creative writing marking criteria

Scoring Creativity: Decoding the Rubric for Creative Writing

My name is Debbie, and I am passionate about developing a love for the written word and planting a seed that will grow into a powerful voice that can inspire many.

Picture this: a blank page, waiting eagerly for you to fill it with words, with ideas, with a world of your very own creation. Whether you’re a seasoned wordsmith or just beginning to dip your toes into the vast ocean of creative writing, there’s no denying the thrill and challenge that comes with transforming a nebulous concept into a tangible piece of art. But how do we measure this artistry? How can we capture the essence of creativity and quantify it in a way that not only recognizes talent but also provides valuable feedback for improvement? Enter the rubric for creative writing – a powerful tool that unlocks the secrets to scoring creativity. In this article, we will embark on a journey to decode this mysterious rubric, demystifying its components and shedding light on how it can elevate your writing to new heights. So, grab your favorite pen and get ready to uncover the hidden treasures within the intricate world of scoring creativity.

Key Elements of a Rubric for Creative Writing

Understanding the purpose and structure of the rubric, evaluating creativity and originality, exploring language use and style, assessing organization and structure, analyzing grammar and mechanics in creative writing, providing constructive feedback to foster growth and improvement, frequently asked questions, to conclude.

When assessing creative writing assignments, it is important to have a rubric that emphasizes the unique aspects of this genre. A well-structured rubric not only helps evaluate students’ work objectively but also provides clear guidelines for improvement. Here are the key elements to consider when creating an effective rubric for creative writing:

• Originality: Successful creative writing demonstrates a unique and imaginative approach. A rubric should prioritize originality, encouraging students to think outside the box and avoid clichés or common themes.
• Engagement: A captivating story or piece of creative writing should engage the reader from beginning to end. Assessing how well a piece holds the reader’s interest, creates emotional connections, or sparks curiosity is crucial in evaluating a student’s work.
• Structure and Organization: Despite its imaginative nature, creative writing should still exhibit a well-structured and organized composition. A rubric should consider the coherence of ideas, logical progression, and the use of literary devices to enhance the overall structure.

Moreover, a rubric for creative writing should not only focus on the final product but also evaluate the writing process. By considering these key elements, educators can provide meaningful feedback and empower students to develop their creativity and refine their writing skills. Remember that a well-crafted rubric not only provides a clear assessment framework but also encourages students to unleash their creativity and storytelling abilities, fostering growth and improvement.

The rubric is a valuable tool that helps teachers assess student work based on specific criteria. It provides a clear outline of expectations, allowing both teachers and students to understand the purpose and structure of the assessment. By breaking down the assignment into different categories and levels of achievement, the rubric ensures fairness and consistency in evaluating student performance.

The structure of a rubric typically includes criteria, descriptors, and levels of achievement. The criteria outline the specific skills, knowledge, or qualities that students are expected to demonstrate in their work. Descriptors provide detailed explanations or examples of what each level represents, helping students understand what is required to achieve a certain grade. These levels of achievement can be presented in different ways, such as a numerical scale, a letter grade, or even descriptive phrases.

• A rubric allows teachers to provide constructive feedback in a clear and organized manner. Students can easily identify areas where they excel and areas that need improvement, enabling them to focus on specific skills and make progress.
• By , students can effectively plan and organize their work. They can align their efforts with the criteria outlined in the rubric, ensuring that they address all the required components and meet the expectations set by the teacher.
• Rubrics promote transparency in assessment as the criteria and expectations are clearly communicated to both teachers and students. This transparency fosters trust and facilitates meaningful discussions about student performance and progress.

Overall, the rubric serves as a valuable tool for guiding and evaluating student work. Understanding its purpose and structure enhances communication, supports effective teaching, and empowers students to take ownership of their learning.

When it comes to , it’s essential to approach the process with an open mind and a willingness to explore new perspectives. In today’s fast-paced world , where innovation is key, acknowledging and celebrating these qualities can lead to breakthrough ideas and solutions in various fields. So, how can we effectively assess creativity and originality? Let’s dive in:

• Embrace diverse thinking: Creativity is not limited to a specific domain or a particular way of thinking. Encouraging diverse perspectives and welcoming ideas from various backgrounds fosters a rich and fertile ground for innovative thinking. By giving space for unconventional thoughts and perspectives, we can unearth hidden gems of creativity.
• Value experimentation: Creativity often thrives through experimentation. Encouraging individuals to try new approaches, take calculated risks, and test unconventional ideas can yield unexpected and groundbreaking results. Acknowledging the value of experimentation creates an environment that supports and nurtures creativity and originality.
• Promote a learning mindset: Creativity flourishes when individuals have a growth mindset and embrace continuous learning. Providing opportunities for personal and professional development, promoting curiosity, and supporting ongoing education empowers individuals to expand their horizons and think creatively in their respective fields.

Creativity and originality are invaluable assets in our ever-evolving world. By adopting an inclusive and open-minded approach, embracing experimentation, and promoting a culture of ongoing learning, we can create an environment that nurtures and celebrates innovative thinking. Let’s remember, true creativity knows no boundaries!

Language use and style are essential aspects of effective communication. They play a vital role in conveying meaning, eliciting emotions, and engaging the audience. By exploring different language use and styles, we can enhance our writing, speaking, and overall communication skills.

One fascinating aspect of language use is the choice of words and phrases. The words we select can shape the tone and mood of our message. For instance, using vibrant and descriptive language can paint a vivid picture in the reader’s mind, while using technical jargon may be more suitable for specialized audiences. It’s important to consider the impact of our word choices to ensure clarity and precision.

• Metaphors and Similes: These literary devices can add depth and creativity to our language use. They help us explain complex concepts by drawing comparisons to more familiar objects or actions.
• Analogies: Analogies are useful for making abstract ideas more tangible and relatable. By likening a new concept to something familiar, we help our audience better grasp the subject matter.
• Rhetorical Devices: Rhetorical devices, such as alliteration, repetition, and parallelism, add rhythm and emphasis to our writing. They can make our message more memorable and persuasive.

Additionally, understanding different writing and speaking styles allows us to adapt our communication to different contexts and audiences. From formal and academic writing to casual and conversational tones, each style serves its purpose. Adapting our style based on the audience’s expectations can build rapport and improve their overall experience with our message.

By continually , we can cultivate our communication skills and become more effective storytellers. Experimenting with different techniques and styles helps us discover our unique voice and develop a versatile approach to communication.

When evaluating an organization’s effectiveness, one key aspect to consider is its organization and structure. A well-organized and efficiently structured organization can greatly contribute to its overall success and productivity. Here are some factors to assess when evaluating an organization’s organization and structure:

• Clarity of Roles: It is crucial for all team members to have a clear understanding of their roles and responsibilities within the organization. This ensures that tasks are properly allocated and promotes accountability.
• Communication Channels: A strong organization fosters effective communication channels, both vertically and horizontally. Transparent and open lines of communication facilitate the flow of information, enhance collaboration, and minimize misunderstandings.
• Efficiency of Workflow: A well-structured organization streamlines workflow processes, reducing unnecessary delays and optimizing efficiency. Assessing how tasks are assigned and how information flows within the organization can help identify areas for improvement.

Furthermore, a clear hierarchy within an organization ensures that individuals and teams know whom to report to and seek guidance from. Roles such as managers, supervisors, and team leaders establish an accountability structure that promotes effective decision-making and problem-solving. Additionally, an organization’s structure should allow for flexibility and adaptability to meet changing business needs and respond to unforeseen challenges.

Understanding and perfecting grammar and mechanics in creative writing can greatly enhance the overall quality of your work. While creative writing is often seen as free-flowing and expressive, paying attention to the technical aspects can make a huge difference in how your message is conveyed.

To start analyzing grammar and mechanics in your creative writing, consider the following tips:

• Grammar Mastery: Develop a strong foundation in grammar rules, including verb tense, subject-verb agreement , and punctuation. This ensures that your writing flows smoothly and is easily understood by your readers.
• Consistent Voice: Maintain a consistent narrative voice throughout your piece. Whether it’s first-person, third-person limited, or omniscient, clarity in voicing will prevent confusion and keep your readers engaged.

Furthermore, it’s important to recognize the power of effective mechanics in creative writing. Here are some key aspects to consider:

• Punctuation and Sentence Structure: Experiment with different sentence lengths and punctuation marks to create a rhythmic flow in your writing. This can add variety and help maintain the reader’s interest.
• Word Choice: Be conscious of the words you use and their impact on the overall tone and mood of your writing. Employing descriptive and vibrant vocabulary can bring your story to life and captivate your audience.

By paying attention to grammar and mechanics in creative writing, you can effectively convey your message while showcasing your artistry and maintaining the reader’s attention. Embrace these techniques and watch your writing soar to new heights!

Constructive feedback plays a critical role in helping individuals and teams reach their full potential. However, giving feedback in a manner that encourages growth and improvement can be challenging. By following a few key principles, you can provide feedback that is both effective and supportive.

• Focus on specific behaviors: When offering feedback, it is important to pinpoint the specific behaviors or actions that need improvement. By being specific, you can help the recipient understand exactly what they can do differently.
• Use the sandwich technique: One way to make feedback more constructive is to employ the sandwich technique. Begin with positive reinforcement, then offer areas for improvement, and finally end on a positive note. This approach helps maintain a healthy balance and ensures that the feedback is not overly critical.
• Be objective and avoid personal attacks: Feedback should always be objective and focused on the task or behavior at hand. Avoid making it personal or attacking the individual’s character. By staying objective, you can keep the conversation focused on growth and improvement.

Moreover, when providing feedback, it is essential to be empathetic and understanding. Put yourself in the recipient’s shoes and try to see things from their perspective. This will help you deliver feedback with empathy, making it easier for the recipient to accept and act upon.

Q: What is creative writing?

A: Creative writing is a form of artistic expression that involves crafting original stories, poems, plays, and other literary works. It allows writers to explore their imagination and unique perspectives through compelling narratives or evocative language.

Q: Why is creative writing important and worth assessing?

A: Creative writing enhances critical thinking, communication skills, and imagination. Assessing creative writing helps recognize and develop the writer’s ability to effectively express ideas, emotions, and experiences. It also promotes individuality, literary analysis, and cultural exchange.

Q: What is a rubric for creative writing?

A: A rubric for creative writing is a scoring tool used to assess and evaluate written works based on specific criteria. It outlines the expectations and benchmarks for various aspects of the writing, such as plot development, characterization, language use, and overall impact. A rubric provides a standardized and transparent evaluation process.

Q: What are the main components of a rubric for creative writing?

A: The components may vary depending on the purpose and level of assessment, but common elements include plot and structure, character development, language and style, creativity, originality, and overall impact. Each component is further divided into specific criteria and assigned different levels of proficiency, usually represented by descriptive statements and corresponding scores.

Q: How does a rubric help both teachers and students in evaluating creative writing?

A: Rubrics provide clear expectations and guidelines for both teachers and students. For teachers, it offers a systematic and consistent method of evaluation, reducing potential bias. Students benefit from the rubric by understanding the grading criteria in advance, which enables them to focus on specific areas of improvement and self-assessment. It promotes a fair and transparent assessment process.

Q: How can a rubric be used to provide constructive feedback?

A: A rubric allows teachers to provide specific feedback based on established criteria, highlighting both strengths and areas for improvement. By referring to the rubric, teachers can offer targeted suggestions to enhance plot development, character portrayal, language use, or creativity in the student’s writing. This feedback helps students understand their progress and areas where they need more practice, leading to growth as writers.

Q: Can a rubric be adjusted or personalized for specific writing assignments or student needs?

A: Yes, rubrics can be modified based on the specific assignment requirements, classroom objectives, or individual student needs. Teachers may adapt the rubric to address unique elements or emphasize particular writing skills relevant to the assignment or curriculum. Personalization enables a more tailored, meaningful assessment and supports the diverse needs and strengths of students.

Q: How can students use rubrics to improve their creative writing skills?

A: Students can refer to the rubric before, during, and after writing to ensure their work meets specific criteria and expectations. By analyzing the rubric, they can identify areas that need improvement and focus their efforts accordingly. Frequent self-assessment using the rubric can ultimately help students achieve a higher level of proficiency in creative writing and guide their growth as competent writers.

Q: Are rubrics the only way to evaluate creative writing?

A: While rubrics provide a structured and objective evaluation method, they are not the only way to assess creative writing. Other assessment tools, such as teacher feedback, conferences, peer reviews, and portfolio assessments, can also complement rubrics and provide a more holistic evaluation of a student’s writing skills. It is crucial to employ multiple evaluation methods to obtain a comprehensive view of a writer’s abilities.

In conclusion, understanding the rubric for creative writing can help writers enhance their skills and meet the criteria for scoring creativity.

Escaping the Rut: How to Get Away From Writer’s Block

Mastering Creativity: Writers Block: How to Overcome

Leave a Comment Cancel reply

Save my name, email, and website in this browser for the next time I comment.

Reach out to us for sponsorship opportunities.

Welcome to Creative Writing Prompts

At Creative Writing Prompts, we believe in the power of words to shape worlds. Our platform is a sanctuary for aspiring writers, seasoned wordsmiths, and everyone. Here, storytelling finds its home, and your creative journey begins its captivating voyage.

© 2024 Creativewriting-prompts.com

English and Comparative Literary Studies

Marking creative writing.

CREATIVE WRITING: A NOTE ON ASSESSMENT

Students as well as academic staff, at Warwick and elsewhere, often ask the question as to how one marks creative writing. Indeed, they often wonder if it is even possible? Surely, they say, this is a subjective response, a matter of taste? After all, what mark would one give to The Divine Comedy ?

We would attest that it is a matter, certainly, of experience and wide reading . And that we all, as readers and critics, "mark" creative writing every day in the act of reading and the act of criticism or writing reviews. That, even as we talk about books and authors in our seminars and in our daily lives, we are making judgements. We are placing a metaphorical "score" against our experience of reading. And, while it would be wonderful and humbling to have Dante sign up for the Masters in Writing, we are aware that writing of that level and focus is rare. Exceptionally rare.

The Warwick Writing Programme’s courses and modules are assessed by a portfolio of creative writing and an essay or commentary on the aims and processes involved in writing. Some modules also carry examination. Essays and examination materials will be assessed using the same criteria as those outlined in your student handbook.

Assessment of creative writing portfolios is related to the overall Aims and Objectives of the module and learning outcomes. Creative writing has traditionally been seen as individual and subjective. The academic world has been happy to teach methods of critical approach to established works and to assess the student’s critical responses. The trained critic has, however, been reluctant to judge creative works ‘in process’ and reluctant to define the criteria by which student performance in learning to write may be judged. At Warwick however, a wide variety of assessment methods are used within the creative writing modules. These include the setting and assessment of creative writing exercises, poems, short fiction and narrative experiments, critiques, logbooks and journals. The modules place great emphasis on the importance of drafting original writing, and student log-books and records of how and why they have changed their creative work are regarded as important aspects of the learning process. The modules also aim to enable students not only to write creatively within a context, and within a range of genres and media, but also to reflect critically upon texts (self-generated or not). The assessment strategy therefore seeks to combine a coherent and transparent response to both creative and critical work – to welcome and reward imaginative achievement as well as critical and analytical competence.

We are quite aware that this is not the same as marking a maths paper. We are aware that opinion and taste play some role in this process. We would argue that this way of approaching assessment sometimes applies across the range of the disciplines within Humanities and Social Stduies, and may even be similar to the way an expository paper in science is assessed. It is worth remembering that we are human beings, and that writers, despite appearances, are the same species. Including Dante.

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

The Assessment of Creative Writing in Senior Secondary English: A Colloquy Concerning Criteria

Related Papers

Saeed Rezaei , Mary Vz

Drawing on a modified version of Delphi technique, the researchers in this study tried to develop a rubric comprising the main criteria to be considered in the evaluation of works of fiction. Review of the related literature, as well as the administration of a Likert scale questionnaire, and a series of unstructured interviews with experts in the fields of literature and creative writing, led to the identification of ten elements which were used in the construction of the first version of the rubric. To ensure its validity, a number of distinguished creative writing professors were asked to review this assessment tool and comment on its appropriateness for measuring the intended construct. Some revisions were made based on these comments, and following that, the researchers came up with an analytical rubric consisting of nine elements, namely narrative voice, characterisation, story, setting, mood and atmosphere, language and writing mechanics, dialogue, plot, and image. The reliability of this rubric was also established through the calculation of both interrater and intrarater reliability. Finally, the significance of the development of this valid and reliable rubric is discussed and its implications for teaching and assessing creative pieces of writing are presented.

English in Australia

Kim Wilkins

The New Newbolt Report

Francis Gilbert

In Doecke, B., Parr, G. and Sawyer, W. (eds.). Language and Creativity in Contemporary English Classrooms.

Richard English

This paper challenges the authority of the test of an Original Contribution to Knowledge demanded by examining bodies for the award of a PhD in creative writing in the UK. In its place, I propose the test of an Original Contribution to Culture.

Claire Wyatt-Smith

Alyson Morris

In 2009, when the Government raised the possibility of losing subjects such as creative writing in favour of more ‘vocational’ options, it became important to creative writing practitioners in universities to demonstrate its relevance in Higher Education. Many students are engaged on joint degree programmes and this led lecturers to consider a multidisciplinary approach. Students on programmes combined with English were required to use the short story as part of their assessment. This paper discusses how the use of creative writing has many benefits and not for the subject area of English only.

Dr. RUZBEH BABAEE

Barbara Brooks

This special issue of TEXT responds to the current challenge faced by writers in the academy to identify with greater precision what it is about their work which is genuinely an original contribution to knowledge across the field of creative writing (or, more rarely, in another field). It follows from the acclaim with which the first three Creative Writing as Research special issues, published in TEXT in 2010, 2012 and 2014, have been met. In those landmark collections, creative writing pieces from writers based in universities around Australia and New Zealand were published under refereed circumstances with statements regarding their status as research attached. Not only – as reader feedback told us – did TEXT’s readership enjoy consuming a range of creative work from creative writing academic researchers, they also found the research statements useful as models for their own practice and others in their universities.

Ryan Jayson Delos Reyes

This sex-aggregated descriptive-correlational study assessed the performance of the Middle-Age Filipino ESL Learners (Senior Teacher Education Students enrolled in the course, English for Occupation Purposes at Urdaneta City University,Philippines) in Creative Writing. Purposive selection of the respondents account for balance in sex distribution to allow for fair statistical sex-aggregation analysis of data. The respondents were likewise profiled in terms of age, mother tongue, most preferred reading material in English, linguistic intelligence, and English proficiency. Assesment of their performance in Creative Writing employed the criteria: (a) creativity; (b) coherent structure; and (c) adherence to topic. The study sought to determine the extent of the relationship of creative writing performance and the pre-identified learner-trait variables. A standardized questionnaire was used in data-gathering.The research findings indicate no significant relationship between the sex of the learners and their creative writing performance, in which the ESL learners (18 years old and above) were generally found to have a performance level of “Approaching Proficiency”. This finding cuts across other findings that a large majority of the respondents have a common Mother Tongue (Ilokano: a major language in the Philippines). They also subject to frequent exposure and preference for “fiction” as a reading material in English, and were generally found to have “High Linguistic Intelligence” but only a “Satisfactory” level of English Proficiency. No further significant correlation was found among the other learner-trait variables that associate with the respondents’ Creative Writing Performance. Recommendations were advanced by the researchers from the conclusions of the study, and which explores on the possibility to develop an instructional material in Creative Writing that will assist in further enhancing the relatively low-competence of male and female ESL learners in terms of skills in Creative Writing based on the specific criteria to which they were found to perform at relatively lower levels. The materials should also encourage the employment of tasks and activities that encourage preference for a wider range of reading materials in English in the context of further improving the learners’ English Proficiency.

RELATED PAPERS

The Journal of Urology

Yongqing Zhang

Journal of Mathematics of Kyoto University

Masahiro Mizutani

Bulletin for Biblical Research

Joe Sprinkle

Journal of Environmental Science and Management

Liezl B Grefalda

IEEE Transactions on Communications

Tsun-yee Yan

IP Indian Journal of Library Science and Information Technology

Chirag Solanki

Ergodic Theory and Dynamical Systems

Shrikrishna G Dani

Zdenka Rózová

Revista Científica UNIFAGOC - Saúde

Janaina Arantes

New Journal of Physics

Hirotaka Sakuma

Soldagem & Inspeção (Impresso)

Antonio Lima Pessoa

Franz Fardin

JAVIER Callejo

Aesthetic Plastic Surgery

Physical Review B

Lavinia Nistor

Britain and the World

Shompa Lahiri

Eduardo F Mortimer

hilal drissi

Journal of the Faculty of Agriculture

Faris Karahan

Revista De Estudios Politicos

Quentin Skinner

Dirk Lehnick

Academy of Education Journal

Heri Kurnia

Ocular Immunology and Inflammation

Filipinas Natividad

Journal of Family and Community Medicine

avneet randhawa

International Journal of Trend in Scientific Research and Development

tamije selvan

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

This website works best with JavaScript switched on. Please enable JavaScript

• Centre Services
• Associate Extranet
• All About Maths

GCSE English Language

• Specification
• Planning resources
• Teaching resources
• Assessment resources
• Introduction
• Specification at a glance
• 3.1 Scope of study

Scheme of assessment

• Non-exam assessment administration
• General administration

Find past papers and mark schemes, and specimen papers for new courses, on our website at aqa.org.uk/pastpapers

This specification is designed to be taken over two years with all assessments taken at the end of the course.

GCSE exams and certification for this specification are available for the first time in May/June 2017 and then every May/June and November for the life of the specification.

This is a linear qualification. In order to achieve the award, students must complete all exams in November or May/June in a single year. All assessments must be taken in the same series. November entries will only be available to students who were at least 16 on the previous 31 August. See Resits and shelf life in the General administration section for November entry restrictions.

• provide extended responses
• demonstrate their ability to draw together different areas of knowledge, skills and/or understanding from across a full course of study for this qualification.

The final reading question on each paper - Question 4 on Paper 1 and Question 4 on Paper 2 allows students to fulfill this requirement.

All materials are available in English only.

Aims and learning outcomes

Courses based on this specification should encourage students to:

read fluently and write effectively. They should be able to demonstrate a confident control of Standard English and they should be able to write grammatically correct sentences, deploy figurative language and analyse texts.

Courses based on this specification should enable students to:

• read a wide range of texts, fluently and with good understanding
• read critically, and use knowledge gained from wide reading to inform and improve their own writing
• write effectively and coherently using Standard English appropriately
• use grammar correctly, punctuate and spell accurately
• acquire and apply a wide vocabulary, alongside a knowledge and understanding of grammatical terminology, and linguistic conventions for reading, writing and spoken language.
• listen to and understand spoken language, and use spoken Standard English effectively.

The Spoken Language endorsement will be reported on as part of the qualification, but it will not form part of the final mark and grade.

Explorations in creative reading and writing

• in section A, reading a literature fiction text in order to consider how established writers use narrative and descriptive techniques to capture the interest of readers
• in section B, writing their own creative text, inspired by the topic that they have responded to in section A to demonstrate their narrative and descriptive skills in response to a written prompt, scenario or visual image.

The paper will assess in this sequence, AO1, AO2 and AO4 for reading, and AO5 and AO6 for writing. Section A will be allocated 40 marks, and Section B will be allocated 40 marks to give an equal weighting to the reading and writing tasks.

The source for the reading questions will be a literature fiction text. It will be drawn from either the 20th or 21st century. Its genre will be prose fiction. It will include extracts from novels and short stories and focus on openings, endings, narrative perspectives and points of view, narrative or descriptive passages, character, atmospheric descriptions and other appropriate narrative and descriptive approaches.

As a stimulus for students’ own writing, there will be a choice of scenario, written prompt or visual image that is related to the topic of the reading text in section A. The scenario sets out a context for writing with a designated audience, purpose and form that will differ to those specified on Paper 2.

Writers’ viewpoints and perspectives

• in section A, reading two linked sources from different time periods and genres in order to consider how each presents a perspective or viewpoint to influence the reader
• in section B, producing a written text to a specified audience, purpose and form in which they give their own perspective on the theme that has been introduced to them in section A.

The sources for the reading questions will be non-fiction and literary non-fiction texts. They will be drawn from the 19th century, and either the 20th or 21st century depending on the time period assessed in Paper 1 in each particular series. The combination selected will always provide students with an opportunity to consider viewpoints and perspectives over time. Choice of genre will include high quality journalism, articles, reports, essays, travel writing, accounts, sketches, letters, diaries, autobiography and biographical passages or other appropriate non-fiction and literary non-fiction forms.

In section B, there will be a single writing task related to the theme of section A. It will specify audience, purpose and form, and will use a range of opinions, statements and writing scenarios to provoke a response.

Non-exam assessment

• giving a presentation in a formal context
• responding appropriately to questions and to feedback, asking questions themselves to elicit clarification
• using spoken Standard English.

Students must undertake a prepared spoken presentation on a specific topic. The topic is at the discretion. As a guide, the duration should be no more than ten minutes. The key requirements are:

• presentations must be formal but may take a wide variety of forms, including talks, debates, speeches and dialogues
• students must identify the subject for their presentations in advance and agree it with their teacher
• presentations must be planned and organised. Students should be advised that that lack of preparation is likely to prevent access to the criteria for the higher grades
• students may use pre-prepared notes, powerpoint etc. to assist them during their presentations but this is not a requirement
• as part of, or following, the presentation students must listen to and respond appropriately to questions and feedback
• where the audience is the teacher only, the presentation and dialogue must be designed in such a way that it could have a potentially wider audience than just one person (eg it replicates a television interview).

Assessment objectives

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

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

• identify and interpret explicit and implicit information and ideas
• select and synthesise evidence from different texts
• AO2: Explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology to support their views
• AO3: Compare writers’ ideas and perspectives, as well as how these are conveyed, across two or more texts
• AO4: Evaluate texts critically and support this with appropriate textual references
• AO5: Communicate clearly, effectively and imaginatively, selecting and adapting tone, style and register for different forms, purposes and audiences. Organise information and ideas, using structural and grammatical features to support coherence and cohesion of texts
• AO6: Candidates must use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation. (This requirement must constitute 20% of the marks for each specification as a whole.)
• AO7: Demonstrate presentation skills in a formal setting
• AO8: Listen and respond appropriately to spoken language, including to questions and feedback on presentations
• AO9: Use spoken Standard English effectively in speeches and presentations.

Weighting of assessment objectives for GCSE English Language

Assessment weightings.

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

English and Creative Writing Handbook

Level 4 Marking Criteria

First Class (70-100%)

(90 % – 100%) Exceptional work with presentation of a very high standard. There is coherence of ideas and demonstration of a thorough knowledge and understanding. Arguments are supported by wide reading with very effective use of source material and accurate referencing.

(89 % – 90%) Outstanding work with presentation of a very high standard. There is coherence of ideas and demonstration of a thorough knowledge and understanding. Arguments are supported by wide reading with effective use of source material and accurate referencing.

(70 % – 79%) Extremely good work with presentation of a high standard. There is coherence of ideas and demonstration of thorough knowledge and understanding. Arguments are supported by wide reading with appropriate use of source material and accurate referencing.

Upper Second-Class (60-69%)

The work is well presented and coherently structured. There is evidence of a sound knowledge and understanding of the issues with theory linked to practice where appropriate. Most material used has been referenced / acknowledged.

Lower Second-Class (50-59%)

Presentation is acceptable but with some errors. There is knowledge and understanding of issues under discussion and some evidence of the application of knowledge and ideas where appropriate. Some use of relevant source material.

Third Class (40-49%)

Presentation is acceptable but attention to structure and style is required. The content is relevant but largely descriptive. There is evidence of a reasonable level of knowledge and understanding but there is limited use of source material to support the arguments, proposals or solutions. Some links are made to practice where appropriate.

Fail (0-39%)

(30-39%) The work is poorly structured and presented. Some material may be irrelevant. Content is based largely on taught elements with very little evidence of reading around the topic and little or no reference to practice where appropriate.

(20-29%) The work is very poorly structured and presented. Much material is irrelevant. Content is based almost entirely on taught elements with very little evidence of any purposeful reading around the topic. No effective reference to practice where appropriate.

(0-19%) The work is extremely poorly structured and presented. It demonstrates no real knowledge or understanding of key concepts and principles. Much material is irrelevant. No effective use of supporting material. No reference to practice where appropriate. Not a genuine attempt to engage with the assessment requirements and/or subject matter.

Network-wide options by YD - Freelance Wordpress Developer