En
KEY STAGE
3
2003
Changes to
assessment 2003:
sample materials
for key stage 3
English
Updated June 2004 to reflect the new
model shorter writing task
First published in 2002
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Contents
Update to the sample material on changes introduced from 2005
2
Introduction
2
Rationale for changes to the national curriculum English tests
introduced from 2003
2
Summary of the changes to national curriculum English tests
introduced from 2003
3
– At all key stages
3
– At key stage 3
3
Assessment focuses: mapping reading and writing in
the national curriculum tests
4
– Reading assessment focuses
5
– Writing assessment focuses
6
Using the sample materials
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The Reading paper
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– Key features
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– The reading booklet
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– Reading paper mark scheme
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The Writing paper
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– At key stage 3
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– Key features of the longer task
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– Key features of the shorter task
14
– The writing tasks
14
– Writing paper mark scheme
15
The Shakespeare paper
29
– Key features
29
– Shakespeare reading task
30
– Shakespeare reading task mark scheme
31
1
Update to the sample material on changes introduced from 2005
Updated The sample writing paper has been updated to reflect the change to the model of the
June 2004 test announced in January 2004. From 2005 the shorter writing task will no longer be
assessed on the Shakespeare paper. The Writing paper will comprise a longer writing
task and a shorter writing task. The shorter writing task will no longer be linked to
the Shakespeare play. Shakespeare reading will be assessed on a separate paper. In
every other detail this sample material remains unchanged since November 2002 when
it was first published on the QCA website.
The decision to move the shorter writing task from the Shakespeare paper to the
Writing paper has been made as a result of direct consultation, in October 2003, with
English teachers, subject experts, LEAs and teachers’ unions. The outcome of the
consultation showed widespread support for the change.
No other aspect of the test will change in 2005; there is no change to the Reading
paper, the assessment focuses for reading, the writing triplets, the writing strands or
the areas for assessment on Shakespeare.
Introduction
In February 2000, the Secretary of State for Education asked QCA to carry out a
review of national curriculum assessment which would identify areas for strengthening
in the tests in English, mathematics and science, bearing in mind curricular innovation
and change. The changes to be introduced throughout the national curriculum
statutory assessments in 2003 were agreed in May 2002 and signalled to schools in a
letter to headteachers in June 2002.
This introductory booklet summarises the rationale and nature of the changes to the
key stage 3 English tests. A set of sample papers and mark schemes is available on the
QCA website at: www.qca.org.uk/sample
The extension paper ceased to be available from 2003. In its place are a range of ways
of assessing those more able and gifted pupils who have followed a curriculum that
blends faster pace and more breadth with greater depth in the subject. QCA will be
producing guidance from 2004 to help teachers decide which would be most
appropriate for their more able and gifted pupils. QCA has also produced optional
tasks for pupils working below the level of the tests.
Both the tasks for the more able and gifted pupils and those for pupils working below
the level of the tests have been available on the QCA website since 2003. New tasks
have been added in subsequent years. The tasks include exemplar responses to help
teachers assess pupils’ work.
Rationale for changes to the national curriculum English tests
introduced from 2003
One of the chief aims of the review of assessment arrangements was to ensure greater
consistency across key stages in how reading and writing are assessed. The testing
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arrangements for the three key stages were introduced at different times over the past
10 years. The key stage differences in the current test designs reflect both differing
curriculum priorities and what was then known about how reading and writing might
be assessed.
Over the past decade, evaluation of test performance, developments in understanding
about the assessment of reading and writing, and the introduction of the national
strategies has highlighted a number of areas in which the current test arrangements
could be strengthened.
From 2003, the design and question formats of the English tests will be more
consistent across the key stages. The tests will continue to focus on the standards and
level descriptions relevant at each key stage, but the consistent use of assessment
focuses will yield comparable information across both statutory and optional tests.
This will enable schools to track progress and gain detailed profiles of the
performance of cohorts, classes and pupils. Such profiles help when deciding
curriculum and teaching priorities, and in looking at the strengths and weaknesses in
pupils’ reading and writing. This can then inform class and pupil target setting.
Summary of the changes to national curriculum English tests
introduced from 2003
At all key stages
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The same set of assessment focuses for reading and writing will be used for both
statutory and optional tests to help consistency and comparability.
The style of questioning in the reading tests will be similar across the key stages, ie
a range of question types and formats, with different forms of scaffolding,
attracting a range of marks.
There will be two writing tasks – one longer and one shorter – and pupils will do
them both. The tasks will target different purposes and forms of writing to give a
range of evidence for the writing level. Planning formats will be provided for the
longer writing task.
The mark schemes for writing will involve making judgements in relation to
assessment focuses. The strands in the mark schemes will draw on a generic mark
scheme to ensure consistency of standards at the different key stages.
The writing marking strands will be customised to the different tasks.
The various marks for writing will be added together and threshold scores set for
levels.
The use of the assessment focuses in analysing pupils’ performance will give
invaluable information about pupils’ strengths and weaknesses, to support
curriculum targets and individual pupils’ learning targets.
At key stage 3
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The key stage 3 tests will consist of three papers: Reading, Writing and
Shakespeare. The papers will continue to assess English at levels 4–7.
The Reading paper will last 75 minutes, including 15 minutes reading time. It will
consist of a reading booklet containing three texts and a reading answer booklet
that will contain approximately 15 questions. The questions will be varied in
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Updated
June 2004
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format and worth between 1 and 5 marks. They will be keyed to the assessment
focuses.
The Shakespeare reading task will last 45 minutes. It will continue to be based on
the detailed study of two sections set from one of three Shakespeare plays. The
tasks will focus on two extracts from the set sections, which will be printed on the
paper, and pupils will be asked to write detailed responses drawing on both
extracts.
The assessment of writing will consist of two tasks; their purposes will relate to the
triplets of purposes in the national curriculum and the English strand of the
national strategy, Framework for teaching English.
In 2005 the Writing paper will last 75 minutes. It will consist of a longer writing
task with a planning page (45 minutes) and a shorter writing task (30 minutes).
The longer writing task will precede the shorter writing task.
The longer writing task will ask for continuous writing, narrative or non-narrative,
relating to one of the writing triplets. It will be marked in three strands: sentence
structure and punctuation, text structure and organisation and composition and
effect.
The shorter writing task will require pupils to write precisely and concisely; the
form and topic will normally be given. It will be marked in three strands: sentence
structure, punctuation and text organisation; composition and effect and spelling.
The marks from the Reading paper and Shakespeare reading paper will be
combined to provide a reading score and level.
The marks from the two writing tasks on the Writing paper will be combined to
provide a writing score and level.
Levels will be reported for English overall, with separate levels for Reading and
Writing also available.
Assessment focuses: mapping reading and writing in the national
curriculum tests
Underpinning the English tests at all key stages are skills and knowledge in reading
and writing, which are set out fully in the programmes of study and amplified as a
teaching agenda in the key stage 3 national strategy, Framework for teaching English.
Progression in the skills and knowledge is summarised in the eight level scale. In recent
years, research for the publication Improving writing at key stages 3 and 4, the annual
analyses of pupil performance in the tests and work with teachers have added a
greater level of detail to our understanding of reading and writing. In developing a
common assessment framework for the tests we have drawn on this increased
understanding to devise two sets of assessment focuses, one for reading and one for
writing, which will ensure greater comparability and continuity of the tests across key
stages. This was built into the Years 7 and 8 optional tests and will be evident in the
2003 statutory assessments and new optional tests.
Each set of assessment focuses describes identifiable elements of the complex unitary
skills of reading and writing. The elements are described separately to enable more
precise assessment which can lead to more focused teaching. While it is possible to
isolate each element for a particular teaching or assessment purpose, it is important to
recognise that none of them on their own constitutes reading or writing. In practice, of
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course, the elements all come together and are integrated in any individual act of
reading or writing. The ways in which they combine vary depending on a range of
factors such as the age, experience or purpose of the reader or writer.
The assessment focuses will also enable progression within and across the key stages
to be tracked and yield detailed diagnostic information. The assessment focuses are
not new, having formed the basis of the analysis of pupil performance in the Standards
Reports for several years. Their development is not about shifting standards or making
the tests harder: it is about achieving greater clarity so that what is being tested is
better understood.
Reading assessment focuses
The aspects of reading to be assessed are pupils’ ability to:
1. use a range of strategies, including accurate decoding of text, to read for meaning;
2. understand, describe, select or retrieve information, events or ideas from texts and
use quotation and reference to text;
3. deduce, infer or interpret information, events or ideas from texts;
4. identify and comment on the structure and organisation of texts, including
grammatical and presentational features at text level;
5. explain and comment on writers’ uses of language, including grammatical and
literary features at word and sentence level;
6. identify and comment on writers’ purposes and viewpoints and the overall effect of
the text on the reader;
7. relate texts to their social, cultural and historical contexts and literary traditions.
In principle, any reader at any age may give evidence in any one of these assessment
focuses, since they are not specifically age- or ability-related. Pupils aged 7, 11 or 14
can show they are able to select and retrieve information (AF2) particularly in nonfiction texts. A young child can distinguish texts where the purpose is to describe or
explain from those which aim to give instructions (AF6), whereas a secondary school
pupil may be showing skills also related to this focus, by commenting on how the
writer’s views are shown through the portrayal of character or the choice of language
when conveying action.
The first three assessment focuses are more likely to be emphasised when assessing 7year-olds and the others may well be more prominent when assessing older pupils. But
this is not simply a question of a hierarchy of skills. All readers must use strategies to
decode and make meaning from texts, but for experienced readers much of such activity
is automatic, and the strategies are only likely to become evident when the reader is
confronted with a text which includes unfamiliar words or more complex ideas.
When pupils are older, what becomes more valued is the ability to evaluate and
respond critically to a text, offering reasons and evidence. This moves beyond
inference and deduction into being able to distinguish layers of meaning and recognise
such features as deliberate ambiguity or implicit bias. Being able to see how the social
or literary context of a text influences its meaning is also usually thought of as an
advanced skill, but some children in primary school are able, for example, to reflect
on whether stories, such as those by Richmal Crompton, are old-fashioned, and how
stories set some time ago may or may not be relevant to children now.
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Writing assessment focuses
The aspects of writing to be assessed are pupils’ ability to:
1. write imaginative, interesting and thoughtful texts;
2. produce texts which are appropriate to task, reader and purpose;
3. organise and present whole texts effectively, sequencing and structuring
information, ideas and events;
4. construct paragraphs and use cohesion within and between paragraphs;
5. vary sentences for clarity, purpose and effect;
6. write with technical accuracy of syntax and punctuation in phrases, clauses and
sentences;
7. select appropriate and effective vocabulary;
8. use correct spelling.
In order for the assessment of writing to yield more useful, diagnostic information
about strengths and weaknesses, it is necessary to go into a level of detail beyond
summative, holistic, impression marking.
As with the assessment focuses for reading, those for writing describe identifiable
elements of the complex unitary skill of writing. Writing from any key stage may give
evidence of some or all of these features, irrespective of the age or ability of the pupil.
As is the case with reading assessment, the eight writing assessment focuses are
potentially applicable at any key stage. Between them they cover the interlocking
elements of writing coherent and purposeful texts, addressing issues of selection and
organisation of content at text level, the links between ideas in the text through
paragraphing and sentence structure, and accuracy in punctuation and spelling.
While it is the case that all these assessment focuses are relevant for nearly all writing,
the expectations of the writing being assessed vary with age and level of achievement.
The full range of focuses are certainly relevant for levels 4–8.
The assessment focuses are not arranged in hierarchical order. Within each one, there
is an expectation that a range of development is possible. However, there are degrees
of sophistication in the way texts and paragraphs are constructed, and different levels
of complexity in the vocabulary selected – in general, children are likely to show more
competence in these aspects as they develop and mature. When pupils become older
what is more valued in writing is their ability to make independent choices at whole
text, sentence and word level in ways that are appropriate for task, reader and
purpose. Thus assessment focuses 2 and 5 are likely to carry greater significance at key
stages 2 and 3 than at key stage 1, simply because pupils will have learnt much more
about how to select and adapt from a repertoire of skills.
Together the assessment focuses offer a map of the main facets of writing, based on
the national curriculum programmes of study and level descriptions. When giving
sustained attention to any one of these aspects, it is important to recognise their
contribution to overall meaning in order to avoid an approach that is fragmented,
mechanistic or dry.
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Using the sample materials
The sample materials have been trialled in schools to ensure that the questions are
clear to pupils and that the mark schemes relate to what pupils write in their answers.
The tests have not, however, been through the same extended process and final pretesting as the live tests to be taken in spring 2003. The sample papers indicate the
format and content of the key stage 3 tests from 2003 and can inform teachers’
planning when preparing pupils for the live tests. Pupils can be taken through the
sample materials to suggest how to interpret and attempt the questions.
The exemplar reading texts, questions and writing tasks indicate very closely the
overall shape of the live tests but their exact nature and balance varies with the texts
used and the writing topics suggested. The exemplar mark schemes illustrate the
design principles but are not comprehensive in their coverage and the live mark
schemes may vary in the amount of detail included.
A full set of the sample test papers and mark schemes is available on the QCA website
and should be downloaded to use in conjunction with this booklet.
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The Reading paper
Key features
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The reading paper
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Reading booklet with three texts to include a variety of texts which reflect the
breadth of the English curriculum, ie literary, non-literary, fiction and non-fiction.
Links between them enhance the reading of individual texts.
The reading test lasts 60 minutes with an additional 15 minutes reading time.
Approximately 15 questions are included which are varied in format and worth
between 1 and 5 marks.
Questions are linked to assessment focuses 2–6 for reading. The total number of
marks per assessment focus are likely to vary each year, as questions are set on key
features of each text.
The format of the questions in the answer booklet indicates how many points are
to be made and the amount that is to be written.
The reading booklet
In selecting texts for the booklet the main criteria are that texts are interesting to the
pupils, varied in form and suitable for constructive questioning. Texts may differ in
length and must differ in genre and style. Most important of all, the texts must work
together; the combination has to be more than the sum of the parts. For example, the
links between the three texts in the sample reading booklet Making it Real require
readers to adapt their reading skills to the purposes and types of text.
As questions are being devised, the assessment focuses are drawn on explicitly to
reflect critically on each question and their potential answers. This helps to establish
whether it is a worthwhile question and to identify what sort of contribution it can
make to the overall pattern of the test.
No specific balance of assessment focuses across the paper is required, but the balance
and the way the questions cluster and are distributed across the paper as a whole are
reviewed. Across the age groups the balance of the assessment focuses changes. In
general the tests for 11-year-olds have a proportion of marks on assessment focuses 2
and 3, but also range more across the other areas. The tests for 14-year-olds place less
emphasis on assessment focuses 2 and 3, although pupils use these skills in answering
questions related more to assessment focuses 4, 5 and 6. These differences in emphasis
reflect the demands of the eight-level scale to which the tests are calibrated.
Question format
The range of question types on the reading paper is designed to cater for pupils’
different learning styles. Support for pupils is provided by a variety of scaffolding in
the questions. There are four main question types (examples in sample reading paper):
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completion of table or tick box, eg Q7, Q14;
finding, copying, explaining textual details, eg Q1, Q3;
short answers in pupils’ own words, eg Q6, Q10;
long answers in pupils’ own words, eg Q4, Q8.
Questions are set at word, sentence and text level, reflecting the key stage 3 national
strategy, Framework for teaching English:
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word focus, eg Q1, Q3;
sentence focus, eg Q2, Q12;
text focus, eg Q4, Q8, Q14.
The reading paper
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All readers take meaning from the words and sentences, as well as longer whole text
structures. The set of questions on a text mirrors this process, connecting the detail at
word or sentence level with aspects of overall text structure and theme. In assessment
terms each individual question has to be effective at the item level but also has to
contribute to a set of questions which offers a coherent reading of the text.
Question difficulty
The level of difficulty of any particular question derives from a complex relationship
between the text, the assessment focus, the amount of structure in the question and
where the question comes in the test. Offering a structure in the question may enable
pupils to tackle aspects which are difficult if they are left to work them out for
themselves. The level of scaffolding or independence in using reading skills is an
important dimension across the years.
For example, a multiple-choice question for 7-year-olds may enable them to identify
the purpose of a text, whereas 14-year-olds may be invited to identify the writer’s
purpose and give evidence to support their views, drawing on the complete text. These
questions relate to the same assessment focus, but the differing levels of structure in
the questions suggest the movement from a strongly guided reader to an independent
one.
Implicit in these questions is the level of independence with which pupils are expected
to tackle texts and questions. Independence relates to the level of support in the
question, and the pupil’s ability to orchestrate different reading skills in order to
answer a question. Older and more skilled readers are also asked to range across a
text or texts, without necessarily being given specific references, in order to
accumulate points to be assembled into answers. This involves using criteria of
relevance, as well as taking a more evaluative view of what is read. In skilled readers,
independence in understanding a text and how it works is likely to be accompanied by
critical and evaluative comments on its effectiveness.
Not all questions are of equal difficulty, but all pupils within the target range should
be able to access the questions. A low tariff question is not necessarily an easy
question, eg Q13b. The test as a whole has to differentiate.
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Reading paper mark scheme
Key features
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The reading paper
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Each question addresses one assessment focus.
Marks for individual questions are not related to national curriculum levels.
The range of acceptable responses is clearly set out and exemplified.
Unexpected responses are judged for acceptability by reference to the given
assessment focus.
The quality of responses meriting different marks is described and exemplified for
high tariff questions.
The mark scheme is based on what pupils have written in the pre-test.
Examples of different questions and mark schemes
The following questions, taken from the sample paper and mark scheme show the
format of three different kinds of question. In each case the mark scheme gives the
question as it appears in the reading answer booklet, the assessment focus in bold type
and then the guidance to markers on how to award marks.
Example 1: question from sample mark scheme
2.
In the first paragraph, how does the way the final sentence is written build up tension?
(1 mark)
Focus of question: identify and comment on the structure and organisation of texts,
including grammatical and presentational features at text level (AF4)
Award 1 mark for a comment relating to either of the following features of the sentence:
feature of the
sentence
Main action at
the end of the
sentence
Clauses / scene
setting delay the
main action
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examples of comments
–
the sentence builds up slowly to the main action / the
moment when the creature comes to life;
–
the creature comes to life at the end of the sentence.
–
the punctuation (semi-colons and commas) extends /
draws out the sentence;
–
the large number of clauses and phrases helps to build up
tension;
–
the phrase by the glimmer of the half-extinguished light
holds up the narrative, so increases tension;
–
the first part of the sentence sets the scene; the second
part deals with the action of the monster.
Example 2: question from sample reading mark scheme
Question 7
The reading paper
From the four paragraphs on page 5, sum up the four main stages of creation that a wax model
goes through.
(up to 2 marks)
Focus of question: identify and comment on the structure and organisation of texts,
including grammatical and presentational features at text level (AF4)
Award 2 marks if all four stages are given.
Award 1 mark if any two or three of the stages are given, in the correct order.
Stage 1
formation of skeleton / making the body / making the mould
Stage 2
creating the head / face
Stage 3
adding the hair
Stage 4
clothing the model / finishing touches
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Example 3: question from sample reading mark scheme
Question 4
The reading paper
In the whole text, how does the writer’s use of language show that Dr Frankenstein’s dreams have
been shattered?
You should comment on how the writer:
-
sets the scene;
describes the creature;
shows Dr Frankenstein’s reactions.
(up to 5 marks)
Focus of question: comment on writers’ uses of language, including grammatical and
literary features at word and sentence level (AF5)
Award marks according to the criteria using the sample answers to confirm your judgements.
Criteria
Award 1 or 2 marks for an explanation which identifies some relevant examples, in relation to the
prompts, of the language used to describe the dreary/ominous setting; the dreadful appearance of the
monster; and the agonised reaction of Dr Frankenstein. The text may be paraphrased or referred to but the
answer may not address all the prompts. There may be some acknowledgement of the effectiveness of the
language used, for example in creating an atmosphere of gloom, but no comment on how this shows
Dr Frankenstein’s dreams have been shattered.
Award 3 marks for an answer which demonstrates some understanding of how the language used to
describe the setting, the monster and Dr Frankenstein’s reactions shows that Dr Frankenstein’s dreams have
been shattered. Some relevant words and phrases, suggested by the prompts, are clearly identified but all
the prompts may not be equally fully addressed. Simple points are made that establish how selected details
contribute to the sense that Dr Frankenstein’s dreams have been shattered, eg words like dreary, or the
time of night create an atmosphere of tension or of foreboding; the physical details given about the monster
contrast with the beautiful creature he had hoped for; Dr Frankenstein’s reactions – shock, horror, agony,
disgust – are extreme.
Award 4 or 5 marks for a response which explores explicitly how the writer shows that Dr Frankenstein’s
dreams have been shattered. The cumulative build up of ominous details in the description of the setting;
the series of contrasts used to describe the creature or the extremity of Dr Frankenstein’s physical and
emotional reactions are identified. Appropriate references are precisely and concisely made and all the
prompts should be addressed. Awareness of the contrasts between the two paragraphs, or of the effect of
the immediacy of the first person narrative, may be shown.
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The writer sets the scene in a sort of dreary dungeon that’s damp and rather dark. Dr. Frankenstein’s
reactions are shown as anxiety that almost amounted to agony that made Dr. Frankensteins heart be filled
with dusgust for it.
Relies heavily on paraphrase and quotation. Dreary, damp and dark are relevant but simple points without
comment. Creature is not mentioned and Dr Frankenstein’s reactions are identified but not probed.
1 mark
The writer sets the scene one dreary night which is scary Because then if any thing happens to anyone no
one will be out to help on a Dreary night at one oclock in the morning in november! The writer described
the creature as yellow skin, (which covered all his arteries and musles) ect and he is really making out as if
the creature is ugly and this makes it more intersting. Dr frankensteins reactions were as if he was
definetley going to be harmed even though he might not and this makes you want to carry on reading to see
if he does get hurt.
Identifies relevant detail about setting and makes simple comments on their unsettling effects. Some
awareness of creature’s characteristics. Rather literal coverage of all prompts. No real understanding of
Dr Frankenstein’s shattered dreams.
2 marks
The writter sets a negative atmosphere as soon as the passage is writen she describes the night as ‘a dreary
night in November’ He had obviously worked to hard as she states it was ‘already 1 in the morning’. The
writer describes the creature as having ‘yellow skin’, ‘shrivelled lips’ and not very pleasant to look at.
Dr. Frankenstein’s reactions were too negative. He states ‘For this I have deprived myself of rest and
health and that ‘the beuty of the dream vanished’.
Recognises impact of setting as creating negative atmosphere at the beginning of text. Relevant words or
phrases in relation to each of the prompts (eg dreary night, yellow skin) identified and linked to simple
points. Appropriate references selected in relation to Dr Frankenstein’s reaction but comment
undeveloped.
3 marks
The language shows Dr Frankensteins dreams have been shattered by his reactions. He says ‘I worked for
2 years to introduce the body and I have finished the beauty of the dream vanished’. He describes the
creature as lifeless and horrible by saying it has ‘yellow skin’, and ‘shrivelled lips’. You can also tell Dr
Frankensteins dreams have been shattered by the way the scene was set. It was set on a dark, wet winters
night, ‘a dreary night in November’. The setting where Dr Frankenstein was sounded horrible, dark,
dangerous and scary.
Some attempt to explore how the writer shows that Dr Frankenstein’s dreams have been shattered
(eg underlining of vanished). Relevant words are identified in relation to the creature but comments not fully
developed. Understanding of link between setting and Dr Frankenstein’s dreams acknowledged.
Appropriate references selected but second prompt dealt with cursorily.
4 marks
The writer sets the scene in saying, “It was a dreary night ...” I think that this sets you up for the
horrifying creature that Dr. Frankenstein has made. The creature is described as a “catastrophe”, this
shows Dr. Frankenstein’s horror. He has also been described as having “Dun-white sockets” and a
“shrivelled complexion and straight black lips.” Frankensteins monstor is very scary to look at! The
writer shows Dr Frankenstein’s reaction using phrases like “For the sole purpose of life”, and “I had
deprived myself ...” this shows how disappointed he is. A feeling of “beauty of the dream” was taken away
because Dr. Frankenstein ran out of the room to his bedchamber and was “Unable to compose his mind to
sleep”.
Comments on effect of dreary setting in preparing reader for what happens. Understands how choice of
language (eg catastrophe) used to describe creature indicates Dr Frankenstein’s horror. Some exploration of
how the writer shows that Dr Frankenstein’s dreams have been shattered in the comment on for the sole
purpose of life etc. Appropriate references, precisely chosen, support ideas, particularly re third prompt.
Addresses all prompts, although less on the first prompt.
5 marks
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The reading paper
Sample answers
The Writing paper
At all key stages pupils’ writing ability is assessed on two written tasks to ensure that
writing across a range of forms is covered.
At key stage 3
Updated
June 2004
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The Writing paper is 75 minutes long. It comprises a longer task (45 minutes,
including 15 minutes recommended planning time) and a shorter task (30 minutes).
Each task addresses one of the writing purposes triplets in the national curriculum
and the key stage 3 Framework for teaching English.
The triplet addressed in the longer task is different from the triplet addressed in the
shorter task.
Key features of the longer writing task
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The task carries 30 marks.
The task is supported by information about audience, form, purpose and level of
formality.
A planning format is provided.
Key features of the shorter writing task
The writing paper
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The task carries 20 marks, including 4 marks for spelling.
The emphasis is on precision and cohesion.
No planning format is provided but information about structure, audience and
purpose is given.
The writing tasks
Updated Overleaf is the sample Writing paper. In this instance, the longer writing task targets
June 2004 the triplet inform, explain, describe and the shorter task targets the triplet persuade,
argue, advise. In 2005 the longer writing task will precede the shorter writing task.
Additional help is given in the form of a planning format for the longer task. Each
planning format is designed to encourage pupils to make quick notes to help them
think about features they could include before they begin to write. Pupils are free to
use their own planning format if they wish. The planning sheet is not assessed.
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Example 4: longer writing task
Section A
Longer writing task
Music festival for all the family
You are employed by the local council to organise a music festival which takes
place every year.
You receive this note from the council:
Family festival
The writing paper
These were the comments we received after last year’s
festival:
Write a detailed explanation for the local council of why things
went wrong last year and your plans for this year.
30 marks
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Example 5: shorter writing task
Section B
Shorter writing task
Going wild
You have suggested turning an overgrown part of the school grounds into a
wildlife area, with a pond, seating and plants.
The Headteacher sends you this note:
This is a good idea but you will need to get parents
involved.
The pond has to be dug, seating made and all the
planting done.
The writing paper
Can you write a section for the school newsletter
persuading parents to help?
Thank you
Write the section of the school newsletter persuading parents to help make
the wildlife area.
20 marks including 4 marks for spelling
16
The structure of the Writing paper mark schemes
For the purposes of marking the tests, related assessment focuses have been drawn
together into three strands.
Assessment focuses
The assessment focuses used in this paper assess pupils’ ability to:
AF1 write imaginative, interesting and thoughtful texts;
AF2 produce texts which are appropriate to task, reader and purpose;
AF3 organise and present whole texts effectively, sequencing and structuring
information, ideas and events;
AF4 construct paragraphs and use cohesion within and between paragraphs;
AF5 vary sentences for clarity, purpose and effect;
AF6 write with technical accuracy of syntax and punctuation in phrases, clauses and
sentences;
AF7 select appropriate and effective vocabulary;
AF8 use correct spelling – assessed on the shorter writing task only.
Longer writing task mark scheme
A: sentence structure and punctuation (AF5 and AF6)
B: text structure and organisation (AF3 and AF4)
C: composition and effect (AF1 and AF2)
The writing paper
For the purposes of marking the longer writing task, related assessment focuses have
been drawn together into the following three strands:
(8 marks)
(8 marks)
(14 marks)
Vocabulary (AF7) is relevant to all strands and is identified in the criteria where
appropriate.
For the purposes of marking, the key areas related to each strand and how these are
reflected in the bullet points in the criteria are clarified below:
A: Sentence structure and punctuation
First bullet: variety, clarity and accuracy of sentence structures
Second bullet: variety and accuracy of punctuation
B: Text structure and organization
First bullet: coherence
– how the whole text hangs together, including order and sequence, and
structural features such as openings and closings
Second bullet: cohesion
– how different sections of text are organised, including grouping of material,
connecting and elaborating within paragraphs / sections
C: Composition and effect
First bullet: adaptation to purpose, form and reader
Second bullet: viewpoint
– establishing and maintaining the position / stance of author, narrator,
character and others
Third bullet: style
– rhetorical effect, choice of language and technical or literary devices
17
Shorter writing task mark scheme
For the purposes of marking the shorter writing task, related assessment focuses have
been drawn together into the following three strands:
D: sentence structure, punctuation and text organisation
(AF4, AF5 and AF6)
E: composition and effect (AF1 and AF2)
F: spelling (AF8)
(6 marks)
(10 marks)
(4 marks)
Vocabulary (AF7) is relevant to all strands and is identified in the criteria where
appropriate.
Note: Because the shorter writing task is designed to elicit succinct responses there is
some change of emphasis in the assessment focuses grouped to form strand D: AF3 is
not assessed, nor is construct paragraphs or cohesion between paragraphs (AF4).
For the purpose of marking, the key ideas related to each strand and how these are
reflected in the mark scheme are clarified below.
The writing paper
D: Sentence structure, punctuation and text organisation
First bullet: variety, clarity and accuracy of sentence structures and cohesion
– how different sections of the text are organised, including grouping of
material, connecting and elaborating within paragraphs / sections
Second bullet: variety and accuracy of punctuation
E: Composition and effect
First bullet: adaptation to purpose, form and reader
Second bullet: viewpoint
– establishing and manipulating the position / stance of author, narrator,
characters and others
Third bullet: style
– rhetorical effect, choice of language and technical or literary devices
F: Spelling
use correct spelling
For both the longer task and the shorter task a set of criteria is provided for each
strand, based on a common generic mark scheme which is used across all key stages
and all tasks. The criteria have been customised to relate specifically to the writing
tasks in this paper and take account of evidence from pre-testing.
Exemplar answers with marginal annotation and summary comment exemplify how
the criteria should be applied.
18
Exemplar mark scheme: longer writing task
Longer writing task: Music festival for all the family
A Sentence structure and punctuation
Assessment focuses:
AF5
vary sentences for clarity, purpose and effect;
AF6
write with technical accuracy of syntax and punctuation in phrases, clauses and sentences.
A1
This band is included to help differentiate writing which, whilst showing some fluency and accuracy,
does not merit a mark.
Q
Simple connectives (and, but, then) link ideas in the explanation of why things went wrong last year
(it was too crowded and children got lost…) and how the music festival will be organised this year.
Limited range of tenses used with occasional variation in verb forms, but overuse of lists. Noun
phrases simply expanded add limited detail (good bands; free parking).
Q
Sentences generally correctly demarcated. Some attempt to use other punctuation, such as commas
in lists.
Q
A2
Q
Q
A3
Q
Q
A4
Q
Q
A5
Q
Q
A6
Q
Marks
available
0
Subordinating connectives (eg when, because) used to expand the explanation, eg reasons there
were problems last year (there was too much traffic because everyone came at the same time…).
Some variation in verb forms, eg past and present tense, used generally consistently to refer to
previous festival and to denote current situation; modals to describe what is planned, though
structures tend to be repetitive (there will be… there will be…). There is some variation in the
subjects of sentences (the main stage… I have arranged…) and expanded noun phrases add relevant
detail (larger parking spaces; safe bouncy castles).
Most sentences correctly demarcated with some use of other punctuation, such as commas to
indicate simple clauses.
1,2
Both compound and complex sentences are used, with some variety of connectives (eg however,
although), to develop the explanation of why things went wrong last year and what is planned for
this year (food stalls were there, however…; although it is a music festival, I want everybody to…).
Some range of tenses and modals used, generally appropriately, to denote the differences between
last year’s festival and what is planned (last year many people found… this year they will…
teenagers could…). Relative clauses (people who bring picnics can use the picnic area) and phrases
(at regular intervals) build up relevant detail and information.
Almost all sentences correctly demarcated, with some use of a range of other punctuation such as
apostrophes, brackets or commas to mark phrases or clauses.
3,4
A range of grammatical structures is used to vary the length and focus of sentences, eg
subordination to elaborate the explanation (despite the lack of attractions specially for young
people, many did seem to enjoy the bands…), a range of verb forms, including modals, to suggest
possible arrangements for this year (the Mayor may be available to open the festival…). Impersonal
constructions are used to convey formality (Seating is planned for several areas at the festival…).
Fronted clauses to add emphasis or foreground ideas (once these changes are in place we will see a
real improvement).
Range of punctuation used, generally securely, to mark structure of sentences and give clarity.
5,6
A range of varied sentence structures is deployed to give clarity and emphasis to the explanation
(To make the festival more appealing for young people, we are planning to ask Robbie if he will
make a guest appearance…). Secure shifts between tenses and verb forms, including modals used
for varying effects, explain how the problems last year will be addressed in the plans for this year’s
festival. Complex verb forms are used, eg the passive, to establish an authoritative tone (no alcohol
is to be brought onto the site…). Embedded phrases and clauses contribute to succinctness.
Range of punctuation gives clarity, and is sometimes used for effect, such as colons to introduce
lists.
7
A wide variety of structures is deployed appropriately to control the explanation of how the music
festival will be organised to address last year’s problems. These may include compound, complex,
embedded sentences, active and passive structures.
Range of punctuation deployed to enhance meaning and create particular effects.
8
The writing paper
Band
19
Longer writing task: Music festival for all the family
B Text structure and organisation
Band
B1
Assessment focuses:
AF3
organise and present whole texts effectively, sequencing and structuring information, ideas and
events;
AF4
construct paragraphs and use cohesion within and between paragraphs.
This band is included to help differentiate writing which, whilst showing some fluency and
accuracy, does not merit a mark.
Q
The overall structure of the explanation is simple, with the beginning and ending signalled, eg
attempt at an introduction (I am going to explain what I am going to plan for…). Sections
sometimes used to clarify main ideas.
Q
Within sections, ideas mainly linked through topic, though there may be some lack of connection
between points.
Q
B2
Q
Q
B3
Q
The writing paper
Q
B4
Q
Q
B5
Q
Q
B6
20
Q
Marks
available
0
The explanation has a clear structure with some use of sections or paragraphs to clarify the
presentation of content, though transitions between paragraphs may be awkward (And another thing
that would be there…).
Ideas within sections are mostly clearly organised, indicated by a main sentence. There is some
development of points in the explanation, eg reasons for particular features of organisation.
1,2
The overall structure is supported by sections or paragraphs, which enable clear development of
information across the whole explanation. Some attempt to link paragraphs, eg through text
connectives (Because teenagers won’t like all of this…), and provide an appropriate ending (I hope
you approve of my ideas…).
Within paragraphs or sections, main ideas are developed by detail or elaboration (eg In between
each act there will be comedians to tell jokes…). Points are linked through effective use of
connectives (As well, there could be…) or pronouns (The way I would do…).
3,4
The structure of the whole text shows some control, with sections or paragraphs used to develop the
explanation, eg brief paragraph for introduction, more extended paragraphs to expand ideas.
Paragraphs are linked in a variety of ways, eg by cause and effect (As a result of this…) or text
signposts (Last but not least…).
Within paragraphs, the development of ideas is supported by devices such as contrast (For younger
people, on the other hand…) and summarising (All of these activities will be…).
5,6
The whole text is shaped to give clarity and emphasis to the explanation, eg sections or paragraphs
used to interweave explanation of why things went wrong last year and how these problems will be
overcome this year. Paragraphs are linked effectively and the opening and ending are confident and
convincing.
A range of techniques is used to support cohesion within and between ideas and topics, eg
generalising (for most people this will give enough variety) or stacking up points (Again… also…
finally…).
7
The structure of the whole explanation is manipulated to convey precision of emphasis and meaning
and a range of purposefully structured paragraphs supports the whole text.
Within paragraphs, a well-judged range of techniques is deployed to link and develop ideas to create
an integrated whole.
8
Longer writing task: Music festival for all the family
C Composition and effect
C1
Assessment focuses:
AF1
write imaginative, interesting and thoughtful texts;
AF2
produce texts which are appropriate to task, reader and purpose.
This band is included to help differentiate writing which, whilst showing some fluency and
accuracy, does not merit a mark.
Q
The main features of an explanation, eg information / ideas about the music festival, are included
and there is some awareness of audience shown (so you see it is all planned to work…).
Q
There is an attempt to adopt the role of a festival organiser and there is evidence of a viewpoint
shown, though it may tend to be mainly personal (it’s all going to go really well from my plan…).
Q
Some awareness of appropriate style for an explanation evident, though may be largely reflected in
choice of vocabulary (food tents; bench seating).
Q
C2
Q
Q
Q
Q
C3
Q
Q
C4
Q
Q
Q
C5
Q
Q
Q
C6
Q
Q
Marks
available
0
An appropriate form for an explanation is maintained, eg establishes context and purpose of writing
(this is the outline of what I plan for…) and tries to engage the reader’s attention (this year’s festival
is going to be better than…).
Role of festival organiser is adopted and maintained, eg in opening (we have learnt from last
year…), and viewpoint is generally held consistently.
Some straightforward stylistic features support the purpose of the explanation, eg lists of acts,
information about sequence of events or location of facilities.
1,2,3
Maintains features of an explanation to engage the reader’s attention, eg through organisation of
material, extent of detail, use of appropriate tone (we hope this plan meets the needs…).
Viewpoint of festival organiser established and controlled through focus on need to present
convincing explanation.
Stylistic features add emphasis to explanation, eg asides to reader (there will be a lost property
place – people are bound to lose something…; of course, adults can take part too…); inclusion of
specific details about timing or other arrangements (at 11.30 karaoke will commence…).
4,5,6
Some aspects of form of explanation adapted to maintain reader’s interest, eg contrast with last year
used to emphasise careful planning (I recognise that last year there were… and in this explanation, I
am going to…).
Viewpoint of festival organiser is well controlled, showing some awareness of other viewpoints (we
know local residents don’t like noise…).
There is some range in the stylistic features used to convey a convincing explanation, eg contextspecific language (height restrictions apply; disabled facilities…); attempt at formal expression (I
have been informed that…).
7,8,9
Form of explanation adapted to position the reader, eg through selection and organisation of
material, judicious inclusion of relevant detail or some variation in tone between formal (safety is an
important consideration…) and enthusiastic (the big moment finally arrives at 3pm, when Kylie will
be lowered from a helicopter…).
Viewpoint expressed conveys authority and recognises other viewpoints involved, which are
addressed (we understand that these are problems for the police and we will be…).
The style for an explanation is well judged with a balance of more and less formal expression as
appropriate (conveniently placed toilets; for those who are tired of the festival spirit…).
10,11,12
Skilled adaptation of form is demonstrated for the purpose of providing a convincing explanation
and engaging the reader’s attention.
Viewpoint combines an objective and authoritative stance with an individual voice which
acknowledges the complexity of the issues.
Stylistic features are deployed consistently well to sustain the genre and chosen viewpoint.
13,14
The writing paper
Band
21
Exemplar mark scheme: shorter writing task
Shorter writing task: Going wild
Band
D1
D
Sentence structure, punctuation and text organisation
Assessment focuses:
AF5
vary sentences for clarity, purpose and effect;
AF6
write with technical accuracy of syntax and punctuation in phrases, clauses and sentences;
AF4
use cohesion within paragraphs.
This band is included to help differentiate writing which, whilst showing some fluency and accuracy,
does not merit a mark.
Q
Simple connectives and, but, so link clauses to persuade (We need lots of people so come along).
Mostly first person and present tense to explain proposal or request help. Simple expansion of noun
phrases adds limited detail (wooden seats, a quiet place). Within sections or paragraphs some
attempt to maintain links between ideas.
Q
Sentences generally correctly demarcated. Some attempt to use other punctuation.
Q
D2
Q
Q
The writing paper
D3
Q
Q
D4
Q
Q
D5
Q
22
Marks
available
0
Sentences generally grammatically sound with some variation in structure to develop persuasion, eg
subordinating connectives (It will only take two weeks if you can help us to do it). Different verb
forms with some variation in tenses (The Head has said we can make it a wildlife area…). Use of
modals to suggest possibility (We could make the school look a lot nicer). Within sections or
paragraphs, content organised around a main idea or topic sentence.
Most sentences generally correctly demarcated with some use of other punctuation.
1,2
Some range in sentence structures supports the appeal to parents, eg questions (Can you spare some
time?), subordination to encourage (Although it will be hard work, it will be worth it), modals to
suggest consequence (It would be somewhere for everyone to enjoy). Expanded noun phrases add
interest or relevant detail (a natural habitat, an ugly patch of weeds). Within sections or paragraphs
main ideas developed by example or detail.
Almost all sentences correctly demarcated with some use of other punctuation within sentences.
3,4
Length and structure of sentences used to vary the appeal to parents, eg short sentences, fronted
clauses or subordination to create impact (Please help. Unless we take action, the weeds will take
over!), variation in word order to foreground particular points (Not only will you improve the school
environment, but your children’s education will benefit too). Impersonal constructions or modals
(All plants and garden equipment will be provided… A meeting will be held…) give support and
authority to the request. Within paragraphs ideas linked or sequenced by a range of devices to give
weight to the appeal.
Punctuation used, generally securely, to mark structure of sentences and give clarity.
5
Range of sentence structures contributes to the force of the appeal. Variety of verb forms, including
imperatives, different tenses and modals, emphasises the importance of the task. Controlled placing
of adverbials and expanded noun phrases gives concision. Within paragraphs a range of devices
supports links between ideas, eg connectives, generalising, summarising.
Range of punctuation used to clarify meaning and create particular effects.
6
Shorter writing task: Going wild
E1
This band is included to help differentiate writing which, whilst showing some fluency and
accuracy, does not merit a mark.
Q
Some awareness of persuasive purpose and parent readership evident in selection of relevant
material, though content may be limited or undeveloped (you can dig the pond… you can dig the
flowerbeds…).
Q
Simple viewpoint conveyed (it would be good if everyone helped…), though may lose sight of
purpose.
Q
Shows awareness of appropriate style for a section of newsletter, eg through vocabulary choice
(garden flowers), though not always sustained.
Q
E2
Q
Q
Q
Q
E3
Q
Q
E4
Q
Q
Q
Q
E5
Q
Marks
available
0
Attempt to engage the interest of parent readers, through appropriate tone, eg by direct address (You
dads out there…).
Consistent viewpoint mostly maintained with some use of development to support persuasive
purpose (it will be healthy and fun to do this…).
Some appropriate stylistic features support the purpose of the section of the newsletter, eg rhetorical
questions (Do you want to make the school better for the kids?).
1,2,3
Parent readers’ attention engaged by consistently sustained tone, eg serious / light-hearted, or
appropriate level of formality (we are asking you, the parents…).
Clear viewpoint developed and sustained, showing awareness of viewpoint of readership (I realise
you are very busy…).
Appropriate stylistic features add force to the persuasiveness, eg repetition (you know you want to
help, you know you could find the time), short sentences for impact (put the date in your diary
Now!).
4,5,6
Interest of parent readers sustained by variation in tone and formality, eg formal address to the
reader (This section is for you, parents and carers…) and more informal asides (I am sure many of
you watch ‘Ground Force’!…).
Clear viewpoint developed and sustained, which recognises the viewpoint of the parent readers (a
great opportunity get fit, have fun and meet other parents…).
Range of stylistic devices used to vary the appeal and give emphasis, eg slogans (plant a tree for
Avonlea…), emotive language (precious environment…).
7,8,9
Purpose of task fulfilled by adoption of varied tone to persuade and engage the parent reader.
Viewpoint acknowledges and addresses possible objections of reader, and uses them to develop
persuasive standpoint (Not enough time to help out? Don’t feel left out – donate a plant!).
Appropriate and individual style deployed to convey viewpoint and chosen approach, eg use of
educational / environmental language (National Curriculum subject; organic compact);
manipulative appeals (You will be doing this not just for your children, but for all the children in the
years to come…).
10
The writing paper
Band
E Composition and effect
Assessment focuses:
AF1
write imaginative, interesting and thoughtful texts;
AF2
produce texts which are appropriate to task, reader and purpose.
23
Shorter writing task: Going wild
Band
F
Spelling
Assessment focus:
AF8
use correct spelling
Marks
available
Main criterion: The spelling of simple and common polysyllabic words is usually accurate.
F1
Likely patterns of error:
Q
There may be some confusion of more complex homophones (eg course/coarse,
breaking/braking), phoneme omission (eg rem[em]ber).
Q
There may be errors in using suffixes and prefixes (eg tried, familys, dissappear,
hoping/hopeing/hopping).
1
Main criterion: The spelling of words with complex regular patterns is usually accurate.
F2
Likely patterns of error:
Q
There may be incorrect hyphenation of some compound words (e g re-act, grand-father).
Q
There may be errors in more complex suffix formations (eg responsable/-ible, physicly, basicly).
2
Main criterion: Most spelling, including that of irregular words, is usually correct.
F3
The writing paper
F4
Likely patterns of error:
Q
Errors may occur with unstressed vowels (eg dependant, definately) or with consonant doubling in
some more complex words (eg embarrasement, occassionally, adress).
Main criterion: Virtually all spelling, including that of complex irregular words, is correct. Any
errors stand out as untypical or one-off slips.
A response which does not fulfil the criteria for Band F1 for spelling should be awarded 0.
24
3
4
Example 6: longer writing task
TEXT
STRUCTURE &
ORGANISATION
(TSO)
Last year’s festival was a great success but there
were problems which need to be overcome to
insure that this years event is even better. The
problems range from complaints about noise,
litter and traffic to a lack of attractions for
children and teenagers.
connective introduces
problem (A6)
variety of
structures
deployed
deliberately
to explain
problem and
solution (A6)
fronting used to emphasise
key ideas (A6)
secure shift between tenses
and verb forms (A5)
passive structure
acknowledges problem (A6)
Firstly, the problems of noise, litter and traffic.
The lack of parking facilities was an issue.
Although parking had been planned, the
numbers attending the festival were so great
there were not enough spaces and many of the
nearby roads were blocked with traffic. This
caused problems for the emergency services
when a lady was taken ill. To prevent this
happening again we have organised a ‘park and
ride’ service and are recomending a new route
to the festival in case the numbers of visiters are
even higher this year than last.
Noise and litter are always going to be a
problem at a festival but we will try to improve
on our record this year. Last year there were not
enough litter bins, especialy near the food areas,
and they were not emptied during the day,
causing them to overflow. This year we will
install more bins, employ people to empty them
regulaly, and insure that the site is properly
cleaned when the festival is over. The main stage
area is to be built further away so that noise is
not so much of a problem to residents; the final
performance should finish at midnight. If the
roads are less crowded because parking
facilities are better that will also help address
the noise issue.
opening paragraph sets
context for whole piece with
clarification of issues (B6)
text connective clarifies
sequence of ideas (B5)
The writing paper
SENTENCE
STRUCTURE &
PUNCTUATION (SSP)
cohesion maintained by
reference to previous
paragraph (B5)
interweaving of problem and
solution provides cohesion
between paragraphs (B5)
The lack of facilities such as food stalls is one we
have looked into carefully. It has to be said there
were not enough caterers last year, and many
people complained that the food on offer was
25
Example 6: longer writing task (continued)
limited to burgers and fizzy drinks etc. I am able
to tell you that we have recently organised a
number of local cafes and restuarants to come in
providing vegetarien and organic food as well as
the more traditional foods. Facilities for families
are also important to us, so we have included
more up-to-date toilets and wooden picnic
benches for seating.
deliberate use of complex
verb form used for
emphasis (A5)
expanded noun phrase
adds information succinctly
(A5)
Finally, the range of attractions for teenagers
and children has been increased. Last year there
where only a limited number of activities for
younger children. This year even the youngest
children will be involved through a variety of
activities, games, puppets, face painting and
clowning, to name a few. Another new facility is
a cresche where tired parents can leave their
children to play safely while they enjoy the
festival. Teenagers should find the festival more
appealing this year as we have invited some
well-known bands to make guest appearances.
There will also be a number of workshops
introducing them to music from all over the
world and giving them the opportunity to try
some unusual instruments for themselves.
modals used to convey
likelihood and intention (A5)
The writing paper
Punctuation:
•
a range of
punctuation is used
including a semicolon (A5)
•
use of inverted
commas to enhance
meaning (A6)
I hope this reassures you that everything has
been put in place, that the problems have been
thoroughly addressed and that we can now look
forward to a great success at this years festival.
points stacked up to further
cohesion between
paragraphs (B5)
interweaving of last year's
problems and this year's
solution (B5)
confident and convincing
ending sums up and
reassures (B6)
COMPOSITION & EFFECT (CE)
SSP Summary
•
•
Variety of sentence
structures is used to
control the balance
between problems and
possible solutions. A
range of tenses and verb
forms is handled
confidently. A range of
punctuation appropriate
to the task clarifies
meaning. Overall, the
criteria for Band 6 are
fulfilled and this response
gains 8 marks.
Band A6 – 8 marks
26
•
reader is convinced by the selection of material and development of
detail to clarify explanation (C5)
festival organiser viewpoint is confident and sustained. Other
viewpoints are considered and specifically addressed (C5)
appropriately formal stylistic features deployed, including precise
use of vocabulary, eg cresche, caterers, guest appearances (C6)
CE Summary
The response focuses clearly and confidently on the purpose and
audience of the task by addressing the problems and finding solutions
for them. The formal style and enthusiastic viewpoint are conveyed
through well-chosen material, selective use of detail and appropriate
vocabulary. The response fulfils the criteria in Band 6 although the
complexity of issues is not fully explored. It therefore gains 13 marks.
Band C6 – 13 marks
TSO Summary
Whole text is
deliberately shaped to
develop a coherent,
convincing explanation.
Within and between
paragraphs there is an
assured use of a range
of techniques to create
cohesion. The
response therefore
fulfils the criteria for
Band 6.
Band B6 – 8 marks
Example 7: shorter writing task
variety of verb forms well
controlled (D5)
embedded and contrasting noun
phrases add interest (D5)
variation in word order foregrounds
request (D5)
sentence structures varied to
give weight to appeal (D5)
PUNCTUATION and
TEXT ORGANISATION
We’re Going Wild!
Some parents have commented that the patch of
ground near the Science block is looking a bit
neglected. In fact, there are even rumours that
some year 7 pupils tried to retrieve their
footballs from the tangled jungle of weeds and
have never been seen again! Now we want to
turn that jungle into a sanctury of peace and
quiet by creating a wildlife garden that the whole
school can enjoy. We are planning to build a
pond, plant wild flowers and provide simple
seating for pupils and staff.
But to do this we need your help. Yr 9 have
already spent time designing the garden, plants
and small trees have been donated by Wilds
garden center, and Mr. Jones in CDT has kindly
offered the use of the facilities of his workshops
for us to use. Now all we need are some of you
parents to be willing volunteers to make it all
happen. We want:
•
•
•
People to clear the ground and dig out the
pond
Help with making the beds, planting
wildflowers and trees
People with woodworking skills to make the
benches
topic established and elaborated with
clear summative sentence (D5)
exclamation mark emphasises humour
(D5)
points stacked up to elaborate
persuasive appeal (D5)
The writing paper
SENTENCE
STRUCTURE
colon to introduce list (D5)
bullet points give concision to key
ideas (D5)
(continued on page 28)
27
Example 7: shorter writing task (continued)
rhetorical question adds persuasive
emphasis (D5)
imperatives and modals urge
participation (D5)
If any of you parents or carers out there have the
time and energy to help us actually make the
wildlife garden we would be grateful for your
help. We plan to do most of the work in the
summer holidays, but we will make a start after
half-term. What could be more rewarding to
anyone than helping us to turn this educational
dream into reality? If you think you would like
to get involved please come to the meeting in the
school hall, next wednesday 3rd April at 7pm and
help the school to ‘Go wild’!
final imperative creates effective
ending (D5)
final exclamation mark to underline
exhortation (D5)
reference to title creates effective
coherence (D6)
The writing paper
COMPOSITION and EFFECT (CE)
•
Sentence structure,
punctuation and text
organisation summary
•
•
effective opening and ending, and variation of tone to
engage reader, demonstrate awareness of purpose
and audience (E5)
viewpoint sustained but acknowledgement of parents’
viewpoint lacks explicit development (E4)
stylistic features used to vary nature of persuasion (E5)
CE summary
28
Variation in length, type and
structure of sentences elaborates
appeal to persuasive effect.
Punctuation used effectively for
impact with minor slips standing
out as untypical. Overall, criteria
for Band 5 fulfilled.
Tone varied and lively to create good balance of ideas and
engage the reader. Parents’ viewpoint is only acknowledged
by inference, eg If any of you parents… time and energy,
placing this response at the top of Band 4, rather than in
Band 5.
Band D5 – 6 marks
Band E4 – 9 marks
Spelling
Almost all spelling accurate.
The lack of complex words
and the error in an irregular
word, eg sanctury, together
with center suggest F3.
Band F3 – 3 marks
The Shakespeare paper
Key features
Q
Q
Q
Q
Q
Q
One task only set on each play.
For each play, the test paper will contain extracts from both the sections set for
study.
Extracts printed on the test paper will amount to about half the lines set for study.
Pupils have to refer to both extracts.
Each task will focus on one of the four areas for assessment:
– character and motivation
– language of the text
– ideas, themes and issues
– text in the performance
The task is assessed only for understanding and response to the play – not for
written expression.
Updated The sample paper provided is for exemplification only. From 2005 the set plays and the
June 2004 set scenes for study have changed. The plays and set scenes will be detailed on QCA’s
website from July 2004. The areas for assessment and format of tasks have not changed.
The set texts for 2005 – 2007 are as follows:
Q
Q
Q
2005: Henry V, Macbeth, Much Ado About Nothing
2006: Macbeth, Much Ado About Nothing, Richard III
2007: Much Ado About Nothing, Richard III, The Tempest
The sample Shakespeare papers provided are based on the set scenes for 2003.
Below is the reading task for Macbeth on the sample Shakespeare paper. The two
sections from Macbeth set for study in 2003 are Act 1 Scenes 6 and 7 and Act 5 Scenes
1 and 3 – a total of 246 lines. Two extracts, totalling 118 lines, from the set sections of
Macbeth are printed on the Shakespeare paper: Act 1 Scene 7 lines 28–end and Act 5
Scene 3. Pupils are required to refer to both printed extracts in their answers.
The Shakespeare paper
The task on Macbeth focuses on the text in performance, but pupils will need to refer
to characters and language to answer the question. The task is succinct and has no
prompts to encourage precise answers within the 45 minutes allowed.
Mark schemes and exemplar scripts follow a similar format to previous years’, but are
not level related.
The tasks on Twelfth Night (not in use from 2005) and Henry V target different focuses.
The range of focuses includes: character and motivation; ideas, themes, issues; text in
performance and language of the text. Each task has its own customised mark scheme.
During the test development process, the mark schemes for the Shakespeare reading
tasks are adjusted in the light of pupil performance in the pre-tests to ensure that the
level of demand across the three tasks is comparable.
29
Example 8: Shakespeare reading task – Macbeth (on set scenes for 2003)
Macbeth
Act 1 Scene 7, line 28 to the end of the scene
Act 5 Scene 3
In these extracts, Macbeth reacts in different ways to his circumstances
and the people around him.
Imagine you are going to direct these extracts for a class performance.
Explain how the actor playing Macbeth should show his reactions,
and give reasons for your suggestions.
Support your ideas by referring to the extracts which are printed on the
following pages.
18 marks
Shakespeare reading task mark scheme
Q
Q
Q
The Skakespeare paper
30
The criteria describe the principal features of acceptable responses for each band.
The application of the criteria is illustrated by reference to annotated scripts.
Performance bands not related to national curriculum levels.
Example 9: Shakespeare reading task exemplar
emphasises Macbeth’s
initial commitment
recognition of his
change of mind
confirms change in
Macbeth’s attitude
recognition of
Macbeth’s attitude
some explanation of
the point
identifies a change of
tone/reaction
identifies a further
change in Macbeth’s
reactions
relevant quotation
showing awareness of
link to witches but not
made explicit
When Macbeth comes in he is sure he doesn’t want to kill
Duncan but when his wife calls him a coward he changes
his mind. When he delivers the line ‘we will proceed no
further in this buisness’ he will say it in a manly, angry
and quite loud voice because he is trying to put his foot
down because he thinks lady macbeth is going to far.
advice on delivery of a
key line plus
explanation
When macbeth says ‘I dare do all that may become a man’
he will say ‘this with a courages and loud voice to prove
that he is a real man, and that he is not afraid of anything.
supporting development
of point with a further
key line
Macbeths reactions change after lady Macbeth has
. spoken
he wonders if this could actually work and realises what
could happen to him if he should fail ‘if we should fail’ he
will say this in a serious and Quiet voice, showing that he
is really scared of the consequences.
Then Macbeth gives in to Lady Macbeth and decides
murdering duncan is a good idea ‘false face must hide
what the false heart doth know’.
advice to actor linked to
quotation plus comment
on Macbeth’s state of
mind
quotation not clearly
linked to comment
In Act 5 scene 3 Macbeth shows that he has no fear of
dieing ‘shall never sag with doubt nor shake with fear’ he
will say this with one clinched fist and will speak angrily
and loud to show that he means buisness.
Macbeth the shows he is not a coward ‘ill fight till from my
bones my flesh be hacked give me my armour.’ he will say
this with much courage and slowly to make show the
audience capture the moment and feel what Macbeth is
going through.
Then his reactions change ‘How does your patient, doctor?
saying this softly will help the audience to realise that he is
not just a cold blooded killer, but still cares about his wife.
The his reaction changes near the end of the passage he
starts to get angry with the doctor. He shouts at him as he
storms out ‘I will not be afraid of death and bane till
Birnam forest come to dunsinane’ which is what the
witches said.
advice to actor but less
precise explanation of
Macbeth’s state of mind
quotation plus advice on
intonation plus
explanation
comment on Macbeth’s
state of mind with
implicit advice to actor
The Shakespeare paper
overview of how
Macbeth changes his
mind in the first extract
Summary
This response provides an overview of Macbeth’s changing reactions throughout the two extracts, tracing
through his initial determination not to harm Duncan; the complete reversal of that following the conversation
with Lady Macbeth; his fearless commitment to battle in the second extract, briefly softened by the concern he
shows over his wife’s state of mind.
Points are not developed, but some straightforward advice is given from a director’s perspective on how specific
lines might be spoken to reflect Macbeth’s state of mind at key moments, although there is no advice on other
aspects of the actor’s performance. Comments show an awareness of the events of these extracts and supported
by the use of relevant quotations.
Band 3 – 8 marks
31
EARLYYEARS
NATIONAL
CURRICULUM
5–16
Curriculum and standards
GCSE
Audience
Headteachers, English teachers of year 9 pupils and key
stage 3 assessment and special educational needs
coordinators
Circulation lists
LEAs, ITT institutions, educational libraries and teacher
centres
Type
Guidelines
Description
This booklet provides information on the changes to the
key stage 3 national curriculum tests in English for 2003
Cross ref
www.qca.org.uk/sample
Action required
To note changes to the key stage 3 national curriculum
tests in English for 2003
Timing
By May 2003
Contact
See below
For school use:
© Qualifications and Curriculum Authority 2002
For more information, contact:
Customer Services, QCA, 83 Piccadilly, London W1J 8QA (tel: 020 7509 5556)
www.qca.org.uk/
For more copies, contact:
QCA Publications, PO Box 99, Sudbury, Suffolk CO10 2SN
(tel: 01787 884444; fax: 01787 312950)
This booklet is also available at www.qca.org.uk/sample
GNVQ
GCE A LEVEL
NVQ
OTHER
VOCATIONAL
QUALIFICATIONS