OCR H472 Course Overview

OCR A-Level English Literature (H472)

Note: This is your map of the qualification before you open a single text. Everything that follows in the Proof Academy course — every close reading, every comparison, every model paragraph — exists to satisfy the demands set out here. Read this chapter first, then return to it whenever an essay feels unfocused. Nine times out of ten the problem is not what you know about Hamlet or Dracula; it is that you have lost sight of which Assessment Objective the question is testing and at which Level you are writing.

OCR H472 is a linear A-Level: everything is assessed at the end of the course, and the examined papers are sat closed-text. It is not GCSE with longer texts and harder vocabulary. The qualification rewards a particular kind of thinking: building a sustained argument, reading form and structure as closely as language, treating context as a pressure on meaning rather than a bolt-on fact, comparing the methods of different writers, and evaluating competing critical interpretations instead of merely reciting them.

The qualification is built from three parts. Two are examined and together carry 80% of the marks; the third is the non-examined assessment (NEA) coursework folder, worth 20%. This Proof Academy course concentrates on the two examined components, because that is where most students gain or lose their grade under timed conditions — but the same analytical habits transfer directly to the coursework.

This overview covers, in order: the two examined components and their set texts; the five Assessment Objectives (AO1-AO5) with weightings and what each one rewards; the Level 1-6 mark scheme and what separates each level; the exam structure, timing and question types; how to use this Proof Academy course and the texts it covers; and a glossary of the key exam and critical terms you will meet throughout.

The Two Examined Components at a Glance

The table below is the single most useful thing to memorise early. If you can place any past question in the correct component and name its dominant AOs, you are already revising strategically.

Both examined components are sat closed book: you may not take texts into the exam. That makes precise memorisation of short, analysable quotations essential — not long passages, but the exact handful of words you can pull apart.

Component 1: Drama and Poetry Pre-1900 (H472/01)

Component 1 is the Shakespeare-and-poetry paper. In the Proof Academy route it pairs Hamlet as the drama text with the poetry of Christina Rossetti. Both are firmly pre-1900: Hamlet is an early-seventeenth-century revenge tragedy, and Rossetti is a major Victorian poet. The paper has two sections.

• Section 1 — Shakespeare. You answer on Hamlet. This usually involves close analysis of an extract printed on the paper, opening out into the play as a whole, plus a discursive essay question. The premium is on reading dramatic form: soliloquy, staging, the difference between public verse and private prose, and how meaning is performed rather than simply stated.
• Section 2 — Drama and poetry. Here you bring the pre-1900 poetry (Rossetti) into dialogue with the drama, building connections across the two (this is where AO4 enters Component 1).

What separates a high answer here is treating pre-1900 context as textual. Reformation uncertainty in Hamlet is not a paragraph about religious history; it is visible in the Ghost's unstable authority and Hamlet's refusal to trust appearances. Victorian religion in Rossetti is not biography; it is audible in the devotional voice, the rhetoric of renunciation, and the question-and-answer structures of her lyrics.

A useful way to revise the pairing is by literary problem rather than by theme:

Component 2: Comparative and Contextual Study (H472/02)

Component 2 is the topic-based comparative paper. The Proof Academy route takes The Gothic as its topic area, pairing Bram Stoker's Dracula (1897) with Angela Carter's The Bloody Chamber (1979). The paper has two sections.

• Section 1 — Close reading / unseen. You analyse an unseen passage drawn from the topic area (here, Gothic writing), demonstrating AO2 close-reading skill on material you have never met before, informed by your knowledge of the Gothic mode (AO3).
• Section 2 — Comparative essay. You write a comparison of your two set texts in response to a thematic prompt about the Gothic. This is where AO4 (comparison) and AO5 (critical evaluation) carry the most weight.

The decisive skill in Section 2 is comparing method, not topic. Avoid writing a Dracula paragraph followed by a Carter paragraph. Begin each paragraph with a comparative claim, then move between the texts at the level of technique. A test: if a paragraph could be split into two independent mini-essays, it is not yet comparative.

Build every comparative paragraph around a shared Gothic pressure:

• forbidden knowledge
• the body as evidence
• transgression and punishment
• sexuality and surveillance
• violence inside social order
• the monster as foreign, familiar or internal
• spaces that organise fear
• narrative form as a means of control

For example: Stoker uses fragmented documents (the epistolary form) to contain and quarantine threat; Carter uses retrospective first-person narration to reinterpret and reclaim threat. That single sentence compares method and is worth more than a page of plot.

The unseen close reading in Section 1 deserves its own discipline. You will not have studied the passage, so you cannot rely on memorised material; you must read fast and analytically, identifying the Gothic features at work and explaining how the writer uses them. A productive routine is to read the passage twice — once for sense, once with a pen — and to annotate for four things: voice (who is telling this, and how reliable do they seem?), structure (how is the passage sequenced, and where does it turn?), diction and imagery (which words carry the Gothic charge, and why?), and effect on the reader (what is being made to feel, and how?). The mark is for analysis of method on unfamiliar ground, so resist the urge to summarise the events; the examiner can read the passage too. Your job is to show how it works.

The Five Assessment Objectives (AO1-AO5)

Every mark you earn is awarded against one of five Assessment Objectives. Across the whole A-Level, OCR weights AO2 most heavily, followed by AO3, then AO1, then AO4 and AO5. The exact split varies by component (Component 1 leans into AO2/AO3; Component 2 brings AO4 and AO5 to the fore), but the overall message is constant: this is a qualification about how meaning is made and interpreted, not about how much you can recall.

A practical way to internalise the AOs is to write four sentences about any single quotation: (1) a conceptual claim, (2) a word- or form-level observation, (3) a contextual or critical pressure, and (4) a judgement about why this matters for the question. Those four sentences hit AO1, AO2, AO3/AO5 and AO1 again — the full spread in miniature.

Each AO in detail

AO1 — argument and expression. This is the objective most students think they already meet, and the one they most often under-serve. AO1 is not a reward for writing neatly; it asks for an informed, personal and creative response shaped into a coherent argument and expressed with accurate critical terminology. The visible marker of AO1 is the topic sentence: in a top answer, the first line of every paragraph advances the thesis rather than introducing a new topic. Terminology must be used precisely — calling a sonnet a "stanza" or a soliloquy an "aside" actively costs AO1 credit. Above all, AO1 rewards a line of argument: a position the essay takes and develops, not a tour of everything the candidate knows.

AO2 — analysis of method. The heaviest objective, and the one that decides the grade. AO2 rewards analysis of how meaning is shaped by language, form and structure. The word that matters is "shaped": the examiner wants to see the mechanism by which an effect is produced. "Stoker uses dark imagery to create fear" is not AO2; it is paraphrase with a label. "Stoker withholds the Count's interiority so that the reader assembles him only from others' terrified accounts, making him a textual absence rather than a presence" is AO2, because it explains how the form produces the fear. Form and structure are the under-used half of AO2: the shape of a sonnet, the sequencing of revelations in a novel, the shift from verse to prose in a Shakespeare scene.

AO3 — context. The second-heaviest objective. AO3 covers both the context of production (when and why a text was written) and the context of reception (how it has been read since). The fatal error is "context bolting": dropping a fact about the Reformation or Victorian gender roles as a free-standing sentence. Context earns AO3 only when it functions as a pressure on meaning — when it changes how a word or form is read. Post-Darwinian anxiety about degeneration, for instance, is not a paragraph about science; it is the lens that makes bodily transformation in Dracula register as a cultural fear about origins.

AO4 — connections across texts. Central to Component 2 and present in Component 1's drama-and-poetry section. AO4 rewards connections, and the highest connections are comparisons of method. Comparing theme ("both texts explore desire") is the weakest form; comparing technique ("Stoker quarantines desire in the vampire body, Carter relocates it inside the institution of marriage") is the strongest. The structural rule follows directly: comparison must live inside the paragraph. If a paragraph can be split into a self-contained passage on each text, it is not yet meeting AO4.

AO5 — different interpretations. Most prominent in Component 2's comparative essay. AO5 rewards exploring texts in the light of different interpretations — critical, theoretical or historical readings. The minimum is acknowledging that a reading exists; the higher reach is evaluating it: judging where a feminist or psychoanalytic reading illuminates the text and where it falls short. A critic named and left untested is an AO5 badge, not AO5 credit. The strongest AO5 work treats interpretations as arguments to be weighed against the text.

AO weighting in practice

Because AO2 dominates, the most common reason able students stall is that they write theme essays with quotations attached rather than analysing how meanings are constructed. The cure is structural, not motivational: make every paragraph contain at least one genuine analysis of method. Because AO3 is the second-heaviest objective, the second most common loss is treating context as decoration. Context should always answer the question "how does this change what the words mean?"

The Mark Scheme: Levels 1-6

OCR marks the examined essays against a six-level scheme. Each section of each paper is marked out of 30, with the levels banded in fives. The progression is not about adding more content as you climb; it is about increasing control, precision and perceptiveness. The table gives the mark bands and the quality that defines each.

The crucial dividing lines:

• Level 5 to Level 6 (the A line).* This is rarely about knowledge. Level 5 students often know the texts thoroughly and write fluently. They lose the top band because they use quotations as evidence for ideas rather than as objects of analysis, mention form without showing how form shapes meaning, add critics as badges instead of interpretive arguments, compare topic rather than method, and conclude by summarising instead of judging. Level 6 is control: every sentence does analytical work, comparison and evaluation are woven through, and the conclusion makes a judgement the essay has actually earned.
• Level 4 to Level 5. The move from "competent and relevant" to "coherent and detailed" is the move from making sound points to sustaining an argument. A Level 4 essay answers the question in patches; a Level 5 essay answers it continuously.
• Level 2/3 to Level 4. This is the move out of description. As soon as a paragraph analyses how a meaning is made rather than retelling what happens, it crosses into the competent band.

A reliable self-diagnostic: read your conclusion. If it restates your introduction, you are likely in Level 4-5. If it makes a judgement about what matters most — one that only became possible because of the analysis in between — you are writing into Level 6.

The Level 5 to Level 6 line, demonstrated

Because this single line decides A from A*, it is worth seeing the difference at the level of the sentence. Consider a Gothic question about how transgression is made both attractive and dangerous.

A Level 5 response: Stoker presents transgression as dangerous through the vampire women, who are described as "thrilling and repulsive". This shows the mixture of desire and disgust that the Victorians felt about sexuality. Carter also explores transgression in The Bloody Chamber. The points are valid and relevant; the writing is fluent. But the quotation is used as evidence for an idea rather than analysed, the context is asserted as a fact, and the move to Carter is a topic-switch, not a comparison.

A Level 6 response: Stoker presents transgression as attractive precisely because it is morally disavowed. Harker's oxymoron "thrilling and repulsive" stages a divided consciousness in which desire and disgust are simultaneous rather than sequential, while the Latinate "voluptuousness" distances erotic feeling through elevated diction, allowing the text to dramatise sexuality under cover of condemning it. Carter, by contrast, makes transgression epistemological rather than merely erotic: where Stoker externalises forbidden desire into the vampire body, Carter relocates danger inside patriarchal marriage itself, so that the forbidden chamber is dangerous because it contains knowledge. Here the same material is analysed (oxymoron, register, form), context is implied as pressure, and the comparison is a comparison of method, embedded in the sentence. Nothing more is known; everything is more controlled. That is the whole distance from A to A*.

Exam Structure, Timing and Question Types

Both examined papers are 2 hours 30 minutes long and are sat closed text. Each is marked out of 60 (two sections of 30). The headline timing rule is therefore simple: roughly one hour and ten minutes per essay, leaving around ten minutes across the paper for planning and checking.

Question types you must be fluent in:

• Extract-into-whole (Hamlet). Analyse a printed passage closely, then open out to argue across the whole play. Do not get trapped line-by-line in the extract; use it as a springboard.
• Discursive essay (Hamlet, single text). A thesis-driven argument answering a critical proposition about the play.
• Unseen close reading (Gothic). Sustained AO2 analysis of an unfamiliar passage, framed by your knowledge of the Gothic mode (AO3).
• Comparative essay (Dracula and The Bloody Chamber). Method-led comparison answering a thematic prompt, with critical interpretations evaluated (AO4 and AO5 to the fore).

Two timing disciplines win marks: spend the first five minutes turning the question into a debatable thesis before you write, and never let an unseen close reading overrun and starve the comparative essay of time.

What the question types actually reward

It pays to see how each question type maps onto the AOs, because that mapping tells you where to spend your sentences.

The practical lesson is that no two questions reward the same balance of skills. An extract question that is answered as pure context will not score, however accurate the history; a comparative essay that is all close analysis and no comparison leaves AO4 and AO5 unaddressed. Reading the question type first, and naming its dominant AOs to yourself, is the fastest way to allocate your effort correctly.

How to Use This Proof Academy Course

Treat each module as a writing engine, not a fact sheet. Read the notes with a question in mind, then convert the material into three things: a thesis you could defend under timed conditions, a bank of precise textual moments, and a small set of critical or contextual pressures that change the interpretation.

The course covers the following texts and topics:

• Hamlet (Component 1 drama): soliloquy, revenge tragedy, Reformation and humanist context, melancholy, surveillance.
• Christina Rossetti (Component 1 poetry): devotional and secular lyric, sonnet and ballad form, Victorian gender and religion.
• Dracula (Component 2 Gothic): epistolary form, late-Victorian anxieties of race, sexuality and empire, the body as evidence.
• The Bloody Chamber (Component 2 Gothic): feminist revision of fairy tale, retrospective narration, transgression as knowledge.
• A Doll's House (added drama study): Ibsen's prose drama supports your reading of dramatic form, gender and social order, and gives a wider sense of how nineteenth-century drama stages domestic power — a productive companion to both Hamlet's dramaturgy and the Gothic's interest in confinement.

Some practical reasons to keep A Doll's House in view alongside the examined texts: Ibsen writes in prose rather than verse, which sharpens your ear for how dramatic form other than Shakespearean blank verse shapes meaning; the play stages domestic confinement and a woman's escape from it, which speaks directly to the Gothic's interest in entrapment and to Rossetti's poetics of renunciation; and its famous ending dramatises social order under pressure, a concern shared with both Hamlet and the Gothic pair. Reading it as a companion text trains the comparative reflex (AO4) and the habit of treating staging and structure as meaning, even though it is not itself an examined set text on this route.

A weekly revision cycle that converts Level 5 knowledge into Level 6 control:

1. Choose one text and one concept.
2. Build a one-sentence thesis.
3. Select three short textual moments.
4. Add one formal point and one contextual pressure.
5. Write one paragraph under timed conditions.
6. Upgrade the paragraph by adding a critical debate (AO5).
7. Rewrite the topic sentence so it directly answers a question.

Diagnostic questions to find the weak point in any essay: If the quotations were removed, would the argument still be specific? If the context were removed, would the interpretation become weaker? Does every paragraph analyse method? Does the comparison happen inside the paragraph, not only at the start and end? Is the critic evaluated or merely named? Does the conclusion make a judgement the essay earned?

A short note on the NEA. Although this course concentrates on the examined components, the same analytical habits transfer to Component 3. The key difference is independence: the coursework needs a sharper research question, a more sustained critical conversation, and more deliberate selection of evidence than a timed essay allows. Do not make an NEA essay a longer exam answer; make it a controlled literary investigation. Everything you build for the exams — thesis discipline, analysis of method, context as pressure, comparison of method, evaluation of interpretation — is the raw material the coursework refines.

Finally, a word on how analysis differs from GCSE, because the gap is where marks are won. At GCSE you might write: "Stoker uses Gothic imagery to make Dracula frightening." At A-Level the same observation becomes: "Stoker's epistolary structure makes Dracula frightening by withholding his interiority; the Count becomes a textual absence assembled through the anxieties of others, so the novel does not merely present a monster but reveals how late-Victorian culture manufactures monstrosity out of racial, sexual and imperial fear." The A-Level sentence analyses how the effect is produced and why it matters culturally. Train yourself to convert every GCSE-style observation into that fuller form, and Level 6 stops being mysterious.

Glossary of Key Exam and Critical Terms

Premium lesson expansion: OCR H472 Course Overview

What a top student must understand

Literature essays need an argument, not a tour of the text. Begin with a conceptual thesis, analyse the writer's methods, embed short quotations, link to context and keep returning to the question.

OCR H472-style precision: close analysis, context, critical debate, comparison and a controlled conceptual argument.

The key move is to connect knowledge -> context -> consequence -> judgement. Do not leave the idea as a definition. Turn it into a working explanation that could answer a real exam question.

Guided walkthrough

Worked method: topic sentence with argument, precise evidence, method analysis, alternative reading, contextual pressure, mini judgement. At A-Level, add critical debate or comparison where relevant.

Now apply that method to OCR H472 Course Overview:

1. Identify the exact command word.
2. Select the relevant knowledge or method.
3. Use one detail from the lesson, data, diagram, extract or case.
4. Build at least two linked consequences.
5. Add a limitation, comparison or judgement if the mark tariff requires it.

Examiner-style insight

Middle-grade answers usually know the topic but do not control the answer. Higher-grade answers make the reasoning visible. They use precise vocabulary, apply the idea to the specific context and avoid unsupported general statements. If the question gives evidence, quote or use it. If it asks for evaluation, decide what the answer depends on.

Common misconceptions to avoid

• Retelling the plot instead of analysing method.
• Bolting context onto the end of a paragraph without linking it to meaning.
• Using long quotations that leave no room for analysis.

Worked example

Prompt: Explain why a student could lose marks on a question about OCR H472 Course Overview even if they remember the key definition.

Model answer: A definition alone may only show basic knowledge. To reach the higher levels, the answer must apply the idea to the specific context and explain the consequence. For example, a strong answer would use a detail from the question, link it to the relevant process or decision, and then explain why that effect matters. If the question is evaluative, it should also include a supported judgement rather than a one-sided claim.

Why this works: The answer shows knowledge, application and analysis. It also explains the examiner's likely reason for withholding marks: the missing link between recall and applied reasoning.

Resource-tab notes to add to revision

• Essay frame: argument -> evidence -> method -> meaning -> context -> judgement.
• Method bank: imagery, structure, voice, contrast, motif, symbolism, stagecraft.
• Grade 9/A* habit: offer a plausible alternative interpretation.

Memory aid

Use KACJ: Knowledge, Application, Chain of reasoning, Judgement. Before submitting an answer, check that all four parts are present where the question demands them.

MCQ mini-bank

1. Which answer best shows premium understanding of OCR H472 Course Overview?

   • A. A memorised definition with no context
   • B. A clear idea applied to evidence or a named example
   • C. A long paragraph that repeats the question
   • D. A judgement with no supporting reason
   • Correct: B. Explanation: examiners reward accurate knowledge used in context, not isolated recall.

2. Analyse how the writer presents a central idea in this section.

   • A. It names a keyword only
   • B. It gives a sequence, reason or consequence
   • C. It ignores the command word
   • D. It replaces evidence with opinion
   • Correct: B. Explanation: strong answers make the cause-and-effect chain visible.

3. Compare two moments where the theme develops.

   • A. Use the data or case evidence directly
   • B. Write a generic paragraph
   • C. Skip the calculation or source
   • D. Repeat the definition twice
   • Correct: A. Explanation: application marks depend on the specific information in front of you.

4. Which mistake most often caps an answer on this topic?

   • A. Giving a precise example
   • B. Using the correct subject vocabulary
   • C. Making a claim without explaining why it matters
   • D. Writing a final judgement
   • Correct: C. Explanation: unsupported claims do not build analysis.

5. In a A-Level extended response, what should the final sentence do?

   • A. Introduce a brand-new topic
   • B. Repeat the first sentence exactly
   • C. Make a supported judgement linked to the question
   • D. Apologise for uncertainty
   • Correct: C. Explanation: the final judgement should answer the command word and weigh evidence.

6. Evaluate how far the text supports a particular interpretation.

   • A. A one-sided assertion
   • B. A balanced answer with evidence and a depends-on factor
   • C. A list of facts
   • D. A copied phrase from the question
   • Correct: B. Explanation: higher grades come from weighing evidence, not just naming it.

Long-answer practice

4 marks: Explain one core idea from OCR H472 Course Overview. Use one precise piece of evidence, vocabulary or context.

6 marks: Analyse one consequence or effect linked to OCR H472 Course Overview. Your answer should contain at least two connected steps.

8/9 marks: Assess how important one factor is in this topic. Use evidence and a short judgement.

12/16/25 marks where relevant: Evaluate the statement: "OCR H472 Course Overview is best understood through one main factor." Build two developed arguments, include a limitation and finish with a supported judgement.

Mark-scheme style guidance

• Award lower credit for accurate but isolated knowledge.
• Award middle credit for explanation with some application.
• Award high credit for a developed chain that uses precise evidence and answers the command word.
• For the top band, require a judgement that compares importance, scale, reliability, cost, context or long-term impact.

Stretch and challenge

Create a new exam question for this topic using a different context, figure, extract or scenario. Then write a model answer and annotate it with AO1/AO2/AO3/AO4 or the equivalent subject skills. This turns revision into examiner thinking rather than rereading.

Gold Standard Exam Mastery: OCR H472 Course Overview

Specification mapping

OCR H472 A-Level English Literature: drama and poetry pre-1900, comparative/contextual study, close analysis, critical interpretations and independent argument.

Exam-board lens for this lesson: OCR H472. Use this chapter to revise the content, but also to practise how examiners reward marks in real papers.

Assessment objective map

• AO1: articulate a coherent, sophisticated argument using literary terminology.
• AO2: analyse language, form, structure and genre conventions in detail.
• AO3: use literary, historical and cultural contexts as interpretive pressure.
• AO4: connect texts across genre, period or theme where required.
• AO5: engage with alternative readings and critical interpretations.

Command words to practise

compare, explore, discuss, how far, to what extent, analyse

What examiners reward

• Build a conceptual line of argument before selecting quotations.
• Use critics or alternative readings to sharpen judgement, not to decorate paragraphs.
• For comparison, compare writerly choices and genre effects rather than plot parallels.

Common mistakes to avoid

• Writing GCSE-style theme paragraphs without conceptual argument.
• Dropping critical quotations without evaluating them.
• Ignoring form and genre in favour of character/theme only.

Answer quality ladder

Grade 4 / basic pass move: Explains a relevant interpretation with textual support.

Grade 7 / strong answer move: Develops an argument through method, context and alternative reading.

Grade 9 or A move:* Controls a sophisticated critical debate and evaluates literary form, genre and interpretation.

Exam-style practice prompts

• Write an opening thesis that frames a critical debate about OCR H472 Course Overview.
• Analyse one quotation through language, form and context.
• Add an AO5 alternative reading and decide which interpretation is stronger.

Mark scheme guidance

For short answers, make the point precise before adding explanation. For extended answers, build a chain of reasoning, apply it to the named context, then make a judgement only if the command word requires one. A high-mark answer is not just longer; it is more selective, better evidenced and more explicit about why one factor matters more than another.

Topic-specific teaching upgrade

• Literature answers are arguments about writer choices, not summaries of plot. The student should begin with a claim that can be tested through language, form, structure and context.
• Context is most valuable when it changes interpretation. Instead of adding a detached historical note, use context to explain why an image, stage direction, genre convention or narrative voice carries pressure.
• Top answers include alternative readings: a moment can reveal power and vulnerability, critique and sympathy, public performance and private fear.

Worked example or model move

• Weak: 'This shows the character is ambitious.'
• Strong: 'The compressed violent image makes ambition feel less like confidence and more like a force that deforms moral judgement; the writer invites us to admire intensity while fearing its consequences.'

Examiner-method focus for this lesson

• Embed very short quotations and zoom into individual words or structural positions.
• Use paragraph openings that answer the question directly, then develop complexity.
• For comparison, compare methods and meanings, not just similar themes.

Original long-answer practice

• Plan a thesis-led essay on OCR H472 Course Overview, using three moments and one alternative interpretation.
• Write a comparative paragraph that links OCR H472 Course Overview to a second text, scene or poem through method rather than plot.

Repair-set misconception tags

• thesis_argument
• ao2_language_form_structure
• context_integration
• alternative_reading

Board-aware exam routine

1. Read the question twice and turn it into a thesis, not a topic heading.
2. Select two or three precise moments, quotations or methods before writing.
3. Analyse method first, then effect, then context or interpretation.
4. End each paragraph by returning to the exact wording of the question.

Model answer builder

• Opening move: name the exact concept, method, text, process, model or argument being tested.
• Evidence move: add data, quotation, calculation, example, case detail, code trace, source detail or diagram feature.
• Development move: explain the link in a full chain, not a loose comment.
• Precision move: use exam vocabulary from this lesson and avoid vague filler.
• Judgement move: only where the command word requires it, decide which factor, method, interpretation or option is strongest and why.

Stored MCQ and retrieval design

1. Easy: State or identify one core idea from OCR H472 Course Overview.
2. Medium: Explain how OCR H472 Course Overview works in a specific exam-style context.
3. Hard: Evaluate, prove, compare or justify a response to OCR H472 Course Overview, using evidence and a final judgement where relevant.
4. Retrieval: Write one misconception a student might have about OCR H472 Course Overview, then correct it in mark-scheme language.

When reviewing MCQs, do not just record the correct option. Record the misconception behind each wrong option so Proof Coach can turn the mistake into a targeted repair task.

Proof Coach hooks

If this topic appears in your dashboard, Proof Coach should track:

• conceptual thesis
• AO2 precision
• AO3 context
• AO5 debate