Students read, analyse and respond to unseen texts about human experiences and compose their own short imaginative, discursive or persuasive responses under examination conditions

This is the Section IV Writing Skills task. You compose one piece in imaginative, persuasive or reflective mode, using the supplied image as the central idea. The marker assesses how well you organise and sustain ideas and control language for audience, purpose and context.

Plan before you write. Decide your mode (imaginative, persuasive or reflective), then settle on ONE clear central idea drawn from the image so your whole piece stays unified rather than describing the picture literally.

Shape a deliberate structure. For an imaginative piece, control a single scene or moment with a strong opening, a turning point and a resolution. For reflective writing, move from a concrete trigger to insight. For persuasive writing, build a clear line of argument with a strong opening and close.

Top-band responses sustain ideas, vary sentence length for effect, use precise vocabulary and show consistent control of tone. Leave two minutes to proofread for spelling and punctuation, which the criteria reward.

A 15-mark Section IV task that gives a stimulus statement and a clear focus: a moment that led to personal growth, written as imaginative or reflective prose.

Use the stimulus as your hook. Open from the given sentence or echo its reflective tone, then anchor the piece in ONE specific moment rather than narrating a whole day or life.

Build to the change. Reflective and imaginative writing about growth works best when a small, concrete trigger (a conversation, a place, a decision) leads to a shift in understanding. Show the "before" and "after" of the narrator so the reader feels the change "in me".

For the top band, sustain a controlled reflective voice, use sensory detail and figurative language sparingly but well, structure the piece so it builds to insight, and proofread for accurate spelling and punctuation.

A 15-mark Section IV persuasive task with a real-world purpose and audience (a council) and a specific form (a proposal). The criteria reward sustained, well-organised persuasive writing with controlled language for that audience.

Match form and audience. Use a clear proposal structure: a purpose statement, the ONE event you are arguing for, the reasons it suits young adults in your area, and a call to action. Keep the register respectful and confident, as you are addressing a council.

Argue, don't just describe. Give two or three developed reasons (appeal to young adults, benefit to the community, feasibility), and use persuasive devices such as inclusive language, rhetorical questions and concrete examples to strengthen each point.

Top responses stay on the single event, sustain a persuasive tone, organise ideas logically with linked paragraphs, and finish with a strong closing appeal. Proofread for accuracy.

The two tasks (2 marks, 1 each). (1) Responding to one or more unseen texts about human experiences, tested in the Reading sections of the exam. (2) Composing an original short imaginative, discursive or persuasive text on human experiences, tested in the Writing Skills section.

Marking spine: both tasks named accurately (1 mark each). Naming only one task caps at 1.

The shape (3 marks). Technique (name the device the composer uses), example (quote one short, accurate phrase), effect (state what the technique represents about the experience), link (connect it to how the responder is positioned to feel or understand). Each part contributes: technique shows you can identify a deliberate choice; example grounds the claim in the text; effect demonstrates analysis rather than description; link shows awareness of the responder's role, which the marking criteria specifically reward.

Marking spine: all four parts named with a correct one-line role (3, partial credit for 3 of 4). Naming the parts with no explanation of their role caps at 1 to 2.

Model response. The composer represents the experience of being overlooked through the abandoned physical gesture, "bag still half raised in a wave that no one had seen." The unfinished action, left suspended mid-sentence, represents a small but sharp social disappointment rather than naming an emotion directly. The short opening sentence, "The bus pulled away before she reached the stop," uses a clipped structure to mirror the abruptness of missing the moment. This positions the responder to feel the quiet sting of being unnoticed, without being told the character is disappointed.

Marking spine: technique named (physical/gesture detail, sentence structure) (1), accurate short quotation (1), effect stated in terms of what is represented (1), explicit link to the responder's positioning (1). A response that only paraphrases the extract without naming a technique caps at 1.

The plan (3 marks). Skim the whole paper first (1 to 2 minutes) to see how many unseen texts and marks are involved. Allocate reading-and-responding time roughly in proportion to marks available, reading each unseen text twice (once for overall feeling, once annotating techniques) before writing. Reserve a fixed, protected block for the Writing Skills composition, planned separately (mode, one central idea, structure) before drafting, with two minutes reserved at the very end across the whole paper for proofreading.

Justification (2 marks). Reading twice before writing prevents a response that only paraphrases; planning the composition before drafting prevents a rushed, unstructured piece; and protecting the Writing Skills block specifically matters because composition responses are usually worth a large single mark allocation and cannot be rescued by adding sentences at the end, unlike an unseen-text response which can be topped up quickly.

Marking spine: a plan that allocates time proportionally to marks, includes two reading passes, and protects composition planning time (3), a justification linking the plan to what each task actually requires (2). A generic "read carefully, write neatly" answer with no allocation of time earns 1.

Reason 1 (2 marks): it delays the central idea. The opening spends its limited word count on generic routine (waking, dressing, going to school) that could belong to any narrator on any day, giving the marker no sense yet of which human experience is being represented or what makes this piece worth reading.

Reason 2 (2 marks): "a normal day like any other" signals low control, not high stakes. Under time pressure, markers reward composers who commit immediately to a specific, controlled moment; announcing a piece will be about an ordinary day undercuts tension and wastes the opening, which the criteria for organising and sustaining ideas reward most heavily.

Rewritten opening (2 marks, one acceptable model). "The letter was still in my hand when the bell rang for period two." This begins mid-moment, implies a specific unresolved situation, and represents an experience through a concrete object and an interrupting sound rather than a generic time-of-day statement.

Marking spine: two distinct, correctly explained reasons (2 marks each), a rewrite that demonstrably begins in the middle of a specific moment (2). A rewrite that is still generic (e.g. "It was an unusual day") does not earn the third component.

Model opening (about 90 words). The key still fit, but the door stuck the way it always had, and for a second I stood on the step working out whether that was comforting or sad. Inside, someone had moved the shoes from where they always sat. Small enough that no one else would notice. I noticed. Three years is not long enough to forget a house, I told myself, but long enough, apparently, for a house to forget you a little in return. I put my bag down in the hallway, in the spot it had always gone, and waited to feel like I belonged there again.

Marking spine (holistic, out of 6): begins mid-moment with no scene-setting preamble (2), controls a single concrete image/detail (the stuck door, the moved shoes) rather than narrating broadly (2), establishes a clear reflective voice and an emerging idea (belonging, change) without stating a moral directly (2). An opening that begins "It was a normal day" or explains the theme outright ("This moment changed how I saw home") loses marks for both structure and subtlety.

A 15-mark Writing Skills task marked holistically on how well the response represents a human experience through organised, sustained, controlled writing appropriate to audience, purpose and context, following the actual marking criteria style used for this task type.

Planning (do this in 2 to 3 minutes before writing). Choose ONE mode (imaginative or reflective) and ONE small, specific moment the stimulus sentence can open. Decide the human experience being represented (for example, loss, waiting, unexpected connection, homecoming) and one controlling image to sustain throughout (here, the warm chair, suggesting a presence that has only just left).

Structure. Open in the middle of the moment using the given sentence or a close variation. Build through two or three beats of concrete, sensory detail rather than summarised time. Turn on a small realisation, not a dramatic event. Close on a single controlled image or line that resolves or deepens the opening image, avoiding a stated "moral".

Model opening and closing (illustrative, full response not reproduced here for length). Opening: "The chair was still warm. I stood in the doorway a second too long, as if staying still might keep whoever had been sitting there from having left at all." ... Closing: "I sat down anyway. The warmth was already going, but for a moment it was still there, and so, in a way I could not explain to anyone else, was he."

Marker's note: top-band responses (i) commit to one experience and one controlling image without over-explaining it, (ii) vary sentence length deliberately for pacing and effect, (iii) use figurative language sparingly and precisely rather than densely, (iv) sustain a consistent voice and tense throughout, and (v) are proofread, with accurate spelling and punctuation, which the criteria explicitly reward. A response that changes tense or narrator partway, over-explains the symbolism of the chair, or pads with unrelated events to reach length stays in the middle bands regardless of vocabulary.