Marking notes
Question 1 — Module A
| Band |
Descriptor |
| 17–20 |
Skilfully addresses BOTH demands — how language affirms cultural identity AND how it challenges assumptions — with perceptive analysis of language forms and features and well-selected evidence |
| 13–16 |
Effectively addresses both demands with sound analysis and appropriate evidence |
| 9–12 |
Addresses the question with uneven coverage of the two demands; explains rather than analyses |
| 5–8 |
Describes ideas about identity or culture with limited textual reference |
| 1–4 |
Attempts to describe the text |
Marker priorities from the clusters: (1) both halves of the paired demand — the exact failure NESA reported on 2025's 'benefits and challenges', where scripts answered one side only; plan a paragraph for each; (2) the assumption must be named — 'the text challenges stereotypes' scores little; say whose assumption, about whom, and which language choices unsettle it (2020, 2022 feedback); (3) analysis of language, not a cultural summary: dialogue, dialect and code-switching, naming, imagery, form-specific features; (4) the individual should be linked to the community (2021 feedback rewarded exactly this move).
Question 2 — Module B
| Band |
Descriptor |
| 17–20 |
Skilfully analyses how the form's distinctive qualities shape meaning and significance; a clearly voiced, informed personal understanding; evidence drawn from across the whole text |
| 13–16 |
Effectively analyses the text's distinctive qualities with sound evidence and a personal response |
| 9–12 |
Explains features of the text with some personal response; evidence narrow |
| 5–8 |
Describes the text with limited reference to its form |
| 1–4 |
Attempts to describe the text |
Marker priorities: (1) form-specific metalanguage — the gap markers have named in six of seven years: verse craft for poetry, staging and dramatic structure for drama, camera and editing for film, narrative voice and structure for prose; a themes-and-characters essay caps in the middle bands; (2) whole-text evidence — not two rehearsed scenes or poems (2019, 2020, 2023, 2024 feedback); for a suite of poems, range across the suite; (3) the personal understanding must be voiced — first-person judgement about the text's significance, sustained through the essay, not asserted in the conclusion (2023–2024 feedback rewarded 'a clear, strong personal voice').
Question 3 (a) — composition
| Band |
Descriptor |
| 13–15 |
Skilfully crafted writing in the selected form; the threshold idea functions conceptually (motif, structure, controlling image); sustained, authentic voice; deliberate structural choices |
| 10–12 |
Effectively crafted writing in the selected form; the stimulus is meaningfully integrated; controlled voice |
| 7–9 |
Sound writing; stimulus referenced but not developed; uneven control |
| 4–6 |
Limited control of the form; literal or token use of the stimulus |
| 1–3 |
Attempts to compose |
Marker priorities from seven consecutive years of feedback: (1) treat the stimulus conceptually and metaphorically — the doorway need not be a door; bolted-on final-line quotation of the stimulus is the single most flagged weakness; (2) respond to ALL aspects of the stimulus (leaving AND not-yet-entering — the two rooms), as 2025's guideline separated bands on complete stimulus coverage; (3) form discipline: discursive means an idea explored from several angles with anecdote and an open ending — a short story or a persuasive essay in discursive clothing is penalised; (4) avoid the clichéd school-set narrative; a small, specific, sensory moment outperforms melodrama.
Question 3 (b) — reflection
| Criteria |
Marks |
| Explains effectively how one stylistic feature of part (a) was influenced by one Module C prescribed text, with close reference (including quotation) to BOTH the student's own writing and the prescribed text |
5 |
| Explains the influence with reference to both texts |
4 |
| Explains a stylistic feature with reference to one text |
3 |
| Describes a feature of part (a) or of a prescribed text |
2 |
| Attempts to describe |
1 |
Marker priorities (2019, 2021, 2024 feedback): quote your own part (a); name the prescribed composer's specific technique and show the craft link, not a vague 'inspired me'; no plot summary of the prescribed text; no long introduction; no negative self-critique — reflection is analysis of craft, not confession.