Mark Scheme

Section A — Reading

1. (up to 4, 1 each) Any four from paragraph 1: the doors hissing open; the noise/wall of sound; horns / trams / conversations; the smell/taste of diesel and roasting chestnuts. Must be from paragraph 1. [4]

2. (up to 8) Analysis of language conveying movement in paragraph 2. Levels-marked. Reward identification of relevant language with explanation of effect:

• verbs of movement ("threaded", "rose", "settled", "moved");
• the simile "the light hit me like a slap" (sudden, overwhelming);
• the metaphor of the writer as "a small still stone in a rushing river of people" — contrast of stillness and motion;
• "choreographed" suggesting the movement is almost planned/graceful;
• lists and dynamic verbs creating a sense of everything happening at once.
• Level 4 (7–8): perceptive analysis of language and effect with well-chosen references; Level 3 (5–6): clear analysis; Level 2 (3–4): some comment; Level 1 (1–2): simple identification.

3. (up to 8) Analysis of structure. Reward comment on how the text is organised and shifts:

• opens in medias res with the dramatic arrival ("swallowed me whole");
• moves from sound (para 1) to sight/movement (para 2) — a widening of focus;
• a shift at para 3 from external description to internal reflection ("something in my chest lifted"), turning fear into freedom;
• ends looking forward ("begin again", "help me find it"), leaving the reader with hope/anticipation.
• Levels as for Q2, applied to structural features.

4. (up to 10) Evaluation of how far the writer makes arrival feel exciting rather than frightening. Reward a critical, evaluative response with textual support:

• evidence of the overwhelming/potentially frightening (the "wall of sound", "the light hit me like a slap", the city that "did not care");
• but reframed positively — freedom, possibility ("I could be anyone... begin again"), the "magnificent" city;
• evaluation of techniques (contrast, sensory imagery, the final hopeful tone).
• Level 4 (9–10): a convincing, critical evaluation with a clear view and precise support; Level 3 (6–8): clear evaluative comments; Level 2 (3–5): some comment on the effect; Level 1 (1–2): simple.

Section B — Writing

5. (30 marks: 24 content and organisation + 6 technical accuracy)

• Content and organisation (24): a clear, engaging description matched to purpose (to describe) and audience; well-chosen vocabulary and descriptive techniques (imagery, sensory detail); varied and effective structure; controlled and crafted throughout at the top level.
  • Upper (19–24): compelling, sophisticated description, consciously crafted; Middle (13–18): clear, engaging, organised; Lower (7–12): some description, simple organisation; (1–6): limited.
• Technical accuracy (6): range of accurate sentence structures and punctuation; accurate spelling including ambitious vocabulary; correct grammar. 5–6 = consistently accurate with range; 3–4 = generally accurate; 1–2 = some accuracy.

Sample Answers with Examiner Commentary

Question 2 — Sample Answers

Grade A response (extract). "The writer conveys movement through a cluster of dynamic verbs: the cyclists 'threaded through the traffic' and the pigeons 'rose in grey clouds and settled again'. The verb 'threaded' suggests skilful, weaving motion, almost like sewing, which makes the cyclists seem both graceful and slightly dangerous. The most striking image is the metaphor of the writer as 'a small still stone in a rushing river of people'. By contrasting their own stillness with the 'rushing river', the writer makes the movement of the crowd feel even more powerful and relentless. The word 'choreographed', used of the pigeons, adds to this: it suggests the chaotic movement is somehow patterned, as if the whole square is performing a dance."

Mark: 8/8. Examiner commentary: A perceptive, top-band answer. The candidate selects precise language features — the dynamic verbs, the extended metaphor of the stone in the river, and the word 'choreographed' — and, crucially, analyses their effect rather than just labelling them ('threaded' as skilful/weaving; the contrast making the crowd feel more relentless). The zooming-in on individual word choices ('choreographed') is exactly what distinguishes the highest level. The references are well-chosen and the analysis is sustained.

Grade C response (extract). "The writer uses lots of verbs to show movement, like 'threaded' and 'rose' and 'settled'. This shows there is a lot going on and everything is moving. There is also a simile 'like a slap' which shows the light was bright. The writer compares themselves to a stone which shows they are standing still while everyone moves around them."

Mark: 5/8. Examiner commentary: The candidate identifies relevant features (the movement verbs, the simile, the stone comparison) and shows understanding that they convey movement and stillness, which places the answer securely in the middle band. However, the analysis of effect is fairly general — 'shows there is a lot going on' — and does not zoom in on why particular words are effective, for example what 'threaded' or 'choreographed' specifically suggest. Also, 'like a slap' describes the light rather than movement, so it is slightly off-focus. Developing the effect of individual word choices would lift this into the top band.

Question 4 — Sample Answers

Grade A response (extract). "I strongly agree that the writer makes arriving feel exciting rather than frightening, but the skill is that they first make it seem frightening and then transform it. At the start, the city is overwhelming: it 'swallowed me whole' and the light 'hit me like a slap', verbs of violence that suggest the writer is almost under attack. The city is also indifferent — it 'did not care that I had arrived'. In a lesser piece this would feel lonely. But the writer reframes exactly these threatening qualities as freedom: because the city does not care, 'I could be anyone... begin again'. The turning point is 'something in my chest lifted', a physical image of hope replacing fear. By the end, the fear has become anticipation: the 'indifferent, magnificent place' will 'help me find' whatever they are looking for. So the excitement is convincing precisely because the writer does not ignore the fear — they show us fear turning into possibility."

Mark: 10/10. Examiner commentary: A convincing, critical evaluation that reaches the top band. Rather than simply agreeing, the candidate tracks how the writer engineers the effect — beginning with genuinely threatening imagery ('swallowed', 'like a slap', the indifferent city) and then reframing those same qualities as freedom and possibility. The identification of 'something in my chest lifted' as the turning point shows precise, evaluative reading, and the response keeps a clear personal viewpoint supported by well-chosen quotation throughout. This is exactly the 'critical, evaluative' quality the question demands.

Grade C response (extract). "I agree that arriving feels exciting. The writer says the city is 'magnificent' and that they could 'be anyone' and 'begin again', which sounds positive and hopeful. There are some scary parts too, like the noise being a 'wall of sound' and the light being 'like a slap', which could be frightening. But overall the ending is hopeful because they go off to explore with 'no map and no plan'. So I think it is more exciting than frightening."

Mark: 6/10. Examiner commentary: A clear response with a viewpoint and some relevant support from both sides, which places it in the middle of the range. The candidate notices the positive language ('magnificent', 'begin again') and the more threatening images ('wall of sound', 'like a slap'), and reaches a reasonable overall judgement. To move higher, the answer needs to evaluate rather than list — analysing how the writer turns the frightening elements into excitement (for example, how the indifference of the city becomes a kind of freedom), and developing the effect of the language more precisely, with a more critical, personal engagement.