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Tone, style and register are ambitiously selected and deployed to enhance the purpose of the task. There is a skilfully controlled overall structure, with paragraphs and grammatical features used to support coherence and cohesion and achieve a range of effects. 21–24 marks - **Level 5:** The form is confidently adapted and shows a secure understanding of purpose and audience. There is a sustained use of tone, style and register to fulfil the purpose of the task. There is a controlled overall structure, with paragraphs and grammatical features used to support coherence and cohesion and achieve particular effects. 17–20 marks - **Level 4:** The form is adapted to show a clear understanding of purpose and audience. Tone, style and register are chosen to match the task. There is a well-managed overall structure, with paragraphs and grammatical features used to support coherence and cohesion, and sometimes for effect. 13–16 marks - **Level 3:** The form is sustained and shows clear awareness of purpose and audience. Tone, style and register are appropriate for the task, with some inconsistencies. There is a clear overall structure, with paragraphs and grammatical features used, mostly securely, to support coherence and cohesion. 9–12 marks - **Level 2:** The form, which is mostly appropriate for purpose and audience, is generally maintained. There is an attempt to use a tone, style and register appropriate to the task. There is some evidence of overall structure, with some use of paragraphs and grammatical features to support coherence and cohesion. 5–8 marks - **Level 1:** There is some attempt to use a form appropriate for purpose and audience. There is a limited attempt to use a tone, style and register appropriate for the task. There is some attempt to structure the response, with limited evidence of paragraphs or grammatical features to support coherence and cohesion. 1–4 marks - No response or no response worthy of credit. 0 marks **Assessment rubric: AO6 vocabulary, sentence structure, spelling and punctuation** 16 marks - **Level 4:** An ambitious range of sentence structures is used to shape meaning and create impact. Accurate punctuation is used to enhance clarity and achieve particular effects. Vocabulary is precise and subtle, expressing complex ideas with clarity. Spelling of irregular and ambitious words is accurate, with very occasional lapses. 13–16 marks - **Level 3:** A wide range of sentence structures is used for deliberate purpose and effect. Punctuation is consistently accurate and is used to achieve clarity. Vocabulary is sometimes ambitious and used convincingly for purpose and effect. Spelling, including complex regular words, is accurate; there may be occasional errors with irregular and ambitious words. 9–12 marks - **Level 2:** A range of sentence structures is used, mostly securely, and sometimes for purpose and effect. Punctuation is generally accurate with occasional errors. Vocabulary is appropriate and shows some evidence of being selected for deliberate effect. Spelling is generally accurate with occasional errors with common and more complex words. 5–8 marks - **Level 1:** Simple sentences are used with some attempt to use more complex structures. Some punctuation is used but there is a lack of control and consistency. Vocabulary is straightforward and relevant. Mostly accurate spelling of simple words. 1–4 marks - No response or no response worthy of credit. 0 marks Where the answer consistently meets the criteria, award the higher mark. Use best fit across the whole response. High-scoring responses move purposefully between panorama and close detail rather than producing a list of lights. Credit original imagery that avoids clichés such as stars or diamonds unless they are reworked. The third bullet invites inner reflection; this should be woven through the description, not added at the end. **Model answer** From the twenty-third floor, the city is a circuit board someone has forgotten to switch off. I am standing at the window of the hospital’s family room at half past two in the morning, a plastic cup of machine tea cooling in my hands. Behind me the room hums with fluorescent light and a vending machine that sighs every few minutes, as if it, too, is waiting for news. In front of me, beyond the glass and my own faint, hollow-eyed reflection, the whole of the city lies spread out like a map that has learned to glow. The main roads are the first thing the eye finds. They run in long amber seams from the centre towards the edges of the dark, and along them the headlights move in slow, patient beads: white coming, red going, an endless rosary of other people’s journeys. At this hour there are fewer of them, and each one seems to carry a story. Who drives across a city at half past two? Night nurses. Bakers. Someone like my father, an hour ago, racing to this building with the hazard lights on. Closer in, the streets fold into a tangle of orange and shadow. The cathedral is floodlit, its spire a pale finger raised against the clouds. The river is the only truly black thing, a slick ribbon without a single light upon it, and the bridges stitch across it in bright, beaded threads. Further out, the housing estates are scattered with porch lamps, thousands of them, tiny and steady, each marking a door behind which, presumably, people are asleep. But not all of them. If I narrow my eyes I can pick out lit windows here and there among the dark blocks. A kitchen on the tenth floor of the tower opposite: someone moving back and forth, small as a moth. A bedroom with a television flickering blue. A single square of yellow in a terrace by the ring road, which goes out even as I watch, like a held breath released. From up here, the city seems silent. I cannot hear the traffic or the sirens or the drunk singing outside the station. All the noise has been drained away by height and glass, and what remains is pure pattern, beautiful and indifferent. It occurs to me that from any one of those windows, this hospital must look exactly the same: just another tower of lit rectangles, one of which contains a girl with a cold cup of tea and a grandmother in a room down the corridor, wired to machines. The thought is both terrible and strangely comforting. Out there, in the dark, there must be dozens of other family rooms, other vending machines, other people standing at windows at half past two and staring at the lights because the lights are easier to look at than anything else. Far to the east, above the hills, the sky has begun to lose its density, turning from black to the deep blue of ink thinned with water. A crane on the skyline blinks its red warning light, on, off, on, off, steady as a pulse. I watch it for a long time. Behind me, a door opens. This is one possible response, not a required script. Credit other valid approaches that meet the level descriptors.99:T1f55,**Purpose, audience and form** - **Purpose:** To recount a memorable personal experience vividly and reflect on its significance - **Audience:** A general adult reader - **Form:** Personal writing: a first-person autobiographical account **Task-specific guidance** - Recreate the physical and sensory experience of being part of a crowd. - Use structure and sentence length to convey pressure, panic or exhilaration. - Show a development in feelings during the experience. - Reflect on how the experience looks from a distance of time. **Marking** 40 marks Mark the response out of 24 marks (AO5) and out of 16 marks (AO6), then add the two marks together. **Assessment rubric: AO5 communication and organisation** 24 marks - **Level 6:** The form is deliberately adapted to position the reader, showing a sophisticated control of purpose and effect. Tone, style and register are ambitiously selected and deployed to enhance the purpose of the task. There is a skilfully controlled overall structure, with paragraphs and grammatical features used to support coherence and cohesion and achieve a range of effects. 21–24 marks - **Level 5:** The form is confidently adapted and shows a secure understanding of purpose and audience. There is a sustained use of tone, style and register to fulfil the purpose of the task. There is a controlled overall structure, with paragraphs and grammatical features used to support coherence and cohesion and achieve particular effects. 17–20 marks - **Level 4:** The form is adapted to show a clear understanding of purpose and audience. Tone, style and register are chosen to match the task. There is a well-managed overall structure, with paragraphs and grammatical features used to support coherence and cohesion, and sometimes for effect. 13–16 marks - **Level 3:** The form is sustained and shows clear awareness of purpose and audience. Tone, style and register are appropriate for the task, with some inconsistencies. There is a clear overall structure, with paragraphs and grammatical features used, mostly securely, to support coherence and cohesion. 9–12 marks - **Level 2:** The form, which is mostly appropriate for purpose and audience, is generally maintained. There is an attempt to use a tone, style and register appropriate to the task. There is some evidence of overall structure, with some use of paragraphs and grammatical features to support coherence and cohesion. 5–8 marks - **Level 1:** There is some attempt to use a form appropriate for purpose and audience. There is a limited attempt to use a tone, style and register appropriate for the task. There is some attempt to structure the response, with limited evidence of paragraphs or grammatical features to support coherence and cohesion. 1–4 marks - No response or no response worthy of credit. 0 marks **Assessment rubric: AO6 vocabulary, sentence structure, spelling and punctuation** 16 marks - **Level 4:** An ambitious range of sentence structures is used to shape meaning and create impact. Accurate punctuation is used to enhance clarity and achieve particular effects. Vocabulary is precise and subtle, expressing complex ideas with clarity. Spelling of irregular and ambitious words is accurate, with very occasional lapses. 13–16 marks - **Level 3:** A wide range of sentence structures is used for deliberate purpose and effect. Punctuation is consistently accurate and is used to achieve clarity. Vocabulary is sometimes ambitious and used convincingly for purpose and effect. Spelling, including complex regular words, is accurate; there may be occasional errors with irregular and ambitious words. 9–12 marks - **Level 2:** A range of sentence structures is used, mostly securely, and sometimes for purpose and effect. Punctuation is generally accurate with occasional errors. Vocabulary is appropriate and shows some evidence of being selected for deliberate effect. Spelling is generally accurate with occasional errors with common and more complex words. 5–8 marks - **Level 1:** Simple sentences are used with some attempt to use more complex structures. Some punctuation is used but there is a lack of control and consistency. Vocabulary is straightforward and relevant. Mostly accurate spelling of simple words. 1–4 marks - No response or no response worthy of credit. 0 marks Where the answer consistently meets the criteria, award the higher mark. Use best fit across the whole response. Top-band responses control pace skilfully, perhaps compressing time at moments of panic and expanding it at moments of realisation. Credit honest exploration of mixed feelings, such as excitement and fear. The reflective element should be developed and specific. **Model answer** Sixty thousand people, and for twenty-three minutes I did not know a single one of them. It was the summer I turned fifteen, and my friends and I had tickets to see the biggest band in the world at Wembley. We had saved for eight months. We had matching T-shirts with the band’s logo printed across the front, and a plan that my mother had made me repeat back to her twice: stay together, keep your phone charged, and if you get separated, meet at the burger stand by Gate G. The plan lasted until the second song. Before that, everything was perfect. The stadium was a vast bowl of noise and colour, tier upon tier of people rising into the evening sky, waving flags and phones and glow sticks. The air smelt of beer and hot dogs and sun cream. When the lights went down and the first chord crashed out of the speakers, the whole crowd surged forward in a single, ecstatic wave, and I was lifted off my feet, laughing, carried along with the others like driftwood on a tide. When my feet found the ground again, my friends were gone. At first I was not worried. They would be just here, just behind me, I would see Maddie’s pink hair any second. But every face I turned to belonged to a stranger: a man with his shirt off, a girl sobbing with joy, a tall woman holding a sign I could not read. The crowd pressed in on every side, hot and damp and heaving, and I was too short to see anything except shoulders. My phone showed no signal. The noise was so total that it was not really noise at all, more a kind of pressure on my skull. I am not sure when the panic started. It did not arrive all at once; it seeped in. My breathing went shallow. My hands began to shake. I tried to push towards where I thought Gate G might be, but the crowd moved like water, closing in behind every gap I made, pushing me sideways and back. For a few minutes, which felt like hours, I was absolutely convinced that I would never get out. And then the band played the song. You know the one. Everyone knows the one. The opening notes rang out, and sixty thousand people began to sing, and the woman next to me, the tall one with the sign, looked down, saw my face, and without a word took my hand. She held it through the whole song, swinging it in the air, singing at the top of her voice, and somehow, by the end, my breathing had steadied. When the song finished, she leaned down and shouted, “Who are you here with?” I told her. She took me by the shoulders and steered me, gently but firmly, through the crowd until we reached Gate G, where Maddie and the others were waiting, white-faced, clutching each other. I never learned the woman’s name. I did not even thank her properly. I have been to many gigs since, and I still love crowds. But I think about her often. She taught me that a crowd is not one huge, faceless thing; it is sixty thousand separate people, and any one of them might reach out a hand. This is one possible response, not a required script. Credit other valid approaches that meet the level descriptors.9a:T1fa3,**Purpose, audience and form** - **Purpose:** To describe a place or scene vividly, creating atmosphere for the reader - **Audience:** A general adult reader - **Form:** Descriptive writing **Task-specific guidance** - Establish a clear viewpoint, perhaps a traveller with a particular reason for flying. - Capture the variety of people and activity in the lounge through selective, precise detail. - Use the sense of waiting and suspension between places to shape the atmosphere. - Let the viewer’s thoughts and feelings develop in response to the setting. **Marking** 40 marks Mark the response out of 24 marks (AO5) and out of 16 marks (AO6), then add the two marks together. **Assessment rubric: AO5 communication and organisation** 24 marks - **Level 6:** The form is deliberately adapted to position the reader, showing a sophisticated control of purpose and effect. Tone, style and register are ambitiously selected and deployed to enhance the purpose of the task. There is a skilfully controlled overall structure, with paragraphs and grammatical features used to support coherence and cohesion and achieve a range of effects. 21–24 marks - **Level 5:** The form is confidently adapted and shows a secure understanding of purpose and audience. There is a sustained use of tone, style and register to fulfil the purpose of the task. There is a controlled overall structure, with paragraphs and grammatical features used to support coherence and cohesion and achieve particular effects. 17–20 marks - **Level 4:** The form is adapted to show a clear understanding of purpose and audience. Tone, style and register are chosen to match the task. There is a well-managed overall structure, with paragraphs and grammatical features used to support coherence and cohesion, and sometimes for effect. 13–16 marks - **Level 3:** The form is sustained and shows clear awareness of purpose and audience. Tone, style and register are appropriate for the task, with some inconsistencies. There is a clear overall structure, with paragraphs and grammatical features used, mostly securely, to support coherence and cohesion. 9–12 marks - **Level 2:** The form, which is mostly appropriate for purpose and audience, is generally maintained. There is an attempt to use a tone, style and register appropriate to the task. There is some evidence of overall structure, with some use of paragraphs and grammatical features to support coherence and cohesion. 5–8 marks - **Level 1:** There is some attempt to use a form appropriate for purpose and audience. There is a limited attempt to use a tone, style and register appropriate for the task. There is some attempt to structure the response, with limited evidence of paragraphs or grammatical features to support coherence and cohesion. 1–4 marks - No response or no response worthy of credit. 0 marks **Assessment rubric: AO6 vocabulary, sentence structure, spelling and punctuation** 16 marks - **Level 4:** An ambitious range of sentence structures is used to shape meaning and create impact. Accurate punctuation is used to enhance clarity and achieve particular effects. Vocabulary is precise and subtle, expressing complex ideas with clarity. Spelling of irregular and ambitious words is accurate, with very occasional lapses. 13–16 marks - **Level 3:** A wide range of sentence structures is used for deliberate purpose and effect. Punctuation is consistently accurate and is used to achieve clarity. Vocabulary is sometimes ambitious and used convincingly for purpose and effect. Spelling, including complex regular words, is accurate; there may be occasional errors with irregular and ambitious words. 9–12 marks - **Level 2:** A range of sentence structures is used, mostly securely, and sometimes for purpose and effect. Punctuation is generally accurate with occasional errors. Vocabulary is appropriate and shows some evidence of being selected for deliberate effect. Spelling is generally accurate with occasional errors with common and more complex words. 5–8 marks - **Level 1:** Simple sentences are used with some attempt to use more complex structures. Some punctuation is used but there is a lack of control and consistency. Vocabulary is straightforward and relevant. Mostly accurate spelling of simple words. 1–4 marks - No response or no response worthy of credit. 0 marks Where the answer consistently meets the criteria, award the higher mark. Use best fit across the whole response. High-scoring responses use the departure lounge as more than a backdrop, exploring ideas of transition or anticipation. Credit skilful movement between wide views and close details. Reward a coherent overall structure with a clear sense of an ending. **Model answer** The departure lounge is a place that belongs to nowhere, and for the next two hours, so do I. I sit by the vast window at Gate 32 with my boarding pass folded and unfolded so many times that it has gone soft as cloth. It is six in the morning. Beyond the glass, the airfield stretches away under a pale grey sky, flat and wide and threaded with lines of blue and yellow lights. Planes sit at their gates like enormous resting birds, their noses nuzzled up to the terminal, while small vehicles scurry around their bellies: baggage trucks, fuel tankers, a catering van with its back raised on a scissor lift. Further out, a plane gathers speed along the runway, its engines a distant, rising roar, then lifts, impossibly, and tilts away into the cloud. Behind me, the lounge hums. It is a huge, bright space, a cathedral of glass and steel and glossy floors, lit by a white light that seems to come from everywhere at once. Rows of black leather seats are bolted together in long lines. Screens hang from the ceiling, flickering with destinations that sound like a list of spells: Reykjavik, Lagos, Bangkok, Montreal. Every few minutes a calm, recorded voice announces a gate or a final call, and the sound floats above the noise like the voice of a sleepy god. Everyone here is in transit, and it shows. A family of five sprawl across a row of seats in a nest of pillows and backpacks, the youngest child asleep on the floor beneath them, sucking his thumb. A businessman in a creased suit paces up and down by the window, talking into his phone in a low, urgent voice. Two elderly women in matching purple fleeces share a croissant with the solemnity of a ceremony. A group of young men in identical stag-do T-shirts are already drinking beer at the bar, their laughter bursting out in loud, ragged waves. And there is me: seventeen, a suitcase that weighs exactly twenty-three kilograms, and a one-way ticket to a university in a city I have only ever seen on a laptop screen. I keep thinking about my parents at the security gate an hour ago. My mother held my face in both hands as though she were trying to memorise it. My father carried my case right up to the barrier and then could not seem to let go of the handle. I walked through and turned and waved, and they waved back, getting smaller, and then a family with a pushchair moved between us, and they were gone. That is the strange thing about this place. Behind the security gates, I am no longer where I came from, but I am not yet where I am going. I am suspended. Every person here is suspended, held for a short while in this glittering, timeless, in-between room, with its overpriced coffee and its perfume counters and its clocks set to the time of somewhere else. The voice overhead says my flight is boarding. My heart thumps. I stand, shoulder my bag, and join the queue that shuffles slowly towards the narrow tunnel and the open door beyond. Through the window, the sky is turning gold at the edges. This is one possible response, not a required script. 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3.4 Section B: Writing imaginatively and creatively – content

Question 125

3.4 Section B: Writing imaginatively and creatively – content Questions

3.4 Section B: Writing imaginatively and creatively – content

Question 125

3.4 Section B: Writing imaginatively and creatively – content Questions