GCSE English Language Booklet 1 Launch event

AQA qualification support GCSE English Language Introduction to the new specification Autumn 2014 launch events

BOOKLET 1

Published date: Autumn 2014 version 1

Permission to reproduce all copyright materials have been applied for. In some cases, efforts to contact copyright holders have been unsuccessful and AQA will be happy to rectify any omissions of acknowledgements in future documents if required.

Contents Page

Contacts 5

PowerPoint 6

Specification at a Glance and Subject Content 24

GCSE English Language Paper 1 sample questions 43

GCSE English Language Paper 1 sample mark scheme 51

GCSE English Language Paper 2 sample insert 66

GCSE English Language Paper 2 sample questions 72

GCSE English Language Paper 2 sample mark scheme 75

GCSE English Language sample commentary 88

GCSE English Language AO symmetry grid 97

KS3 Sample 101

KS3 Sample Insert 102

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Contacts Contact points for GCSE English Language Please contact the subject department for further help and advice about the above specification.

Customer support team

GCSE English Department AQA, Manchester, M15 6EX Telephone: 0161 953 7504

email: [email protected]

For help with support meeting information, please contact:

Teacher Support Manager

Liz Hey

AQA, Guildford, GU2 7XJ Telephone: 0161 957 3646 email: [email protected]

Senior CPD Manager

Charlotte Lock AQA, Manchester, M15 6EX Telephone: 0161 957 3646 email: [email protected]

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mailto:[email protected]



GCSE English LanguageFor first teaching in 2015

Autumn term 2014 launch events

Copyright © AQA and its licensors. All rights reserved.Slide 1 Follow us on Twitter @AQACPD.

Structure of the session

Overview of the new specification

• Underlying principles and key features• Specification at a glance• Summary of content and assessment objectives

Paper 1

• Content and question types

Break

Paper 2

• Content and question types

Support and resources

Slide 2 Copyright © AQA and its licensors. All rights reserved. Follow us on Twitter @AQACPD.

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Objectives

• To understand the key elements of the specification structure, teaching content and assessment.

• To start thinking about the implications for teaching and learning.

• To review the resources and support available from AQA.

• To enable you to ask any questions about the specification.

Slide 3 Copyright © AQA and its licensors. All rights reserved. Follow us on Twitter @AQACPD.

Context

• Developed by an experienced team of teachers and examiners.

• Reviewed by a subject panel of stakeholders and subject experts.

• Piloted in a range of schools to ensure effective, robust and engaging question strategies.

• Fulfils all new National Curriculum requirements and complements all other qualifications in this suite: for example, GCSE English Literature.

• The new specification is for teaching from September 2015 with first assessment in summer 2017.

Slide 4 Copyright © AQA and its licensors. All rights reserved.

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Underlying principles

• An accessible and enabling qualification for all abilities of learner.

• An assessment journey that supports students through each paper to make it a positive and engaging experience for all.

• Two clear and distinct identities: Explorations in Creative Reading and Writing, and Writers’ Viewpoints and Perspectives.

• NFER: “The AQA specification for English Language is innovative, combining reading and writing in each of the two papers. This is effective as the reading texts serve a double purpose: as the basis for comprehension questions and as supporting text for the writing tasks”.


Overview of specification content

• Paper 1: Explorations in creative reading and writing.

• Paper 2: Writers’ viewpoints and perspectives.

• Spoken Language as a separate endorsement.


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Specification at a glance


Assessment Objective 1


Assessment Objective

• Identify and interpret explicit and implicit information and ideas.

• Select and synthesise evidence from different texts.

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• Explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology to support their views.




• Compare writers’ ideas and perspectives, as well as how these are conveyed, across two or more texts.

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• Evaluate texts critically and support this with appropriate textual references.

Assessment Objective 5 and 6


Assessment Objectives AO5

AO6

• Communicate clearly, effectively and imaginatively, selecting and adapting tone, style and register for different forms, purposes and audiences.

• Organise information and ideas, using structural and grammatical features to support coherence and cohesion of texts.

• Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation.

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Weightings


Assessment Objective No of Marks % of total GCSE marks

Paper 1 AO1 4 2.5%

AO2 16 10%

AO4 20 12.5%

AO5 24 15%

AO6 16 10%

Total Paper 1 80

Paper 2 AO1 12 7.5%

AO2 12 7.5%

AO3 16 10%

AO5 24 15%

AO6 16 10%

Total Paper 2 80

Overall GCSE English Language

AO1 16 10% Allowed range (5‐10%)

AO2 28 17.5% Allowed range (10‐20%)

AO3 16 10% Allowed range (5‐10%)

AO4 20 12.5% Allowed range (10‐20%)

AO5 48 30%

AO6 32 20%

Grand Total 160 100%

Key features and benefits 1

• Two distinct papers, each of similar length and demand to minimise assessment fatigue and encourage equal performance.

• Integrated reading and writing tasks on both papers to support learning.

• Assessment of a single AO per question.

• Consistency of questions on same papers in same sequence each series.

• A range of question types and strategies – Simplicity and symmetry in the way both papers provide a learning scaffold and develop progression.

Copyright © AQA and its licensors. All rights reserved.Slide 14

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Key features and benefits 2

• Commitment to define which texts will be assessed on which paper.

• Co-teachable with GCSE English Literature.

• Writing tasks with a choice of stimulus materials.

• Assessment of technical accuracy through candidates’ own writing.

• Commentary document and student responses appendix.

• KS3 papers to support effective formative and summative assessments of progress.



General questions

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Paper 1


Structure of Question Paper 1

1 hour and 45 minutes: includes 15 minutes reading time

Section A:

• 40 marks for reading (25% of the qualification)• 4 reading questions: 4+8+8+20 marks

Section B:

• 40 marks for writing (25% of the qualification) • 1 writing question: 24+16 marks


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Content and skills for Paper 1 Section A: Reading

• Reading a single source drawn from literature fiction in order to consider how established, modern and emerging writers use narrative and descriptive techniques to capture the interest of readers.

• The genre of the source will be literature prose fiction such as extracts from novels and short stories and focus on openings, endings, narrative perspectives and points of view, narrative or descriptive passages, character developments, atmospheric descriptions and other appropriate narrative and descriptive approaches.

• The source for the reading questions will be selected from the 20th or 21st

centuries.

• 40 marks in total.


Assessment objectives for Paper 1 Section A


Assessment Objectives

The paper will assess in this sequence:

• AO1 4 marks

• AO2 16 marks

• AO4 20 marks

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Paper 1 Section A: Sample question 1

Read again the first part of the source, lines 1 to 7.

List four things from this part of the text about the weather.

a b c d

[4 marks]



Look in detail at this extract from lines 8-17 of the source.

The wind came in gusts, at times shaking the coach…

How does the writer use language here to describe the effects of the weather?

You could include the writer’s choice of:

• words and phrases• language features and techniques• sentence forms.

[8 marks]


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You now need to think about the whole of the source.

This text is from the opening of a novel.How has the writer structured the text to interest you as a reader?

You could write about:

• what the writer focuses your attention on at the beginning• how and why the writer changes this focus as the extract develops• any other structural features that interest you.

[8 marks]



Focus this part of your answer on the second half of the source, from line 18 to the end.

A student, having read this section of the text said: “The writer brings the very different characters to life for the reader. It is as if you are inside the coach with them.”

To what extent do you agree?

In your response, you could:

• write about your own impressions of the characters• evaluate how the writer has created these impressions• support your opinions with quotations from the text.

[20 marks]


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Evaluates clearly

Relevant quotations

Clearly explains views

Some perceptive

comment

Selects relevant

quotations

To a large extent, I agree with the reader.

I think because the writer had described the characteristics. The weather also helps as I feel that each character’s view as they saw the weather allows us to empathise with their feelings. For example, the fact that all the passengers “huddled together” for warmth, exclaiming in unison” shows that they are all cold and frightened for they “huddled together”. They must all be terrified and are feeling and thinking the same. They are “exclaiming in unison”. The use of the word “exclaiming” just shows us how scared they must be, and how terrified because of the weather. By them all being together and acting as one, I feel as if I am there too, with them.

As Mary Yellan sits in the “opposite corner” from the others implies that she feels secluded and alone but she sits where rain fell through a crack in the roof. I am sympathetic towards her and feels as though I want to go and comfort her in some way. Especially because her eyes were “fixed” on the window and she seemed to be hoping “with desperate interest that some ray of light would break the heavy blanket of sky”. The use of the the descriptive phrase “desperate interest” shows that she is hoping with all her might that something will happen and stop herself and the others on the coach, feeling discombobulated. Normally blankets make you feel protected and warm, but in this case, she was hoping that “some ray of light would break the heavy blanket”. This blanket was smothering and suffocating them and she seeked a saviour, the Sun. Reading this, I think and want the same as she does. I feel as though I too am on the coach, seeking protection.

Question 4



Questions on Paper 1 Section A

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Content and skills for Paper 1 Section B: Writing

• Always a choice of written prompt and visual image that is linked to the topic of the reading text in section A.

• Always a creative task focusing on narrative and, or descriptive writing skills: onenarration and one description, or two description, or two narration.

• Marks for content and organisation as well as for technical accuracy.

• Mark scheme designed to encourage ambition.

• Section B will be allocated 40 marks to give an equal weighting to the reading and writing tasks.


Assessment objectives for Paper 1 Section B



The section will assess:

• AO5 24 marks

• AO6 16 marks

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Paper 1 Section B: Sample question 5

You are going to enter a creative writing competition. Your entry will be judged by a panel of people of your own age.

Either: Write a description suggested by this picture:

Or: Write the opening part of a story about a place that is severely affected by the weather.

[24 marks for content and organisation16 marks for technical accuracy]

[40 marks]



Questions on Paper 1 Section B

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Paper 2

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Structure of Question Paper 2

1 hour and 45 minutes: includes 15 minutes reading time

Section A:

• 40 marks for reading (25% of the qualification)• 4 reading questions: 4+8+12+16 marks

Section B:

• 40 marks for writing (25% of the qualification) • 1 writing question: 24+16 marks


Simplicity and symmetry: Progression


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Content and skills for Paper 2 Section A


• To develop students’ insights into how writers have particular viewpoints and perspectives on issues or themes that are important to the way we think and live our lives.

• Two linked sources from different time periods and genres in order to consider how each presents a perspective or viewpoint to influence the reader.

• Sources will be drawn from the 19th century, and either the 20th or 21st

centuries depending on the time period selected for paper 1 in each series.

• Choice of genre for the sources will be non-fiction and literary non-fiction such as high quality journalism, articles, reports, essays, travel writing, accounts, sketches, letters, diaries, reports, autobiography and biographical passages or other appropriate non-fiction and literary non-fiction forms.

Assessment objectives for Paper 2 Section A



The section will assess in this sequence:

• AO1 12 marks

• AO2 12 marks

• AO3 16 marks

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Read again source A, from lines 1 to 15. Choose four statements below which are TRUE. Shade the boxes of the ones that you think are true Choose a maximum of four statements.

A Jay Rayner has good memories of his time in school. B Jay Rayner was happy to help his son with his homework. C As a boy, Jay Rayner worried about handing in his homework on Monday mornings. D Jay Rayner could not think of a food metaphor to help his son. E Jay Rayner was very able in school. F As a boy, Jay Rayner did not enjoy doing homework. G Jay Rayner looked forward to receiving feedback from his teachers. H Jay Rayner makes a joke to cover up his own real exam

results. [4 marks]


You need to refer to source A and source B for this question:

Use details from both sources. Write a summary of the differences between Eddie and Henry.

[8 marks]


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Eddie is quite academic and so is Henry but Eddie doesn’t seem to try particularly hard. ‘He’s irritatingly good at it’ and ‘he is too busy killing things, while talking on Skype! This suggests he wants to do well and does do well, without trying very hard, and is living in comfort.

Whereas Henry is having a very uncomfortable time at boarding school, ‘our bread is nearly black’, suggesting they have very scarce or low quality food but Henry works hard and looks after himself unlike Eddie. Henry also does not have his father’s support as Eddie does. Eddie just ignores his father as he comes into the room but Henry is pleading to see his father at all. ‘If God permit me to live as long,’ this shows that Henry is basically saying how desperate he is! This contrasts with Eddie, who doesn’t realise how lucky he is!



You now need to refer only to source B, the letter by Henry written to his father.

How does Henry use language to try to influence his father?

[12 marks]


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For this question, you need to refer to the whole of source A together with source B, the father’s letter to a family friend.

Compare how the two writers convey their different attitudes to parenting and education.

In your answer, you should:

• compare their different attitudes• compare the methods they use to convey their attitudes• support your ideas with quotations from both texts.

[16 marks]


Jay Rayner clearly has a much closer relationship with his son than Henrys father in Source 2. There is a physical closeness in that Jay and his son live in the same house and

share everyday life and concerns, whereas Henry lives away from his father at boarding school and rarely comes home, “It is now two years come October since I left you at

Islington.” This means that Henry’s father has no real idea of Henry’s everyday life and concerns apart from the occasional letter.

Jay Rayner clearly empathises with his son’s concerns, including homework and decides to “share a little solidarity” by attempting his maths homework. While Henry’s

father has to rely on the intervention of a friend to find out more about Henry’s problems and asks him to “ascertain whether you think it would be advisable for me to

send for them home.”

Jay Rayner writes in an informal tone which matches his relaxed and more modern approach to parenting. He talks about children, such as his who “take the mickey” out of

their parents. Henry’s father uses a much more formal tone with his choice of language, “induced to write to you”, “excuse the liberty I take” which reflects the language of

the time the letter was written. The letter was to even written to his son, but to a friend.

Both fathers seem to value education but have different approaches to their sons’ learning.

Jay Rayner uses humour to convey his own moderate academic achievement. He confessed that his “grades lined up like a line of Pac‐Men doing a conga”. He also uses

humour to express his pride at his son’s educational achievement in Maths when he describes him as being “irritatingly good at it.” Irritatingly reflects Jay’s wonder at his

son’s natural talent while he struggles.

Henry’s father is very concerned about his son’s education, particularly his spelling “I see several words wrong‐spelt.” This is ironic as the father has made grammatical

mistakes himself “several words wrong‐spelt”. He is unaware of his educational weaknesses whereas Jay Rayner makes a joke


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Questions on Paper 2 Section A

Content and skills for Paper 2 Section B


• The task will require students to produce a written text to a specified audience, purpose and form in which they give their own perspective on the theme that has been introduced to them in section A.

• There will be a single writing task which could use a range of opinions, statements and writing scenarios to provoke a response.

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Assessment objectives for Paper 2 Section B



The section will assess:

AO5 24 marks

AO6 16 marks

Section B will be allocated 40 marks to give an equal weighting to the reading and writing tasks.

Paper 2 Section B: Sample question 5


‘Homework has no value. Some students get it done for them; some don’t do it at all. Students should be relaxing in their free time.’

Write an article for a broadsheet newspaper in which you explain your point of view on this statement.

(24 marks for content and organisation16 marks for accuracy)[40 Marks]

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Questions on Paper 2 Section B

Resources and support from AQA

360°

SUPPORT

Choosing the right qualification

• Draft specification• Draft question papers and mark schemes• Specification at a glance• Summary of changes• Documents to help you compare exam boards’

specifications

Results: reviewing and

planning for improvement

• Enhanced Results Analysis• Teacher support feedback

meetings• Examiner reports• Candidate exemplars with

examiner commentary

Planning your course

• Teacher support launch events

• Teacher support preparing to teach events

• Schemes of work • Guidance on teaching AS

and A-level

Teaching your students

• Resources linked to topics in the specification and throughout the teaching year (plan, teach, assess, results)

• Command words used in exams• Publisher textbooks and digital resources• Direct access to subject teams

Assess: preparing for

exams

• Specimen question papers and mark schemes

• Additional sample questions• Candidate exemplars with

examiner commentary


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GCSE English Language resources

• Commentary and student responses.• KS3 assessment tests.• Free printed anthologies for short stories in

Literature support preparation for Paper 1.• Expanded and evolved Digital Anthology. • Collection of sample texts.• Additional sample questions and

commentaries.• Support with course planning.• Network of subject advocates.• Best practice schools.


AQA resources

Include:

• AQA website

• e-AQA

• secure key materials

• ERA (Enhanced Results Analysis)

• training courses (2014 onwards)

• preparing to teach events (2015)

• publishers

• AQA family of businesses.


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Contact points for more information and guidance

• Customer Support [email protected] 953 7504

• Teacher Support and CPD [email protected] 957 3646

• AQA Website: www.aqa.org.uk



Final questions

31


Thank you

Follow us on Twitter @AQACPD.

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GCSEEnglish languagE(8700)

SpecificationFor teaching from September 2015 onwardsFor exams in May/June 2017 onwards

Version 1.0 12 August 2014

Copyright © 2014 AQA and its licensors. All rights reserved.AQA retains the copyright on all its publications, including the specifications. However, schools and colleges registered with AQA are permitted to copy material from this specification for their own internal use.AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in England and Wales (company number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX.

aqa.org.uk

G00400

Get help and supportVisit our website for information, guidance, support and resources at aqa.org.uk/8700

You can talk directly to the GCSE English subject team

E: [email protected]

T: 0161 953 7504

33

http://aqa.org.uk/8700

mailto:english-gcse%40aqa.org.uk?subject=

Visit aqa.org.uk/8700 for the most up-to-date specifications, resources, support and administration

2 Specification at a glanceSubject content1 Explorations in Creative Reading and Writing

2 Writers' Viewpoints and Perspectives

3 Spoken Language

For the award of the GCSE in English Language students must offer all three assessments.

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GCSE English Language (8700). For exams May/June 2017 onwards. Version 1.0


AssessmentsAll texts in the examination will be unseen.

Non-examination Assessment: Spoken LanguageWhat's assessed

(AO7–AO9) • presenting • responding to questions

and feedback • use of Standard English

Assessed

• teacher set throughout course

• marked by teacher • separate endorsement

(0% weighting of GCSE)

Paper 2: Writers' Viewpoints and PerspectivesHow it's assessed

Section A: Reading • one non-fiction text and

one literary non-fiction textSection B: Writing • writing to present a

viewpoint

Assessed

• written exam: 1 hour 45 minutes

• 80 marks • 50% of GCSE

Questions

Reading (40 marks) (25%) – two linked texts • 1 short form question

(1 x 4 marks) • 2 longer form questions

(1 x 8, 1 x 12 marks) • 1 extended question

(1 x 16 marks)Writing (40 marks) (25%) • 1 extended writing

question (24 marks for content, 16 marks for technical accuracy)

+ +Paper 1: Explorations in Creative Reading and WritingWhat's assessed

Section A: Reading • one literature fiction text

Section B: Writing • descriptive or narrative

writing

How it's assessed

• written exam: 1 hour 45 minutes

• 80 marks • 50% of GCSE

Questions

Reading (40 marks) (25%) – one single text • 1 short form question

(1 x 4 marks) • 2 longer form questions

(2 x 8 marks) • 1 extended question

(1 x 20 marks)Writing (40 marks) (25%) • 1 extended writing

question (24 marks for content, 16 marks for technical accuracy)

35



4.4 Non-examassessmentThe aim of the assessment is to allow students to demonstrate their speaking and listening skills by:

• giving a presentation in a formal context • responding appropriately to questions and to feedback, asking questions themselves to elicit

clarification • using spoken Standard English.

The assessment will be separately endorsed and will cover AO7, AO8 and AO9 for spoken language.

ContentStudents will base their presentations on a theme or topic chosen by their teacher with guidance from AQA. Tasks and standards will be exemplified by AQA. Presentations will be on a formal basis and students will need to respond to questions and feedback from the audience. In the assessed piece, students will be required to use spoken Standard English as appropriate.

4.5 AssessmentobjectivesAssessment objectives (AOs) are set by Ofqual and are the same across all GCSE English Language specifications and all exam boards.

The exams and Spoken Language endorsement will measure how students have achieved the following assessment objectives. • AO1:

• identify and interpret explicit and implicit information and ideas • select and synthesise evidence from different texts

• AO2: Explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology to support their views

• AO3: Compare writers’ ideas and perspectives, as well as how these are conveyed, across two or more texts

• AO4: Evaluate texts critically and support this with appropriate textual references • AO5: Communicate clearly, effectively and imaginatively, selecting and adapting tone, style and

register for different forms, purposes and audiences. Organise information and ideas, using structural and grammatical features to support coherence and cohesion of texts

• AO6: Candidates must use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation. (This requirement must constitute 20% of the marks for each specification as a whole.)

• AO7: Demonstrate presentation skills in a formal setting • AO8: Listen and respond appropriately to spoken language, including to questions and feedback on

presentations • AO9: Use spoken Standard English effectively in speeches and presentations.

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GCSE English Language (8700). For exams May/June 2017 onwards. Version 1.0


WeightingofassessmentobjectivesforGCSEEnglishLanguageAssessment objectives (AOs) Component weightings (approx %) Overall

weighting (approx %)Paper

1Paper 2

Spoken Language NEA

AO1 2.5 7.5 N/A 10

AO2 10 7.5 N/A 17.5

AO3 N/A 10 N/A 10

AO4 12.5 N/A N/A 12.5

AO5 15 15 N/A 30

AO6 10 10 N/A 20

AO7 N/A N/A endorsement 0



Overall weighting of components 50 50 0 100

4.6 AssessmentweightingsThe marks awarded on the papers will be scaled to meet the weighting of the components. Students’ final marks will be calculated by adding together the scaled marks for each component. Grade boundaries will be set using this total scaled mark. The scaling and total scaled marks are shown in the table below.

Component Maximum raw mark

Scaling factor

Maximum scaled mark

Paper 1: Explorations in Creative Reading and Writing 80 x1 80

Paper 2: Writers' Viewpoints and Perspectives 80 x1 80

Total scaled mark: 160

37


8700/1

Specimen 2014 Time(TBC) 1 hour 45 minutes

Materials For this paper you must have: • Source A – printed within the question paper. Instructions • Answer all questions. • Use black ink or black ball-point pen. • Fill in the boxes on this page. • You must answer the questions in the spaces provided. • Do not write outside the box around each page or on blank pages. • Do all rough work in this book. Cross through any work you do not want to be marked. • You must refer to the insert booklet provided. • You must not use a dictionary. Information • The marks for questions are shown in brackets. • The maximum mark for this paper is 80. • There are 40 marks for Section A and 40 marks for Section B. • You are reminded of the need for good English and clear presentation in your answers. • You will be assessed on your reading in Section A. • You will be assessed on the quality of your writing in Section B. Advice • You are advised to spend about 15 minutes reading through the source and all five questions you

have to answer. • You should make sure you leave sufficient time to check your answers.

GCSE English Language 8700/1 Paper 1 Explorations in creative reading and writing

Please write clearly, in block capitals, to allow character computer recognition. Centre number Candidate number Surname Forename(s) Candidate signature

SPECIMEN MATERIAL

38

Source A

Note: For the purpose of this specimen paper, the extract from Jamaica Inn has been reproduced within the paper for Copyright reasons. For all future papers the source will be a separate insert. This extract is from the opening of a novel by Daphne du Maurier. Although written in 1936 it is set in the past. In this section a coach and horses, with its passengers, is making its way through Cornwall to Jamaica Inn. Jamaica Inn

5

10

15

20

25

30

35

It was a cold grey day in late November. The weather had changed overnight, when a backing wind brought a granite sky and a mizzling rain with it, and although it was now only a little after two o’clock in the afternoon the pallor of a winter evening seemed to have closed upon the hills, cloaking them in mist. It would be dark by four. The air was clammy cold, and for all the tightly closed windows it penetrated the interior of the coach. The leather seats felt damp to the hands, and there must have been a small crack in the roof, because now and again little drips of rain fell softly through, smudging the leather and leaving a dark-blue stain like a splodge of ink. The wind came in gusts, at times shaking the coach as it travelled round the bend of the road, and in the exposed places on the high ground it blew with such force that the whole body of the coach trembled and swayed, rocking between the high wheels like a drunken man. The driver, muffled in a greatcoat to his ears, bent almost double in his seat in a faint endeavour to gain shelter from his own shoulders, while the dispirited horses plodded sullenly to his command, too broken by the wind and the rain to feel the whip that now and again cracked above their heads, while it swung between the numb fingers of the driver. The wheels of the coach creaked and groaned as they sank into the ruts on the road, and sometimes they flung up the soft spattered mud against the windows, where it mingled with the constant driving rain, and whatever view there might have been of the countryside was hopelessly obscured. The few passengers huddled together for warmth, exclaiming in unison when the coach sank into a heavier rut than usual, and one old fellow, who had kept up a constant complaint ever since he had joined the coach at Truro, rose from his seat in a fury; and, fumbling with the window-sash, let the window down with a crash, bringing a shower of rain upon himself and his fellow-passengers. He thrust his head out and shouted up to the driver, cursing him in a high petulant voice for a rogue and a murderer; that they would all be dead before they reached Bodmin if he persisted in driving at breakneck speed; they had no breath left in their bodies as it was, and he for one would never travel by coach again. Whether the driver heard him or not was uncertain: it seemed more likely that the stream of reproaches was carried away in the wind, for the old fellow, after waiting a moment, put up the window again, having thoroughly chilled the interior of the coach, and, settling himself once more in his corner, wrapped his blanket about his knees and muttered in his beard. His nearest neighbour, a jovial, red-faced woman in a blue cloak, sighed heavily, in sympathy, and, with a wink to anyone who might be looking and a jerk of her head towards the old man, she remarked for at least the twentieth time that it was the dirtiest night she ever remembered, and she had known some; that it was proper old weather and no mistaking it for summer this time; and, burrowing into the depths of a large basket, she brought out a great hunk of cake and plunged into it with strong white teeth. Mary Yellan sat in the opposite corner, where the trickle of rain oozed through the crack in the

39

Turn over

40

roof. Sometimes a cold drip of moisture fell upon her shoulder, which she brushed away with impatient fingers. She sat with her chin cupped in her hands, her eyes fixed on the window splashed with mud and rain, hoping with a sort of desperate interest that some ray of light would break the heavy blanket of sky, and but a momentary trace of that lost blue heaven that had mantled Helford yesterday shine for an instant as a forerunner of fortune.

Turn over for Section A

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Section A: Reading

Answer all questions in this section.

You are advised to spend about 45 minutes on this section.

Read again the first part of the source, lines 1 to 7. List four things from this part of the text about the weather in Cornwall.

[4 marks]

A.

B.

C.

D.

0 1

41

Turn over

Look in detail at this extract from lines 8 to 17 of the source: How does the writer use language here to describe the effects of the weather? You could include the writer’s choice of:

• words and phrases • language features and techniques • sentence forms.

[8 marks]

0 2

The wind came in gusts, at times shaking the coach as it travelled round the bend of the road, and in the exposed places on the high ground it blew with such force that the whole body of the coach trembled and swayed, rocking between the high wheels like a drunken man. The driver, muffled in a greatcoat to his ears, bent almost double in his seat in a faint attempt to gain shelter from his own shoulders, while the dispirited horses plodded sullenly to his command, too broken by the wind and the rain to feel the whip that now and again cracked above their heads, while it swung between the numb fingers of the driver.

The wheels of the coach creaked and groaned as they sank into the ruts on the road, and sometimes they flung up the soft spattered mud against the windows, where it mingled with the constant driving rain, and whatever view there might have been of the countryside was hopelessly obscured.

42

43

Turn over

You now need to think about the whole of the source. This text is from the opening of a novel. How has the writer structured the text to interest you as a reader? You could write about: • what the writer focuses your attention on at the beginning • how and why the writer changes this focus as the extract develops • any other structural features that interest you.

[8 marks]

0 3

44

45

Turn over

Focus this part of your answer on the second half of the source, from line 18 to the end. A student, having read this section of the text said: “The writer brings the very different characters to life for the reader. It is as if you are inside the coach with them.” To what extent do you agree?


• write about your own impressions of the characters • evaluate how the writer has created these impressions • support your opinions with quotations from the text.

[20 marks]

0 4

46

47

Turn over

48

49

Turn over

Section B: Writing

You are advised to spend about 45 minutes on this section. Write in full sentences.

You are reminded of the need to plan your answer. You should leave enough time to check your work at the end.


Either: Write a description suggested by this picture:

Or:

Write the opening part of a story about a place that is severely affected by the weather.

(24 marks for content and organisation 16 marks for technical accuracy)

[40 marks]

0 5

50

51

Turn over

52

53

Turn over

END OF QUESTIONS

54

GCSE ENGLISH

LANGUAGE Paper 1 Explorations in creative reading and

writing

Mark scheme

Version 1.0 Re-submission

SPECIMEN MATERIAL

55

MARK SCHEME – GCSE ENGLISH LANGUAGE PAPER 1 – 8700/1 – SPECIMEN

Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students’ responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students’ scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Assessment Writer. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this mark scheme are available from aqa.org.uk

56


Marking methods In fairness to students, all examiners must use the same marking methods. The following advice may seem obvious, but all examiners must follow it as closely as possible. 1. If you have any doubt about how to allocate marks to an answer, consult your Team Leader. 2. Refer constantly to the mark scheme throughout marking. 3. Always credit accurate, relevant and appropriate answers which are not given in the mark

scheme. 4. Use the full range of marks. Don’t hesitate to give full marks when the answer merits them. 5. The key to good and fair marking is consistency. Once approved, do not change your standard

of marking.

57


Introduction The information provided for each question is intended to be a guide to the kind of answers anticipated and is neither exhaustive nor prescriptive. All appropriate responses should be given credit. Where literary or linguistic terms appear in the Mark Scheme, they do so generally for the sake of brevity. Knowledge of such terms, other than those given in the specification, is not required. However, when determining the level of response for a particular answer, examiners should take into account any instances where the candidate uses these terms effectively to aid the clarity and precision of the argument.

Level of response marking instructions Level of response mark schemes are broken down into four levels (where appropriate), each of which has a descriptor. The descriptor for the level shows the average performance for the level. There are two, four, five or six marks in each level; dependent upon question. In higher tariff questions there is a further descriptor dealing with the top of the level. Before you apply the mark scheme to a student’s answer read through the answer and annotate it (as instructed) to show the qualities that are being looked for. You can then apply the mark scheme. You should refer to the standardising material throughout your marking.

Step 1 Determine a level Start at the lowest level of the mark scheme and use it as a ladder to see whether the answer meets the descriptor for that level. The descriptor for the level indicates the different qualities that might be seen in the student’s answer for that level. If it meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptor and the answer. With practice and familiarity you will find that for better answers you will be able to quickly skip through the lower levels of the mark scheme. When assigning a level you should look at the overall quality of the answer and not look to pick holes in small and specific parts of the answer where the student has not performed quite as well as the rest. If the answer covers different aspects of different levels of the mark scheme you should use a best fit approach for defining the level and then use the variability of the response to help decide the mark within the level, ie if the response is predominantly level 3 with a small amount of level 4 material it would be placed in level 3 but be awarded a mark near the top of the level because of the level 4 content.

Step 2 Determine a mark Once you have assigned a level you need to decide on the mark. The descriptors on how to allocate marks can help with this. The exemplar materials used during standardisation will help. There will be an answer in the standardising materials which will correspond with each level of the mark scheme. This answer will have been awarded a mark by the Lead Examiner. You can compare the student’s answer with the example to determine if it is the same standard, better or worse than the example. You can then use this to allocate a mark for the answer based on the Lead Examiner’s mark on the example. You may well need to read back through the answer as you apply the mark scheme to clarify points and assure yourself that the level and the mark are appropriate.

58


Indicative content in the mark scheme is provided as a guide for examiners. It is not intended to be exhaustive and you must credit other valid points. Students do not have to cover all of the points mentioned in the indicative content to reach the highest level of the mark scheme. An answer which contains nothing of relevance to the question must be awarded no marks. SECTION A: READING – Assessment Objectives

AO1

• Identify and interpret explicit and implicit information and ideas.

• Select and synthesise evidence from different texts.

AO2

• Explain, comment on and analyse how writers use language and

structure to achieve effects and influence readers, using relevant subject terminology to support their views.

AO3

• Compare writers’ ideas and perspectives, as well as how these are

conveyed, across two or more texts.

AO4

• Evaluate texts critically and support this with appropriate textual

references.

SECTION B: WRITING – Assessment Objectives AO5

• Communicate clearly, effectively and imaginatively, selecting and adapting

tone, style and register for different forms, purposes and audiences. • Organise information and ideas, using structural and grammatical features

to support coherence and cohesion of texts.

AO6

• Candidates must use a range of vocabulary and sentence structures for

clarity, purpose and effect, with accurate spelling and punctuation. (This requirement must constitute 20% of the marks for each specification as a whole).

59


Assessment Section A Objective

AO1

AO2

AO3

N/A

AO4

Section B

AO5

AO6

60


Focus this part of your answer on the second half of the source, from line 18 to the end. A student, having read this section of the text said: “The writer brings the very different characters to life for the reader. It is as if you are inside the coach with them.”



• write about your own impressions of the characters • evaluate how the writer has created these impressions • support your opinions with quotations from the text.

[20 marks] AO4 Evaluate texts critically and support this with appropriate textual references

Level

Overview Statement

Skills Descriptors

Content Descriptors (NB: The content descriptors are not model answers, nor are they exhaustive. They are an indication of the level of comment, explanation or analysis typical for each level)

Level 4

Perceptive, detailed

16-20 marks

At the top of the level critical evaluation will be perceptive and detailed

• Critically evaluates the text in a detailed way • Offers examples from the text to explain views

convincingly • Analyses effects of a range of writer’s choices • Selects a range of relevant quotations to

validate views

We might think that the passengers are a unified group because the writer refers to them collectively: ‘The few passengers huddled together for warmth’, but their actions suggest how different they are. The ‘old fellow’ is short tempered and pompous with a sense of his own importance, but also ridiculous in his actions. The writer’s choice of the word ‘petulant’ shows how his behaviour was childish. He also makes rash statements – that he would ‘never travel by coach

0 4

61


again’ which the reader knows is of no interest to the driver he is swearing at. In the end, he is reduced to muttering. These complexities help the reader understand the stresses of the journey and the different sides to the man.

Level 3

Clear, relevant

11-15 marks

At the top of the level critical evaluation will be clear and consistent

• Clearly evaluates the text • Offers examples from the text to explain views

clearly • Clearly explains the effect of writer’s choices • Selects some relevant quotations to support

views

The writer brings the characters alive by making them behave and react differently. The ‘old fellow’ from Truro loses his temper with the driver but makes things worse for everybody by opening the window and ‘bringing a shower of rain on himself and his fellow-passengers’. This amuses the reader because the man is angry and foolish. We also understand the irony of his actions and how pointless it is cursing the driver, who the reader knows is doing his best. The writer makes the man seem unreasonable and out of control by the use of excessive, almost violent words like ‘rogue’ and ‘murderer’.

Level 2

Some, attempts

6-10 marks

At the top of the level there will be some evaluative comments

• Attempts evaluative comment on the text • Offers an example from the text to explain

view(s) • Attempts to comment on writer’s methods • Selects some quotations , which occasionally

support views

The characters are good because the writer includes detail to make them seem different. The ‘old fellow’ makes us laugh because he is so angry that he is ‘fumbling’ with the window sash and so gets everybody wet. The writer makes us understand that he is also grumpy by telling us that he had ‘kept up a constant complaint ever since he joined the coach from Truro’.

Level 1

Simple, limited

1-5 marks

In this level there will be simple personal comment

• Simple evaluative comment on the text • Offers simple example from the text which may

explain view • Simple mention of writer’s methods • Simple references or textual details

The characters are good because you can see what they are like. The old man is funny because he opens the window and makes everybody wet. Also the writer makes us understand he is angry by saying ‘he rose from his seat in a fury’.

62


Level 0

No marks

No relevant comments offered in response to the statement, no impressions, no evaluation.

AO4 Content may include the evaluation of ideas such as:

• the passengers as a unified group, all in the same predicament • the individual characteristics of the passengers, their actions and reactions to the situation they are in • interactions between the characters – the dynamic between the characters • how the writer has used, for example, language, structure, tone to make an impression on the reader.

63


Section B: Writing


Either: Write a description suggested by this picture: (picture of a coastline in a tumultuous storm) Or: Write the opening part of a story about a place that is severely affected by the weather.

(24 marks for content and organisation and 16 marks for technical accuracy) [40 marks]

0 5

64


AO5 Content and Organisation Communicate clearly, effectively and imaginatively, selecting and adapting tone, style and register for different forms, purposes and audiences. Organise information and ideas, using structural and grammatical features to support coherence and cohesion of texts.

Level 4

19-24 marks

Content is convincing

and crafted;

Organisation is structured, developed,

complex and varied

Upper Level 4

22-24 marks

Content • Communication is convincing and compelling throughout • Tone style and register assuredly matched to purpose, form and audience; manipulative, subtle and

increasingly abstract • Extensive and ambitious vocabulary with sustained crafting of linguistic devices Organisation • Highly structured and developed writing, incorporating a range of integrated and complex ideas • Fluently linked paragraphs with seamlessly integrated discourse markers • Varied and inventive use of structural features

Lower Level 4

19-21 marks

Content • Communication is convincing • Tone, style and register consistently match purpose, form and audience; • Extensive vocabulary with evidence of conscious crafting of linguistic devices Organisation • Structured and developed writing with a range of engaging complex ideas • Consistently coherent use of paragraphs with integrated discourse markers • Varied and effective structural features

65


Level 3

13-18 marks

Content is clear and chosen for

effect

Organisation is engaging connected

Upper Level 3

16-18 marks

Content • Communication is consistently clear and effective • Tone, style and register matched to purpose, form and audience • Increasingly sophisticated vocabulary and phrasing , chosen for effect with a range of appropriate linguistic

devices Organisation • Writing is engaging with a range of detailed connected ideas • Coherent paragraphs with integrated discourse markers • Effective use of structural features

Lower Level 3

13-15 marks

Content • Communication is clear • Tone, style and register generally matched to purpose, form and audience • Vocabulary clearly chosen for effect and successful use of linguistic devices Organisation • Writing is engaging with a range of connected ideas • Usually coherent paragraphs with range of discourse markers • Usually effective use of structural features

Level 2

7-12 marks

Content is successful

and controlled

Organisation is

linked/relevant and

paragraphed

Upper Level 2

10-12 marks

Content • Communication is mostly successful • Sustained attempt to match purpose, form and audience; some control of register • Conscious use of vocabulary with some use of linguistic devices Organisation • Increasing variety of linked and relevant ideas • Some use of paragraphs and some use of discourse markers • Some use of structural features

Lower Level 2

7-9 marks

Content • Communicates with some success • Attempts to match purpose, form and audience; attempts to control register • Begins to vary vocabulary with some use of linguistic devices Organisation • Some linked and relevant ideas • Attempt to write in paragraphs with some discourse markers, not always appropriate • Attempts to use structural features

66


Level 1

1-6 marks

Content is simple

Organisation is simple and

limited

Upper Level 1

4-6 marks

Content • Simple success in communication of ideas • Simple awareness of purpose, form and audience; limited control of register • Simple vocabulary; simple linguistic devices Organisation • One or two relevant ideas, simply linked • Random paragraph structure • Evidence of simple structural features

Lower Level 1

1-3 marks

Content • Communicates some meaning • Occasional sense of purpose, form and/or audience • Simple vocabulary Organisation • One or two unlinked ideas • No paragraphs • Limited or no evidence of structural features

Level 0 No marks

Candidates will not have offered any meaningful writing to assess Nothing to reward

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AO6 Technical Accuracy Candidates must use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation. (This requirement must constitute 20% of the marks for each specification as a whole.)

Level 4

13-16 marks

• Sentence demarcation is consistently secure and consistently accurate • Wide range of punctuation is used with a high level of accuracy

• Uses a full range of appropriate sentence forms for effect • Uses Standard English consistently and appropriately with secure control of complex grammatical

structures

• High level of accuracy in spelling, including ambitious vocabulary • Extensive and ambitious use of vocabulary

Level 3

9-12 marks

• Sentence demarcation is mostly secure and mostly accurate • Range of punctuation is used, mostly with success

• Uses a variety of sentence forms for effect • Mostly uses Standard English appropriately with mostly controlled grammatical structures

• Generally accurate spelling, including complex and irregular words • Increasingly sophisticated use of vocabulary

Level 2

5-8 marks

• Sentence demarcation is mostly secure and sometimes accurate • Some control of a range of punctuation

• Attempts a variety of sentence forms • Some use of Standard English with some control of agreement

• Some accurate spelling of more complex words • Varied use of vocabulary

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Level 1

1-4 marks

• Occasional use of sentence demarcation • Some evidence of conscious punctuation

• Simple range of sentence forms • Occasional use of Standard English with limited control of agreement

• Accurate basic spelling • Simple use of vocabulary

Level 0 No marks

Candidates’ spelling, punctuation etc. is sufficiently poor to prevent understanding or meaning.

69

GCSE ENGLISH LANGUAGE (8700) Paper 2 Writers’ viewpoints and perspectives

Insert

Please turn the page over to see both sources

Source A: A newspaper article called Could you do your child’s homework?

Source B: Two letters from the 1820s.

SPECIMEN MATERIAL

70

Source A:

Could you do your child's homework? The Observer, Sunday 15 December 2013

A typical father son scenario

5 10 15 20 25 30

I am staring at a finely printed sheet of paper and trying not to let the bad feelings seep in. This sheet is all my childhood Sunday-night feelings of dread come at once. It is humiliation and "could do better" and "pay attention now".

I only have myself to blame. A few months ago over dinner Eddie announced that, in English, they were experimenting with food writing. "I have to come up with metaphors. Give me a metaphor about this pizza," he said. "I don't think I should do your homework for you," I said. He raised his eyebrows. "You can't think of one, can you?" This is what happens if you feed and educate your children. They grow up, become clever and remorselessly take the mickey out of you.

He was right. I didn't. On the spot I couldn't think of a single food metaphor worth dragging out and slapping on the table. And so the memories of homework came flooding back: of long nights of carefully planned idleness ruined by the imposition of essays and work sheets, of tasks flunked, of a chilly emptiness at the thought of the way my efforts would be received by teachers. The fact is that I was not especially academic. On the results sheet, my grades lined up like a line of Pac-Men1 doing a conga2.

And so, having failed the English homework test, I decide to show a little solidarity. I will have a go at his maths homework just to get a sense of what it's like to be 14-year-old Eddie. Which is why I'm now staring at the sheet of paper. Ah yes, algebra, the merry dance of x and y. Simplify. Wrench things out of brackets. Calculate values. This, I used to be able to do. Or at least I think I used to be able to do this.

Hmmm. Right. Yes. I mean… I stare at the page again, wondering whether I might be able to will a nosebleed to obscure the equations. There are three marks out of a total of 25 available here. Not getting it right would be an early setback.

The next one looks more straightforward. a4 x a3. I'm pretty sure I remember this. Just add the powers together. Which would mean…

There is an "expand and simplify" question, which refuses to grow or be simple. In his special mocking voice, Eddie tells me just to draw a sad face. I do as I'm told. Better that than a blank. Eddie returns to his room and I press on. Some of them I can manage. I appear to know how to multiply out 3 (5-2x). But with the next one I am firmly back in the weeds. I am so baffled that, shamelessly, I Google a maths website.

A few days later Eddie receives his marks. He got 20 out of 25, or 80%, a low score for

Children appear increasingly weighed down by homework. But how tough can it be? Jay Rayner attempts his son Eddie's maths assignment.

71

http://observer.guardian.co.uk/

http://www.theguardian.com/society/children

Insert to Paper 2 Turn over

35

him. Me? I've got 12 out of 25, or less than 50%. Does it need saying that my biggest miscalculation was to take on Eddie over maths? He doesn't labour the point but he's irritatingly good at it. I knock on his bedroom door. He doesn't look up from his computer screen. He is too busy killing things, while talking on Skype to his friend Theo, who is also in the game trying to kill the same things.

Finally he looks up at me from the computer. Who needs teachers to humiliate you when your son can do it so effectively?

Glossary: 1: Pac Man: a popular computer game in the 1980’s in which the character follows the lines of a maze to collect points as it goes. 2: Conga: a dance in which participants follow behind a leading person in a long line.

Turn Over for Source B

72

Source B consists of two letters:

The first letter is from a young boy called Henry writing to his father. Henry is living far away from home at a boarding school. A boarding school is a school where you go to live as well as study and was a very popular way of educating boys, especially from wealthier families, in the 1800s.

5 10 15 20 25

Cotherstone Academy Aug. 7. 1822

Dear Father

Our Master has arrived at Cotherstone, but I was sorry to learn he had no Letter for me nor anything else, which made me very unhappy. If you recollect, I promised that I would write you a sly Letter, which I assure you I have not forgot, and now an opportunity has come at last. I hope, my dear Father, you will not let Mr. Smith know anything about it for he would flog me if he knew it. I hope, my dear Father, you will write me a Letter as soon as you receive this, but pray don’t mention anything about this in yours; only put a X at the bottom, or write to my good Friend Mr. Halmer, who is very kind to me and he will give it to me when I go to Church. He lives opposite and I assure you, my dear Father, they are the kindest Friends I have in Yorkshire and I know he will not show it to Mr. Smith for the Letters I write you are all examined before they leave the School. I am obliged to write what Mr. Smith tells us and the letters you send me are all examined by Mr. Smith before I see them, so I hope, my dear Father, you will mention nothing of this when you write.

It is now two years come October since I left you at Islington, but I hope, my dear Father, you will let me come home at Xmas that we may once more meet again alive - if God permit me to live as long.

Our bread is nearly black; it is made of the worst Barley Meal, and our Beds are stuffed with chaff and I assure you we are used more like Bears than Christians1. Believe me, my dear Father, I would rather be obliged to work all my life time than remain here another year.

George is quite well but very unhappy.

Your respectful son

Henry

The second letter, written two weeks later, is from the boy’s father to a family friend, asking him to investigate the problem. The father has two sons at the school, Henry and George.

30

Public Office, Worship Street, 21st August 1822.

Sir,

Having lately received a Letter from my Son Henry, who is at Mr. Smith’s School close by you, complaining of the Treatment he receives, I am induced to write to you, confidentially, to request you will do me the favour to endeavour to see both of them, privately, (at your own House) if possible and ascertain whether you think it would be advisable for me to send for them home. I will certainly be guided by what you say; Boys will sometimes complain without cause, and therefore I hope you will excuse the liberty I take in troubling you. Henry speaks very highly of your kind

73


35 40 45 50 55

attention.

I do not approve of the System of Education, for they do not appear to have improved. When they left home, they could both spell, and in Henry’s Letter I see several words wrong spelt – I also do not like the injunction laid upon them of not being allowed to write to me without the Master’s seeing the contents of their Letters.

If you should not be able to get a private interview with them in the course of a fortnight, I shall be obliged by your writing to me to say so and I will immediately give notice to Mr. Smith that I intend to have them home at Christmas. I should prefer your seeing George if you can, and hear what he says, as I can rely more on the truth of his story, than Henry’s, for I believe Henry’s principal object is to get home. We have all a great desire to see him, but particularly to see George, our other son, who is a meek Boy and not so able to endure ill treatment as Henry – George is a great favourite with us all, and so he was with his late dear Mother who is now no more.

You will no doubt see my object in thus troubling you and I hope you will excuse the liberty I take, but as I know you have been very kind to the Boys. I shall esteem it an additional favour by your attention to this, and an answer at your earliest convenience.

I remain Sir, very respectfully

Your obliged honorable servant

William Heritage

Glossary: 1: Chaff: chopped straw or hay. 2: Bears than Christians: bears were sometimes mistreated, perhaps suggesting he feels he’s being treated more like an animal than a human being, or in a Christian way.

74


Acknowledgement of copyright holders and publishers Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright holders have been unsuccessful and AQA will be happy to rectify any omissions of acknowledgements in future papers if notified. Source A: Could you do your child’s homework? By Jay Rayner, The Observer 2013, © Guardian News and Media Ltd 2013 Copyright © 2014 AQA and its licensors. All rights reserved.

75

Typesetter code 8700/2

GCSE ENGLISH LANGUAGE (8700) Paper 2 Writers’ viewpoints and perspectives

Date (TBC) Time (TBC) 1 hour 45 minutes Materials For this paper you must have: Source A and B – which are provided as a loose insert. Instructions. Answer all questions. Use black ink or black ball-point pen. Fill in the boxes on this page. You must answer the questions in the spaces provided. Do not write outside the box around each page or on blank pages. Do all rough work in this book. Cross through any work you do not want to be marked. You must refer to the insert booklet provided. You must not use a dictionary. Information The marks for questions are shown in brackets. The maximum mark for this paper is 80. There are 40 marks for Section A and 40 marks for Section B. You are reminded of the need for good English and clear presentation in your answers. You will be assessed on your reading in Section A. You will be assessed on the quality of your writing in Section B. Advice You are advised to spend about 15 minutes reading through the sources and all five of the

questions you have to answer. You should make sure you leave sufficient time to check your answers. Please write clearly, in block capitals, to allow character computer recognition.

Centre number Candidate number Surname Forename(s) Candidate signature

SPECIMEN MATERIAL

76

Typesetter code

Section A: Reading

Answer all questions in this section You are advised to spend about 45 minutes on this section.

Read again source A, from lines 1 to 15. Choose four statements below which are TRUE. Shade the boxes of the ones that you think are true Choose a maximum of four statements.

A Jay Rayner has good memories of his time in school. B Jay Rayner was happy to help his son with his homework. C As a boy, Jay Rayner worried about handing in his homework on Monday mornings. D Jay Rayner could not think of a food metaphor to help his son. E Jay Rayner was very able in school. F As a boy, Jay Rayner did not enjoy doing homework. G Jay Rayner looked forward to receiving feedback from his teachers. H Jay Rayner makes a joke to cover up his own real exam

results. [4 marks]

0 1

77

Typesetter code Turn over

You need to refer to source A and source B for this question: Use details from both sources. Write a summary of the differences between Eddie and Henry.

[8 marks] You now need to refer only to source B, the letter by Henry written to his father. How does Henry use language to try to influence his father?

[12 marks] For this question, you need to refer to the whole of source A together with source B, the father’s letter to a family friend.

Compare how the two writers convey their different attitudes to parenting and education. In your answer, you should: compare their different attitudes compare the methods they use to convey their attitudes support your ideas with quotations from both texts.

[16 marks]

Section B: Writing You are advised to spend about 45 minutes on this section.

You are reminded of the need to plan your answer. You should write in full sentences.

You should leave enough time to check your work at the end.




[40 marks]

0 2

0 4

0 3

0 5

78

GCSE ENGLISH

LANGUAGE Paper 2 Writers’ viewpoints and perspectives

Mark scheme

Version 1.0 Re-submission

SPECIMEN MATERIAL

79


Assessment Section A Objective

AO1

AO2

AO3

AO4

n/a

Section B

AO5

AO6

80


You need to refer to source A and source B for this question: Use details from both sources. Write a summary of the differences between Eddie and Henry. [8 marks]

AO1

• Identify and interpret explicit and implicit information and ideas • Select and synthesise evidence from different texts

This assesses both bullet points.

Level Skills Descriptors


Level 4

Perceptive, detailed

7-8 marks

• Shows a detailed understanding of differences between

the boys • Offers perceptive interpretation of both texts • Synthesises evidence between texts • Selects judicious range of quotations from both texts

Eddie is a typical modern teenager who is cheeky and speaks to his father in a ‘mocking voice’ emphasising their close relationship and good humour with each other. Henry however is distant and formal with his father addressing him in a respectful tone, ‘my dear Father’ emphasising the difference in status between them.

Level 3 Clear,

relevant

5-6 marks

• Shows a clear understanding of differences between the

boys • Begins to interpret both texts • Demonstrates clear connections between texts • Selects relevant quotations/references from both

texts to support response

Eddie is really cheeky as he speaks to his father in a ‘mocking voice’ showing he is not afraid of him, but Henry is much more formal and respectful, ‘my dear Father’ showing he may be somewhat afraid of him.

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Level 2 Some,

attempts

3-4 marks

• Identifies some differences between the boys • Attempts some inference from one/both texts • Attempts to link evidence between texts • Selects some quotations/references; not always

supporting (from both texts)

Eddie is quite cheeky, ‘You can’t think of one, can you?’ whereas Henry is much more polite, ‘Your respectful son.’ suggesting he is really trying to persuade his dad to let him come home.

Level 1 Simple, limited

1-2 marks

• Shows simple awareness of difference(s) • Offers paraphrase rather than inference • Makes simple or no links between texts • Simple reference or textual details from one/both texts

Eddie takes the mickey out of his dad but Henry is more polite, ‘respectful son’.

Level 0

No marks

Candidates in this band will not have offered any differences Nothing to reward

AO1 Content may include ideas such as: • Eddie is a typical, contemporary teen who lives at home/Henry is living in a different century away at boarding school. • Eddie is informal, cheeky, mocking towards his father/Henry is polite, formal, respectful. • Eddie asks his father for help with English/Henry asks for his father to bring him home from school • Eddie and his father seem to have a close relationship and his father has a good humoured attitude towards him/Henry and his father are distant and

his father is suspicious of his motives.

82


For this question, you need to refer to the whole of source A together with source B, the father’s letter to a family friend.

Compare how the two writers convey their different attitudes to parenting and education. In your answer, you should: • compare their different attitudes • compare the methods they use to convey their attitudes • support your ideas with quotations from both texts.

[16 marks]

AO3 Compare writers’ ideas and perspectives, as well as how these are conveyed, across two or more texts

Level Skills Descriptors


Level 4

Detailed, perceptive

13-16 marks

• Shows a detailed understanding of the differences

between the ideas and perspectives • Compares ideas and perspectives in a perceptive way • Analyses how methods are used to convey ideas and

perspectives • Selects judicious range of quotations from both texts

Jay Rayner uses humour to good effect in his article and uses it both in his attitudes to parenting, ‘too busy killing things on Skype’ – showing his warm, relaxed attitude to his son and in his attitudes to education. He refers to his own education using self deprecating humour however, using the simile, ‘like a line of Pac-Men doing a conga to refer to his own grades. This is in direct contrast to ….

0 4

83


Level 3 Clear,

relevant

9-12 marks

• Shows a clear understanding of differences between the

ideas and perspectives • Compares ideas and perspectives in a clear and relevant

way • Explains clearly how methods are used to convey ideas

and perspectives • Selects relevant quotations to support from both texts

Jay Rayner presents his attitude to parenting in a humorous way when he says, ‘They grow up …. Take the mickey out of you.’ whereas Henry’s father is much more distant and seems to want to have both his sons well out of the way. We can infer this from Henry’s letter when he uses phrases like …..

Level 2 Some,

attempts

5-8 marks

• Identifies some differences between the ideas and

perspectives • Attempts to compare ideas and perspectives • Some comment on how methods are used to convey

ideas and perspectives • Selects some quotations/references, not always

supporting (from one or both texts)

Jay Rayner is a cool parent who has a good sense of humour around his son. He is quite impressed with his son’s education. We know this when it says, ‘He got 20 out of 25, or 80%’ whereas Henry’s father is not impressed, ‘In Henry’s letter I see several words wrong spelt,’

Level 1 Simple, limited

1-4 marks

• Simple awareness of different ideas and/or perspectives • Simple cross reference of ideas and/or perspectives • Simple identification of how differences are conveyed • Simple references or textual details from one or both

texts

Jay Rayner seems like a laid back father who doesn’t mind his son taking the mickey, ‘remorselessly taking the mickey’. The other father is not that nice and does not even write to his son. It’s like he doesn’t care.

Level 0

No marks

No ideas offered about the differences Nothing to reward

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AO3 content may include ideas such as: • the relaxed, informal, involved parenting of Jay Rayner/the formal and very distant approach of Henry’s father • Jay Rayner’s attitude to education seems to be that it is far better in the present than when he was at school and he is proud of his son’s

achievements/Henry’s father seems dissatisfied with the standard of education at Henry’s school but seems more concerned with spelling than welfare.

And comment on methods such as: • use of article form (public sphere)/use of letter form (private sphere) • use of different tone/register/humour/seriousness • use of contemporary references (Pac-Men/Google/Skype)/traditional values • language differences to reflect different times/modes/purposes.

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Section B : Writing



(24 marks for content and organisation 16 marks for accuracy) [40 marks]

AO5 Content and Organisation Communicate clearly, effectively and imaginatively, selecting and adapting tone, style and register for different forms, purposes and audiences. Organise information and ideas, using structural and grammatical features to support coherence and cohesion of texts.

Level 4

19-24 marks

Content is convincing and crafted; Organisation is structured, developed, complex and varied

Upper Level

4

22-24 marks

Content • Communication is convincing and compelling throughout • Tone style and register assuredly matched to purpose, form and audience; manipulative, subtle and

increasingly abstract • Extensive and ambitious vocabulary with sustained crafting of linguistic devices Organisation • Highly structured and developed writing, incorporating a range of integrated and complex ideas • Fluently linked paragraphs with seamlessly integrated discourse markers • Varied and inventive use of structural features

Lower Level

4

19-21 marks

Content • Communication is convincing • Tone, style and register consistently match purpose, form and audience; • Extensive vocabulary with evidence of conscious crafting of linguistic devices Organisation • Structured and developed writing with a range of engaging complex ideas • Consistently coherent use of paragraphs with integrated discourse markers • Varied and effective structural features

0 5

86


Level 3 13-18 marks Content is clear and chosen for effect Organisation is engaging connected

Upper Level

3

16-18 marks

Content • Communication is consistently clear and effective • Tone, style and register matched to purpose, form and audience • Increasingly sophisticated vocabulary and phrasing , chosen for effect with a range of appropriate linguistic

devices Organisation • Writing is engaging with a range of detailed connected ideas • Coherent paragraphs with integrated discourse markers • Effective use of structural features

Lower Level

3

13-15 marks

Content • Communication is clear • Tone, style and register generally matched to purpose, form and audience • Vocabulary clearly chosen for effect and successful use of linguistic devices

Organisation • Writing is engaging with a range of connected ideas • Usually coherent paragraphs with range of discourse markers • Usually effective use of structural features

Level 2 7-12 marks Content is successful and controlled Organisation is linked/relevant and paragraphed

Upper Level

2

10-12 marks

Content • Communication is mostly successful • Sustained attempt to match purpose, form and audience; some control of register • Conscious use of vocabulary with some use of linguistic devices

Organisation • Increasing variety of linked and relevant ideas • Some use of paragraphs and some use of discourse markers • Some use of structural features

Lower Level

2

7-9 marks

Content • Communicates with some success • Attempts to match purpose, form and audience; attempts to control register • Begins to vary vocabulary with some use of linguistic devices

Organisation • Some linked and relevant ideas • Attempt to write in paragraphs with some discourse markers, not always appropriate • Attempts to use structural features

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Level 1 1-6 marks Content is simple Organisation is simple and limited

Upper Level

1

4-6 marks

Content • Simple success in communication of ideas • Simple awareness of purpose, form and audience; limited control of register • Simple vocabulary; simple linguistic devices

Organisation • One or two relevant ideas, simply linked • Random paragraph structure • Evidence of simple structural features

Lower Level

1

1-3 marks

Content • Communicates some meaning • Occasional sense of purpose, form and/or audience • Simple vocabulary

Organisation • One or two unlinked ideas • No paragraphs • Limited or no evidence of structural features

Level 0 No marks

Candidates will not have offered any meaningful writing to assess Nothing to reward

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AO6 Technical Accuracy Candidates must use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation. (This requirement must constitute 20% of the marks for each specification as a whole.)

Level 4

13-16 marks

• Sentence demarcation is consistently secure and consistently accurate • Wide range of punctuation is used with a high level of accuracy

• Uses a full range of appropriate sentence forms for effect • Uses Standard English consistently and appropriately with secure control of complex grammatical structures

• High level of accuracy in spelling, including ambitious vocabulary • Extensive and ambitious use of vocabulary

Level 3

9-12 marks

• Sentence demarcation is mostly secure and mostly accurate • Range of punctuation is used, mostly with success • Uses a variety of sentence forms for effect • Mostly uses Standard English appropriately with mostly controlled grammatical structures • Generally accurate spelling, including complex and irregular words • Increasingly sophisticated use of vocabulary

Level 2

5-8 marks

• Sentence demarcation is mostly secure and sometimes accurate • Some control of a range of punctuation

• Attempts a variety of sentence forms • Some use of Standard English with some control of agreement

• Some accurate spelling of more complex words • Varied use of vocabulary

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Level 1

1-4 marks

• Occasional use of sentence demarcation • Some evidence of conscious punctuation

• Simple range of sentence forms • Occasional use of Standard English with limited control of agreement

• Accurate basic spelling • Simple use of vocabulary

Level 0 No marks

Candidates’ spelling, punctuation etc. is sufficiently poor to prevent understanding or meaning.

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GCSE English Language commentary Aims of the commentary: At AQA, we recognise that change to assessment strategies can be a cause of anxiety and uncertainty. To this end, we are keen to make a commitment to support change, both at launch, and in the lead-up to first teaching in 2015. A key part of this is this commentary which seeks to make the new assessment strategy transparent for teachers and students. For each question, it sets out: the Assessment Objective that is being assessed how the question has been designed to assess the Objective clarification from the senior examiners about what is required how a student has responded to the question and feedback from the examiners.

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Question Question wording AO Design rationale 3. You now need to think about

the whole of the source. This text is from the opening of a novel. How has the writer structured the text to interest you as a reader? You could write about: what the writer focuses

your attention on at the beginning

how and why the writer changes this focus as the extract develops

any other structural features that interest you.

[8 marks]

AO2 The question requires an extended written response. This longer-form answer style will allow students to respond fully to the question. It asks the student to consider the whole source. The question provides a relevant context for the student, in this case informing them that the extract is from the opening of a novel. The bullet points provide a helpful guide and prompt the student to concentrate on how the writer leads the reader through the text. The final bullet point intentionally prompts students to go beyond the guide in the previous two, and bring in any features that they feel are relevant to the task. In this sense, we have looked to build on the analysis in Q2 that rewards references to structure at punctuation and sentence level, in order to now look at structure as a sequence of paragraphs and the writer’s influence on the reader as part of a reading experience. Possible areas for students to develop understanding in could include: Sequence through a passage Movement from big to small – ideas or perspectives Taking an outside to inward perspective, or vice versa Introductions and developments Reiterations Repetitions, threads, patterns or motifs Summaries and conclusions Shifts of focus Narrative perspective Connections and links across paragraphs Internal cohesion and topic sentences

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Student response: The writer focuses the reader’s attention on the weather as the very start of the novel. This will set the scene for the reader before introducing any characters. The writer constantly reminds the reader how bad the weather is, at the start with the descriptive words emphasising the surroundings. And then in the middle where the writer starts writing about the people in the coach, when the woman says “she remarked for at least the twentieth time that it was the dirtiest night she ever remembered”. The writer develops from talking about the weather to talking about the coach driver and the coach traveling. She still references to the weather throughout the description of the coach driver. For example “in a faint attempt to gain shelter from his shoulders”, the word shelter references to rain which she talks about in the first paragraph. Also “between the numb fingers of the driver” references to the “cold grey day in late November” in the first paragraph. From talking about the driver, the writer moves on to talk about the passengers in the coach.

Examiner’s comments: The passage for consideration is the whole text. The command word ‘How’ signals comment/explanation/analysis; the word ‘structured’ focuses the AO and the word ‘interest’ offers further guidance to what the question requires. This is achieved with simple, concise wording. In this way we will make the question accessible to students of all abilities. This response shows some understanding of structure, with some relevant examples and attempt to comment on effect. It merits a mark in Level 2.

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Question Question wording AO Design rationale 4. Focus this part of your answer

on the second half of the source, from line 18 to the end.

A student, having read this section of the text said: “The writer brings the very different characters to life for the reader. It is as if you are inside the coach with them.” To what extent do you agree?

In your response, you could: write about your own

impressions of the characters

evaluate how the writer has created these impressions

support your opinions with quotations from the text.

[20 marks]

AO4 The question requires students to critically evaluate the extent to which the writer has been successful in creating characters within a specified section of the text. The question requires a judgement to be made by the student as a reader and requires them to support their ideas through textual references. The statement prompts the reader to take a view about the writer’s intended impact and influence on them, and in doing so requires consideration of form and purpose – in particular, the extent to which the writer successfully draws the reader into the world of the text. As the final reading question on the paper, this requires the student to make an extended response. It seeks to help the student in two ways – by focusing on a specific section of text towards the end of the extract, and by providing a statement for them to consider. As the Assessment Objective makes clear, this is about a personal judgement which is informed and evidenced through references to the text. It needs to involve a degree of summation and detachment, as well as the student maintaining a critical distance. We feel that by providing a statement for them to make a judgement about, and to what extent they may agree, partially agree, or not agree at all, that we are more helpfully pointing them towards remaining detached, and with a sense of critical distance. The bullet points provide further clarity, reminding students to consider their own impression, evaluate the statement and how it relates to the effect the descriptions have on them, whilst also reminding them about the importance of making their judgement evidence based. We will commit to using a similar strategy to point students to make critical evaluations, but the focus for any statement will be specific to the merit of the particular text selected for assessment in the series. It is interesting to note the challenge in evaluating a Literature text in relation either to its intended effect on a reader, or purpose to entertain, or manipulation of form, structure and language – all things that the question is able to elicit from the student. Here, the emphasis in the opening

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statement is the phrase “very different ways” in order to provide the most perceptive readers with an opportunity to evaluate how each of the characters is developed in different ways, and to speculate on reasons why, or speculate on the different effects they may have on the reader. In this way we are confident that the challenge of this question, and the evaluative focus of any critical response provides a degree of synoptic assessment. The student can only achieve at the top of the mark bands if they are able to bring together all of their reading skills from inference, through analysis to evaluation.

Student response: To a large extent, I agree with the reader. I think because the writer had described the characteristics. The weather also helps as I feel that each character’s view as they saw the weather allows us to empathise with their feelings. For example, the fact that all the passengers “huddled together” for warmth, exclaiming in unison” shows that they are all cold and frightened for they “huddled together”. They must all be terrified and are feeling and thinking the same. They are “exclaiming in unison”. The use of the word “exclaiming” just shows us how scared they must be, and how terrified because of the weather. By them all being together and acting as one, I feel as if I am there too, with them. As Mary Yellan sits in the “opposite corner” from the others implies that she feels secluded and alone but she sits where rain fell through a crack in the roof. I am sympathetic towards her and feels as though I want to go and comfort her in some way. Especially because her eyes were “fixed” on the window and she seemed to be hoping “with desperate interest that some ray of light would break the heavy blanket of sky”. The use of the descriptive phrase “desperate interest” shows that she is hoping with all her might that something will happen and stop herself and the others on the coach, feeling discombobulated. Normally blankets make you feel protected and warm, but in this case, she was hoping that “some ray of light would break the heavy blanket”. This blanket was smothering and suffocating them and she sought a saviour, the Sun. Reading this, I think and want the same as she does. I feel as though I too am on the coach, seeking protection. Examiner’s comments: The reading source utilises line numbers. Command words are set out in two forms – the question: To what extent do you agree? And the bullet points: consider, evaluate, support. The question clearly states which part of the text is to be considered; clearly indicates the focus on characters and clearly indicates the evaluative/ judgemental requirement in relation to the AO. This question is intended to be the most challenging reading question of this paper. The question has the capacity to elicit perceptive evaluation showing both involvement in, and objectification of, the text and, for less able students, limited, simple comments which, nevertheless offer some level of considered and supported opinions and show at least a limited ability to approach judgements. The mark scheme supports discrimination as described above. As the final reading question on this paper, this signals the end of the assessment journey and as such requires the student to be synoptic in bringing together their learning from the two-year course and the reading skills that they have developed. Here, the response shows all of the Level 3 criteria is achieved, plus some perceptive evaluative comments.

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Paper 2 Question Question wording AO Design rationale

2. You need to refer to source A and source B for this question: Use details from both sources. Write a summary of the differences between Eddie and Henry. [8 marks]

AO1 The need to focus on the whole of both sources signals the degree of increasing independence required by students. As such, this question builds on the previous assessment of AO1 in question 1, requiring students to synthesise information and ideas – both explicit and implicit. In addition, the summarising task looks to act as a forward pointer to P2 Q4. It is designed to help students prepare skills for comparison, but in a more straightforward and defined way at this stage in the paper. A student might prepare for this by text marking differences (or similarities on other occasions), or listing them for themselves: Things I learn about Eddie Things I learn about Henry Then, in writing the summary, the student has the flexibility to intertwine differences, or more simply begin with Eddie, and saying, through a connecting statement (for example: On the other hand, or In contrast) how Henry is different. AO1 Content is set out as four bullet points that provide a framework for responses such as ‘Eddie is a typical, contemporary teenager living at home whereas Henry lived in a different century away from home at boarding school.’ Further to this, skills descriptors are set out in four levels with Level 4 requiring ‘detailed understanding of differences between the boys’ whereas Level 1 ‘shows simple awareness of differences’. Within each level there are a set of content descriptors acting as indicative content for example: ‘Eddie is a typical modern teenager who is cheeky and speaks to his father in a ‘mocking voice’ emphasising their close relationship and good humour with each other. Henry however is distant and formal with his father addressing him in a respectful tone, ‘my dear Father’ emphasising the difference in status between them.’ The reliability of the mark scheme rests on: its consistency throughout the papers; the hierarchical nature of its demand (through the grid); the close connection between its key words and the AOs being addressed, and the straightforward nature of its design.

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Student response: Eddie is quite academic and so is Henry but Eddie doesn’t seem to try particularly hard. ‘He’s irritatingly good at it’ and ‘he is too busy killing things, while talking on Skype! This suggests he wants to do well and does do well, without trying very hard, and is living in comfort. Whereas Henry is having a very uncomfortable time at boarding school, ‘our bread is nearly black’, suggesting they have very scarce or low quality food but Henry works hard and looks after himself unlike Eddie. Henry also does not have his father’s support as Eddie does. Eddie just ignores his father as he comes into the room but Henry is pleading to see his father at all. ‘If God permit me to live as long,’ this shows that Henry is basically saying how desperate he is! This contrasts with Eddie, who doesn’t realise how lucky he is! Examiner’s comments: The question requires students to write an extended response. The requirement to write “new material” is addressed in three ways: by the student bringing together the differences into a new, single form – prior to this the information and

ideas as originally set out in separate texts about Henry and Eddie are not seen as differences the student ‘s own content to inform the summary the designated new form to the writing – in this case a summary. Both sources are considered by students in relation to a given aspect of each – in this case the boys; the characteristics of Eddie from one and Henry from the other. Showing understanding of the differences in their characters requires interpretation of explicit and implicit information and ideas. When students summarise these differences in a piece of continuous prose writing, they bring together material from different sources (synthesis) into something new (the summary). In this case, there is a detailed understanding of the differences between the two boys, with a touch of perception of Eddie, plus range of quotations from both texts: Level 4

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Question Question wording AO Design rationale

4. For this question, you need to refer to the whole of source A together with source B, the father’s letter to a family friend.

Compare how the two writers convey their different attitudes to parenting and education.

In your answer, you should:

compare their different attitudes

compare the methods they use to convey their attitudes

support your ideas with quotations from both texts.

[16 marks]

AO3 This extended-form answer will enable students to compare the different attitudes or viewpoints, perspectives and ideas as an umbrella term to capture what a writer is writing about and how they present it to the reader – either their intended reader in the time period in which it is written or the candidate as reader of the source. The scope of the question will always provide the candidate, at all levels of ability, to consider in their comparison how the writers use form, structure and language – referenced in the bullet point as ‘methods’.

As the final reading question on this paper, this signals the end of the assessment journey and as such requires the student to be synoptic in bringing together their learning from the two-year course and the reading skills that they have developed. Questions which require students to consider how writers present their viewpoints will always require them to apply additional reading skills to AO3 that is specifically targeted and weighted for this response. For example, aspects of AO1, AO2 and AO4 – reading skills that the candidate has as part of their ‘reading toolkit’.

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Student response: Jay Rayner clearly has a much closer relationship with his son than Henrys father in Source 2. There is a physical closeness in that Jay and his son live in the same house and share everyday life and concerns, whereas Henry lives away from his father at boarding school and rarely comes home, “It is now two years come October since I left you at Islington.” This means that Henry’s father has no real idea of Henry’s everyday life and concerns apart from the occasional letter. Jay Rayner clearly empathises with his son’s concerns, including homework and decides to “share a little solidarity” by attempting his maths homework. While Henry’s father has to rely on the intervention of a friend to find out more about Henry’s problems and asks him to “ascertain whether you think it would be advisable for me to send for them home.” Jay Rayner writes in an informal tone which matches his relaxed and more modern approach to parenting. He talks about children, such as his who “take the mickey” out of their parents. Henry’s father uses a much more formal tone with his choice of language, “induced to write to you”, “excuse the liberty I take” which reflects the language of the time the letter was written. The letter was to even written to his son, but to a friend. Both fathers seem to value education but have different approaches to their sons’ learning. Jay Rayner uses humour to convey his own moderate academic achievement. He confessed that his “grades lined up like a line of Pac-Men doing a conga”. He also uses humour to express his pride at his son’s educational achievement in Maths when he describes him as being “irritatingly good at it.” Irritatingly reflects Jay’s wonder at his son’s natural talent while he struggles. Henry’s father is very concerned about his son’s education, particularly his spelling “I see several words wrong-spelt.” This is ironic as the father has made grammatical mistakes himself “several words wrong-spelt”. He is unaware of his educational weaknesses whereas Jay Rayner makes a joke Examiner’s comments: Here AO3 is addressed in the way that students compare the different viewpoints and attitudes each writer has to being a parent. AO3 is addressed through the command word: How and the emphasis in the question on them “conveying” their attitudes to the reader. The word ‘convey’ encapsulates a number of concepts – from ways and methods of writing, through to consideration of form, structure and purpose. All of these are reinforced by the supporting bullet points: • compare their different attitudes • compare the methods they use to convey their attitudes • support your ideas with quotations from both texts. In this response, there is judicious range of quotations. It compares in a perceptive way and with some analysis of methods: Level 4

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Paper 1

Q1

Q2 Q3 Q4 Q5: Writing

Paper

2

AO1

List 4 things…

Identify explicit information Identify explicit ideas

4 marks

AO1 AO1

True/false statements… Write a summary… Explicit and implicit ideas synthesis of explicit and information and implicit ideas

and information

4 marks 8 marks

AO2 AO2

How does the writer’s How does the use of language… writer structure.. Comment, explain, Comment, explain, analyse analyse

8 marks 8 marks

AO2 How does the writer’s use of language…

Comment, explain, analyse

12 marks

AO4


Evaluate texts critically

20 marks

AO3

How the writers present… Compare writers’ ideas and perspectives, and how they are conveyed

16 marks

AO5/AO6

Descriptive or narrative writing

Communicate clearly Organise information Use a range of vocab and sentences Accurate spelling and punctuation 40 marks

AO5/AO6

Students write about their own views

As above

40 marks

Reading AO1: P1 Q1 begins with explicit retrieval. This is mirrored in P2 Q1 through true/false statements and culminates in a summary task of both implicit and explicit reference as a pointer to P2 Q4.

Assessment journey: Two equal demand papers which balance progression through the papers.

Reading AO2: P1 Q2 provides a specific example for analysis. P2 Q3 requires students to select examples of their own.

Reading AO4/3: Evaluation of a section of text on P1 Q4 leads to comparison of two whole texts in P2 Q4.

Writing AO5/6: P1 reading source acts as stimulus for descriptive, and or narrative writing. P2 reading sources support students to write their own views.

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Sample: KS3 Assessment Paper 1: Extract from “Carrie’s War” 0 4 Focus this part of your answer on the second half of the source, from line 13 to the end. A teacher, having taught this section of the text, said: “I think the writer develops the tension very effectively throughout this first meeting.”


In your response, you should:

• write about your own impressions of the characters and the tension that is created • evaluate how the writer has created these impressions • support your opinions with quotations from the text.

[20 marks]

Your teacher wants you to put together a class collection of creative writing. She will judge which pieces can go into the collection. Either: Write a description suggested by this picture:

Or: Describe a person who has made a strong impression on you.


[40 marks]

0 5

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Insert to Paper 1

KS3 ENGLISH LANGUAGE (TBC) Paper 1

Insert

Please turn the page over to see the source

Source A: an extract from Carrie’s War by Nina Bawden

SPECIMEN MATERIAL

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Source A

Carrie’s War

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10

15

20

25

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He wasn't an Ogre, of course. Just a tall, thin, cross man with a loud voice, pale, staring, pop-eyes, and tufts of spiky hair sticking out from each nostril. Councillor Samuel Isaac Evans was a bully. He bullied his sister. He even bullied the women who came into his shop, selling them things they didn't really want to buy and refusing to stock things that they did. 'Take it or leave it,' he'd say. 'Don't you know there's a war on?" He would have bullied the children if he had thought they were frightened of him. But although Carrie was a little frightened, she didn't show it, and Nick wasn't frightened at all. He was frightened of Ogres and spiders and crabs and cold water and the dentist and dark nights, but he wasn't often frightened of people. Perhaps this was only because he had never had reason to be until he met Mr Evans, but he wasn't afraid of him, even after that first, dreadful night, because Mr Evans had false teeth that clicked when he talked. 'You can't really be scared of someone whose teeth might fall out,' he told Carrie. The possibility that Mr Evans’ teeth might fall out fascinated Nick from the beginning, from the moment Mr Evans walked into the kitchen while they were having breakfast their first morning and bared those loose teeth in what he probably thought was a smile. It looked to the children more like the kind of grin a tiger might give before it pounced on its prey. They put down their porridge spoons and stood up, politely and meekly. It seemed to please him. He said, 'You've got a few manners, I see. That's something! That's a bit of sugar on the pill!' They didn't know what to say to this so they said nothing and he stood there grinning and rubbing his hands together. At last he said, 'Sit down, then, finish your breakfast, what are you waiting for? It's a wicked Sin to let good food get cold. You've fallen on your feet, let me tell you, you'll get good food in this house. So no faddiness, mind! No whining round my sister for titbits when my back's turned. Particularly the boy. I know what boys are! Walking stomachs! I told her, you fetch two girls now, there's just the one room, but she got round me, she said, the boy's only a babby!' He looked sharply at Nick. 'Not too much of a babby, I hope. No wet beds. That I won't stand!' Nick's gaze was fixed on Mr Evans's mouth. 'That's a rude thing to mention,' he said in a clear, icy voice that made Carrie tremble. But Mr Evans didn't fly into the rage she'd expected. He simply looked startled - as if a worm had just lifted its head and answered him back, Carrie thought. He sucked his teeth for a minute. Then said, surprisingly mildly, 'All right. All right, then. You mind your P's and Q's, see, and I won't complain. As long as you toe the chalk line! Rules are made to be kept in this house, no shouting, or running upstairs, and no Language. ' Nick looked at him and he went on - quickly, as if he knew what was coming, 'No Bad Language, that is. I'll have no foul mouths here. I don't know how you've been brought up but this house is run in the Fear of the Lord.'

It is war-time and Carrie and her brother Nick have been sent away from their home in London, as evacuees, to live in the safety of a village in Wales with Mr Evans and his sister. Here, after their first night, they meet Mr Evans.

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Insert to Paper 1

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Nick said, 'We don't swear. Even my father doesn't swear. And he's a Naval Officer.' What an odd thing to say, Carrie thought. But Mr Evans was looking at Nick with a certain, grudging respect. 'Oh, an Officer, is he? Well, well.' ‘A Captain,’ Nick said. ‘Captain Peter Willow.’ ‘Indeed?’ Mr Evan’s teeth clicked – to attention, perhaps. He said, grinning again, ‘Then let’s hope he taught you how to behave. It’ll save me the trouble,’ and turned on his heel and went back to the shop. Silence fell. Miss Evans moved from the sink where she'd been all this time, standing quite still, and started to clear the plates from the table. Nick said, 'You don't mind Language, do you? I mean, I don't know the deaf and dumb alphabet.' 'Don't be smart,' Carrie said, but Miss Evans laughed. Hand to her mouth, bright squirrel eyes watching the door as if she were scared he'd come back and catch her.

END OF TEXT

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