fantastic piece of writing technically ticks that level one box of having no paragraphs. In case you've forgotten, here's the rule of how to know when to start a new paragraph. It's called tiptop. You need to start a new paragraph whenever there is a change in time, place, topic, or person. and the person is like, if you're like talking about a different character, start a new paragraph. Follow tip top. Have accurate paragraphing and you are going to zoom yourself for that bullet point straight up into your level three area. Don't get me wrong, I'm not suggesting all you have to do is is use paragraphs and you're going to get a good grade. You have to have done the other bullet points. They're far more important than this one. But this is just going to help you be like, "Yeah, I'm I'm secure in this like level three area because obviously I've got paragraphs." In terms of having your level four paragraphs, I don't really have a lot of tips here. AQA really kind of uh provides specific details of how the the levels are different. Like they talk about coherent paragraphs with integrated discourse markers versus consistently coherent with integrated discourse markers and then fluently linked with seamlessly integrated discourse markers. In reality, what they mean is that your story follows a logical progression and therefore your paragraphs follow a logical progression. That will do the job. That and of course it being clear. If time has changed, that's clear. If we've had a flashback happen, that's clear. So, the key to doing well with your paragraphs as well as actually number one using them is making sure number two that you have planned your answer. Plan your answer, people. So you can make sure that your story is going to go in a logical order. Because if you're making it up as you go along, you might find you start writing about things, you're thinking, "Oh, I wish I'd mentioned that there, not there, and I wish I put this up here and that down there." Just take five minutes to plan this is going to happen, then this is going to happen, then this is going to happen. If you want, bullet point it by paragraph. Paragraph one, I'm going to describe the church. Paragraph two, I'm going to shift to describe the girl. I'm going to aim to contrast the girl to the church. Give yourself that scaffolding of making sure you've planned out the logical progression of your paragraphs. And also make sure that if time is changing in your story, which if you're using a transition it will do, and if you're using flashbacks, it will do. Make sure that is communicated clearly. Make sure you've got that way of communicating time has shifted. Whether it is through a more explicit phrase like 10 minutes later or a more subtle phrase like as the sun climbs higher in the sky. Make sure you're clearly conveying the changes in time as your story goes on.
