The gist: Connect the two works by keeping the global issue as the bridge: move between them on shared points (‘the novel does X; the campaign does the same, but…’), not one whole work then the other.
The IO is not two five-minute talks glued together — it's one argument that walks back and forth between two works.
The global issue is your bridge. On each point, ask how BOTH works handle it, and cross between them with connectives (‘similarly’, ‘by contrast’, ‘where the novel… the adverts…’). Like Paper 2, weaving beats stacking — but here the two works are a literary and a non-literary one, joined by the issue.
How to connect the works
Issue as the bridge
Every crossing between works is anchored to the global issue.
Weave, don't stack
Move between the works on shared points, not one whole work then the other.
Use connecting language
‘Similarly’, ‘by contrast’, ‘where the novel…, the campaign…’.
Note revealing differences
The literary and non-literary work often treat the issue very differently — say why.
The key move: Use the global issue as a bridge and weave the two works — move between them on shared points with connectives, rather than doing all of one then all of the other.
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Why it matters in the exam: Connecting the works is central to Criterion C (focus and organisation): an IO that weaves reads as one coherent argument, while one that does the literary work then the non-literary work reads as two separate talks and loses coherence.
A student plans: ‘First I'll analyse the novel for five minutes, then the advertising campaign for five minutes.’ What's the problem, and how should they connect the works?
Model answer plan
See the mark-by-mark plan — for / against / judgement, with marking guidance — in study mode.
Watch out: The ‘five minutes each’ plan is the IO version of the two-mini-essays mistake. Weave the works around the issue — the literary and non-literary text should appear together, point by point.