Step 8 of 10
A GP introduction does two jobs: it works on the question before answering it, and it lands a calibrated thesis. Restating the question and reaching for a grand opener does neither. Here is how to open so the rest of the essay can score.
An introduction is not a warm-up and not a summary of what you will say. It has two jobs. First, problematise the question: show why it is interesting and contested, surface its hidden assumption, or redefine its key word. Second, land the thesis: a calibrated position with its conditions named. Everything else, context, background, a definition for its own sake, is filler that delays both jobs.
Markers can place the band from the first paragraph. An opening that reframes the question signals a Band 5 mind at work; an opening that restates it signals a Band 4 one. The introduction is small, but it sets the ceiling, because it decides whether the essay is about to answer the question or interrogate it.
The strongest openings begin from somewhere slightly unexpected and pull the question into focus, rather than announcing it. There is a small family of moves that work: a single concrete instance that scales up to the general claim; a historical or long-arc anchor that the essay then collapses back to the present; a paradox or an inverted version of the claim; or a named position you intend to contest. Each one earns its place only if it does a job, redefining the key term, naming the axis, or surfacing the assumption.
The lesson is to teach the job, not the device. A hook that hooks but does not reframe is decoration, and markers feel it; one strong script was told to scale back the rhetoric in its introduction as wholly unnecessary. So do not open with a quotation or an anecdote because openings are supposed to have one. Open with the thing that sharpens the question.
The weak version opens with a banned cliche, restates the question, and promises a two-sided list. The strong version anchors on a real prediction, redefines 'too much concern' as a question of proportion, and loads the thesis. (The opener is a teaching illustration of the move, not a fact to quote verbatim in the exam.)
The introduction is the natural home for engaging the key word, and doing it here pays off for the whole essay. If the question turns on 'too much', define it as a question of proportion in the introduction, and every body paragraph can then measure proportion. If it turns on 'only', surface in the introduction that the word claims a single cause, and the body can test whether other causes exist.
This is what separates a reframing introduction from a decorative one. The reframe is not a flourish; it is the first move of the argument. By the end of the introduction the reader should know which word you are measuring, what scale you are measuring it on, and where you provisionally come down.
The thesis is the last thing in the introduction and the bridge into the body. After you have problematised the question, state your calibrated position with its conditions, the version built in the thesis step. A good conditional thesis is a plan in disguise: its conditions become your topic sentences, so a reader finishing your introduction can almost predict the shape of the essay.
Keep the introduction tight, roughly a hundred and twenty to a hundred and fifty words. It does not need to preview every paragraph or define every term. It needs to sharpen the question and commit to a position. Length spent here is length stolen from the body, where the marks actually accumulate.
Three habits sink introductions. The cliche opener, 'in today's world', 'since the dawn of time', signals a machine or a memorised template and earns nothing. The cold dictionary definition, opening by defining a common word as if the reader needed it, wastes the most valuable sentences in the essay. And over-rhetoric, a string of grand sentences or rhetorical questions, buys authority it then fails to repay.
Cut all three and open on the operative term or a specific instance instead. The introduction is judged on whether it sharpens the question, not on whether it sounds impressive. A plain, precise opening that reframes the question beats an ornate one that only restates it.

Book a free trial lesson and see how we teach GP from the exam backwards, with marked practice against the band descriptors.