Writing a Report
Present relevant information in an ordered way and make carefully considered suggestions. A mixture of fact and opinion, written for someone in authority.
Purpose & Audience
Reports are written for a reader in a position of authority — a principal, employer, committee chair. The tone is formal, impersonal, and objective. You are presenting findings and recommendations, not personal feelings.
Reports can serve two purposes: to offer suggestions based on experience, or to present alternatives so the reader can decide.
Three-Part Structure
Key Features of the Form
Language & Tone
- Impersonal and formal — no slang, no contractions (don't, can't), no humour or sarcasm.
- Objective perspective — distance yourself from criticism. Report what was said indirectly: "It was suggested that…" rather than "I think…"
- Calm and polite — avoid emotive language and personal appeals. Your reader needs to trust the evaluation is accurate.
- Range of topic vocabulary — show subject knowledge through appropriate terminology.
- Logical connectives — "in conclusion", "as a consequence", "furthermore", "however".
Quick Checklist
- Addressed to someone in authority
- Clear title: "A report on…"
- Subheadings used to organise sections
- Formal, impersonal register throughout
- Balance of fact and opinion
- Logical linking words between sections
- Concluding recommendations or suggestions
- No slang, contractions, humour, or sarcasm
Writing an Article
Inform and persuade readers about a topic, bringing together different perspectives. Articles can present a balanced argument or advocate for a particular viewpoint.
Purpose & Audience
Articles appear in newspapers, magazines, and school publications. You don't know your readers personally, so consider their likely interests and experience. The tone is semi-formal — more relaxed than a report, but still controlled.
An article can either persuade readers to agree with a viewpoint, or present both sides and let readers decide.
Three-Part Structure
Key Features of the Form
Language & Tone
- Semi-formal tone — imagine your article being read aloud. Match the tone to the topic (a film review can be wry; a news piece must be measured).
- Varied sentence structures — mix short, punchy sentences with longer, complex ones to maintain reader interest.
- Contrasting viewpoints — acknowledge both sides. Use "however", "on the other hand", "conversely" to signal shifts.
- Expert quotations — "'You and your real friends may not always be able to meet in person,' explains one lifestyle expert." This adds authority.
- Linking words — "in addition", "likewise", "similarly", "however", "nevertheless".
Quick Checklist
- Engaging headline relevant to the topic
- Hook in the opening paragraph
- Contrasting viewpoints explored fairly
- Evidence: quotes, statistics, examples
- Semi-formal, varied tone throughout
- Linking words to connect paragraphs
- Strong conclusion with a clear final impression
- Optional subheadings if the article is long
Writing a Speech
Inform, persuade, or motivate a live audience. Written to be spoken aloud — the words must sound natural and carry a speaker's energy on the page.
Purpose & Audience
Speeches are delivered to a specific audience (classmates, parents, a public meeting). The speaker has a relationship with the listeners and can address them directly. Consider whether your audience is likely to agree or disagree with you.
Speeches can inform, persuade, or call the audience to action — "join this club", "change this policy", "think differently about this issue".
Three-Part Structure
Key Features of the Form
Language & Tone
- Spoken register — imagine saying the words aloud. Vary pace: short, punchy sentences for emphasis; longer ones for development.
- Inclusive language — "we", "all of us", "our" makes listeners feel you're on the same side.
- Deal with objections — "A few people may still think, however…" Then defeat the objection.
- Emotive word choice — choose words that appeal to the emotions of your listeners. Your tone must match your message.
- Rhetorical devices — questions, tricolons, repetition, dramatic pauses (signalled by short sentences or ellipses).
Quick Checklist
- Appropriate greeting for the audience
- Attention-grabbing opening (question, anecdote, drama)
- Direct address: "you", "we", "our" throughout
- Rhetorical questions woven through the speech
- Anecdotes and real-life examples for evidence
- Varied pace: short punchy + longer reflective
- Objections acknowledged and defeated
- Powerful conclusion with a call to action
- Thanks to the audience at the close
Writing a Letter
Inform, persuade, or communicate an experience or point of view to a specific reader. Formal letters follow strict conventions; informal letters allow a warmer register.
Purpose & Audience
Letters are written to one specific reader (though you may not know their name). The formality depends entirely on the relationship: a letter to an editor or hotel manager is formal; to a friend, informal.
Purposes include: complaint, persuasion, application, request, sharing experiences, or responding to an article.
Three-Part Structure
Letter Conventions
| Element | Formal (unknown name) | Formal (known name) | Informal |
|---|---|---|---|
| Opening | Dear Sir/Madam | Dear Mr/Mrs [Name] | Dear [First name] |
| Sign-off | Yours faithfully | Yours sincerely | Best wishes / Regards |
| Register | Highly formal | Formal | Conversational |
| Contractions | No | No | Yes |
| Address/Date | Yes — both parties | Yes — both parties | Optional |
Language & Tone
- Match formality to audience — formal for unknown/authority readers; informal for friends and family.
- Remain calm and polite — even when complaining. Anger weakens your position.
- Formal linking words — "furthermore", "however", "in conclusion", "additionally".
- Time markers — "I am currently", "previously", "prior to that" to make timescales clear.
- Varied sentence structures — avoid simple, repetitive patterns. Range of complex sentences signals command of language.
Quick Checklist
- Correct greeting matched to sign-off
- Opening paragraph states the purpose clearly
- Paragraphed development of points
- Formal linking words and time markers
- Calm, polite tone even in complaints
- Balanced view: acknowledge positives if relevant
- Clear statement of expected action at the end
- Correct sign-off (faithfully / sincerely)
Persuasive Writing
Build a structured case using evidence, counter-argument, and rhetorical technique. State your position upfront and hold it consistently. The form for candidates who think analytically.
The Five-Section Shape
Within 350–450 words, the persuasive essay has a tight, predictable structure:
| Section | ~Words | Purpose |
|---|---|---|
| Introduction | 50 | State position, signal angle |
| Body paragraph 1 | 80 | First main argument (PEEL) |
| Body paragraph 2 | 80 | Second main argument (PEEL) |
| Body paragraph 3 | 80 | Third main argument (PEEL) |
| Counter-argument | 80 | Acknowledge + defeat opposing view |
| Conclusion | 50 | Reframe — most memorable version of your case |
DAFOREST — Eight Persuasive Techniques
A mnemonic for the techniques to deploy in service of your argument:
Aim for 4–5 different techniques per essay. Used in service of argument — never as decoration alone.
Three Types of Evidence
Mix all three across the essay. Pure assertion ("I think uniforms are bad") has no evidence and scores poorly.
- Statistical / data evidence — "Tallinn's free-transport pilot reduced city-centre car traffic by 9% in its first year." Persuades the analytical mind.
- Examples / case studies — "Hasselt in Belgium ran the world's first universal free-bus scheme for almost two decades." Concrete and memorable.
- Anecdote / human story — "Take Priya, a sixteen-year-old who used her gap year to volunteer." Persuades the emotional mind.
Counter-Argument — The Top-Band Move
A persuasive essay that ignores the opposing view feels naive. One that acknowledges and defeats it signals analytical maturity. This is the clearest single discriminator for the top band.
The Four Steps
Rhetorical Tools
Devices serve the argument. They don't decorate it. Use 1–2 instances of each, and 4–5 different devices across the essay.
- Rule of three — "Less pollution, lower healthcare costs, fewer cars on the road."
- Antithesis — "The question is not whether we can afford to act — it is whether we can afford NOT to."
- Concession — "Critics are right that initial costs are real." Signals fairness before defeating it.
- Rhetorical question — "Are we content to keep paying the higher cost of inaction?" Frames the answer in your favour.
- Aphoristic claim — "Tradition is not nothing — but it is not, in this instance, enough." Short, quotable, for conclusions.
Quick Checklist
- State position upfront — no fence-sitting
- Five-section shape: intro, 3 body, counter-arg, conclusion
- Three evidence types mixed: data, examples, anecdote
- Counter-argument: concede, state, defeat, reaffirm
- 4–5 different rhetorical devices across the essay
- Reframe in conclusion — don't just restate
- Confident but not aggressive tone
- 350–450 words
Writing an Interview
Two voices, one structure. Speaker labels, varied question types, a distinctive interviewee voice, and source texts woven naturally into answers. The form for candidates who want to dramatise an argument.
Interview Anatomy
Key Features of the Form
The Five Question Types
Mix all five across the interview. Each does a different job.
- Opening question — establish topic. "Maya, you've been doing this for over a year. What got you started?"
- Open exploratory — invite reflection. "What did you find when you spoke to other students?" Uses "what", "how", "why".
- Specific factual — get details. "How many incidents have been reported?" Short, concrete answer.
- Challenging question — raise counter-argument. "Some councillors argued the cost was prohibitive. How did you respond?" This is where the counter-argument lives.
- Closing question — forward-looking. "What needs to happen next?" Most memorable lines come here.
Building a Distinctive Interviewee Voice
The interviewee should feel like a real person, not a position-paper with a name.
- Distinctive vocabulary — match to character. A scientist uses precise terms; a teenager uses youthful idiom; an activist uses direct, urgent language.
- Pacing variation — some answers short and decisive, others longer and reflective. The same person gives both kinds.
- Self-correction / hesitation — "Well…", "Actually, let me put that differently", "Honestly?" signals authentic speech.
- Favourite framings — a character who twice uses "the way I see it" has a more memorable voice than one who never repeats.
Weaving Source Texts into Answers
Reading marks (15/40) still apply. Source ideas live in the interviewee's answers, not labelled academically.
| Do | Don't |
|---|---|
| "The first article I read described a survey showing that…" | "Text A says…" |
| "A friend sent me an article that put numbers on what I'd been feeling…" | "According to the second source…" |
| Interviewee uses source data as their own knowledge | Quoting source passages verbatim at length |
Quick Checklist
- Framing intro: who, why, when
- Speaker labels on every turn, new line per speaker
- Five question types: opening, open, specific, challenging, closing
- Variable answer length — short and long mixed
- Distinctive interviewee voice: vocabulary, pacing, framings
- Source ideas in interviewee's answers, in their own voice
- Counter-argument in the challenging question
- Memorable final answer
Writing a Journal Entry
A personal, reflective piece written in first person with intimate tone. Record thoughts, feelings, and reflections on an event or experience — honest, private, and introspective.
Purpose & Audience
A journal entry is written for yourself — there is no external audience. This makes it the most personal form in the exam. The tone is intimate, honest, and reflective. You can express doubt, confusion, mixed feelings, and private thoughts that you would not share in a letter or article.
Examiners reward emotional depth and genuine reflection — not just describing what happened, but exploring what it meant to you and what you learned.
Structure
Key Features of the Form
Language & Tone
- First person throughout — "I", "my", "me". This is the one form where every sentence should feel personal.
- Informal register is appropriate — contractions, conversational phrasing, sentence fragments for effect ("What a day.").
- Specific emotion words — don’t default to "happy" or "sad". Use precise terms: anxious, relieved, humiliated, elated, conflicted, grateful.
- Sensory and descriptive detail — bring the experience alive through what you saw, heard, felt. This is not a report — it’s a lived experience.
- Internal questions — journals naturally ask "Why did I do that?" or "What was I thinking?" This creates authentic voice.
- Reflection, not just narration — describe what happened, then explore what it meant. The reflection is what separates top-band from mid-band.
Quick Checklist
- Date at the top of the entry
- First person ("I") throughout
- Informal, personal, reflective register
- Opening with emotional impact, not "Today I went to…"
- Key events described with sensory detail
- Specific emotion words, not generic "happy/sad"
- Reflection on what the experience meant or taught you
- Internal questions and honest self-examination
- Forward-looking closing thought
Writing a Newspaper Report
A factual, impersonal report for a general readership. Lead with the most important information, attribute opinions to named sources, and maintain an objective third-person register throughout.
Purpose & Audience
A newspaper report is written for a general readership — think BBC News, The Guardian’s news pages, a local paper. The register is impersonal, factual, and objective. You are a reporter presenting facts, not a student sharing opinions.
This is not the same as a magazine article. News reports use third person throughout and never editorialise. Opinions appear only inside attributed quotations from named sources.
The Inverted Pyramid
News reports use the inverted pyramid: most important information at the top, less essential detail at the bottom. The reader can stop at any paragraph and still have the key facts.
Key Features of the Form
News Report vs Magazine Article
Cambridge sometimes asks for a news report, sometimes a magazine article. The two look similar but differ in crucial ways:
| Feature | News Report | Magazine Article |
|---|---|---|
| Voice | Third-person impersonal | First-person allowed |
| Tone | Neutral, factual | Opinion-led, persuasive |
| Structure | Inverted pyramid | Hook → argument → close |
| Quotations | Named direct quotes | Anecdotes, paraphrased ideas |
| Editorial | None — facts only | Yes — author has a position |
Direct Quotation & Attribution
News reports carry their argument through named sources. The reporter doesn’t editorialise; the sources do.
- Format: Quote in double quotation marks, attributed by name and role.
- Example: “The decision will reshape morning routines for thousands of families,” said Councillor Hayes, the borough’s lead member for transport.
- Vary attribution verbs: said, told reporters, commented, noted, argued, added, responded, acknowledged.
Inventing Plausible Sources
Cambridge mark schemes accept and reward plausible invented sources. You can invent:
- A headteacher with a name and school
- A council officer with a name and role
- A student with a name and year group
- A parent, local resident, or expert
"Magazine article" / "school magazine" / "opinion piece" → magazine register (first-person allowed, opinion-led, hook-driven).
Quick Checklist
- Factual headline — short, active, specific
- Lead paragraph: WHO + WHAT + WHEN + WHERE
- Inverted pyramid — most important first
- Third person throughout — no "I" or "we"
- No editorialising — opinions in attributed quotes only
- At least two named sources with roles
- Varied attribution verbs: said, told, added, noted
- Source material integrated naturally, not copied
- Forward-looking close (optional but strong)
Model Answer: Formal Letter
A top-band directed writing response demonstrating formal letter conventions, persuasive argument, and effective use of source material.
Opening
Dear Councillor Reeves,
I am writing to express my deep concern regarding the proposed closure of Elm Road Library, which has served this community for over forty years. While I understand the council faces significant budgetary pressures, I believe that closing the library would cause far greater harm than the savings it would generate.
Paragraph 2 — Community Impact
As the passage makes clear, libraries are not simply repositories of books — they are essential community spaces. For many elderly residents in this area, the library is the only place they visit regularly outside their own homes. Removing it would deepen the isolation that already affects a significant proportion of our ageing population. Furthermore, the library's free internet access is relied upon by families who cannot afford home broadband, and by job seekers who depend on it to search and apply for employment.
Paragraph 3 — Educational Role
The passage also highlights the educational role of libraries, and this is particularly relevant here. Elm Road Library runs a weekly reading group for under-fives and a homework club for secondary students. These are not luxuries; they directly support the attainment of children in an area where educational outcomes already fall below the national average. To remove them would be to widen an inequality that the council claims, in its own strategic plan, to be committed to narrowing.
Closing
I would urge the council to explore alternatives before making this decision irreversible: reduced opening hours, shared premises with the community centre, or a volunteer staffing model. Other councils have successfully implemented such measures, and I would welcome the opportunity to discuss them further.
Yours sincerely,
Alex Harrington
Model Answer: Magazine Article
A top-band directed writing response demonstrating article conventions, critical engagement with source material, and a distinctive authorial voice.
Opening
THE SCREEN GENERATION: SMARTER OR JUST FASTER?
Walk into any classroom in 2025 and the first thing you will notice is the glow. Thirty screens, thirty bent heads, thirty pairs of thumbs moving in patterns that would have baffled a typist twenty years ago. Technology has not just arrived in education — it has taken up permanent residence, rearranged the furniture, and changed the locks.
Paragraph 2 — The Case For
The passage argues, persuasively, that digital tools have democratised access to knowledge. A student in rural Kenya can now watch the same lecture as a student at Cambridge, and this is genuinely revolutionary. Online platforms allow learners to pause, rewind and revisit material at their own pace, and for students with additional needs this flexibility can be transformative.
Paragraph 3 — The Counter-Argument
But here is the difficulty that the passage does not quite address: access to information is not the same as understanding. I can look up the causes of the First World War in four seconds, but that does not mean I have thought about them. The speed of digital learning can create an illusion of mastery — students believe they know something because they have read it, when in fact they have only seen it. And the constant notifications, the social media tabs, the reflex to check a phone every ninety seconds — these are not minor distractions. They are an architecture designed to prevent exactly the kind of sustained, difficult thinking that real learning requires.
Closing
Technology, then, is neither saviour nor villain. It is a tool, and like any tool, its value depends entirely on the hand that holds it. Perhaps the real question is not whether we should use screens in classrooms, but whether we are teaching students to use them wisely — or simply teaching them to use them.
Model Answer: Speech
A top-band speech demonstrating audience awareness, personal anecdote, rhetorical devices, and a powerful call to action.
Opening — The Confession
Good morning everyone. I want to start with a confession: I did not read a single book for pleasure between the ages of thirteen and sixteen. Not one. I read what I was told to read for English, I read the backs of cereal boxes, and I read approximately four thousand Instagram captions a day. But a book? No.
Paragraph 2 — The Turning Point
And then, in the middle of a particularly boring half-term, I picked up a book my mother had left on the kitchen table. I cannot even remember the title. But I remember the feeling — the strange, almost physical sensation of being somewhere else entirely, of hearing a voice that was not my own but somehow understood exactly what I was thinking. That is what reading does. It does not just give you information. It gives you someone else's mind to live in for a while.
Paragraph 3 — The Real Reason
The passage we read this morning tells us that reading improves vocabulary, develops concentration, and reduces stress. All true. But I think those are the boring reasons, and if I stand up here and list health benefits at you, I will lose you in about fifteen seconds. So let me give you the real reason: reading is the only legal way to be someone else. It is the only way to know what it feels like to be a soldier in 1917, or a girl growing up in Lagos, or an astronaut watching the Earth shrink behind you. No film does this. No game does this. Only a book puts you so far inside another person that you forget, for a moment, that you are you.
Closing — The Challenge
So here is my challenge. One book. Any book. Before the end of this term. Not because your teacher told you to, not because it will help your grades — though it will — but because you deserve to know what it feels like to disappear into a story and come back slightly different. Thank you.
Model Answer: Descriptive Writing
"A railway station at dawn" — a top-band descriptive composition demonstrating atmosphere, sensory detail, structural control, and an original authorial voice.
Paragraph 1 — The Empty Station
The station existed in the hour before it was needed. The departures board was a grid of amber letters that no one was reading, and the coffee kiosk was still shuttered, its corrugated door holding the ghost of yesterday's espresso in a faint, bitter sweetness that hung in the cold air like a promise.
Paragraph 2 — The Pigeon
A pigeon walked the length of Platform 3 with the careful, self-important stride of a building inspector. It paused at each bench, examined the underside with one tilted eye, and moved on, apparently satisfied. The only other movement was the clock, its second hand dragging itself around the face as if the effort of keeping time at this hour were almost too much.
Paragraph 3 — The Light Arrives
Then light. It came from the east end of the platform, where the tracks curved out of sight, a thin gold line drawn across the rails and the gravel and the base of the signal post. It found the puddles first and turned them into coins. It found the edges of the benches and made them sharp. It crept along the platform floor like a tide coming in, slow and certain, and as it reached the place where I was standing, I felt the cold begin to loosen, as if the station were taking its first deep breath of the day.
Paragraph 4 — The First Person
A man appeared at the far end of the platform, coat buttoned to the collar, briefcase held close to his body like a shield. He did not look at the departures board. He knew where he was going — you could tell from the way he stood, weight on one foot, eyes fixed on the empty track, waiting for a shape to appear around the curve. Behind him, the coffee kiosk rattled open, and the station, at last, began to fill with the small, ordinary sounds of a day deciding to begin.
Model Answer: Narrative Writing
"The Envelope" — a top-band narrative composition demonstrating restraint, precise physical detail, structural repetition, and an emotionally resonant ending.
Paragraph 1 — The Wait
The envelope had been sitting on the hall table for three days before I opened it. It was not that I did not know what was inside — I knew exactly what was inside. It was a thin, cream-coloured envelope with a typed address and no return label, and the postmark said Cambridge, and Cambridge only ever sent one kind of letter to people like me.
Paragraph 2 — The Mother
My mother had noticed it first. She had come into the hallway with a basket of washing and stopped so suddenly that a pillowcase slid off the top and landed on the floor, and neither of us picked it up. She looked at me. I looked at the envelope. The pillowcase lay between us like a small white surrender.
Paragraph 3 — Three Evenings
"You should open it," she said, on the first evening.
"I know," I said.
"You should open it," she said, on the second evening.
"I know," I said.
On the third evening, she did not say anything. She put a cup of tea next to the envelope and went upstairs, and I sat at the hall table in the half-light and thought about all the versions of my life that were folded up inside that cream-coloured paper.
Paragraph 4 — The Opening
I opened it standing up, which I had not planned. I had imagined sitting down, taking a breath, sliding a finger under the seal carefully, the way people do in films. Instead I just picked it up and tore it open, quickly, the way you pull off a plaster, and the sound of the paper tearing was the loudest thing in the house.
Paragraph 5 — The Answer
It said yes.
I read it twice, because the first time I read it I did not believe it, and the second time I read it I believed it but did not know what to do with the believing. I put the letter back on the table and went to the bottom of the stairs and called up to my mother, and my voice, when it came, was steadier than I had expected.
"Mum," I said. "It said yes."
Model Answer: Journal Entry
A top-band journal response demonstrating personal voice, emotional depth, sensory detail, and genuine reflection on experience.
Opening — Setting the Scene
Now that we are homeward bound, I can reflect on this incredible adventure. We started out so excited, confident that our wet-weather gear prepared us for anything. I quickly realised how wrong I was when we hit the mountain pass and the hailstones began! I normally love the thrill of a descent, but the freezing cold numbed my hands, making it terrifyingly hard to control the bike. I can’t describe the relief of reaching Colquepata. Although the ride to Paucartambo took longer than the promised “40 minutes,” the smooth roads were a joy, and the picturesque town reignited my excitement.
Middle — The Journey Develops
The journey was physically tough, with constant downpours and flat tyres, but the jungle changed everything. The humid air and heady scents were the complete opposite of the high Andes, and cycling through a haze of butterflies felt like a cartoon. The bus delay in Pilcopata, while initially annoying, became an unexpected bonus. It allowed us to truly immerse ourselves in Peruvian life. It made me realise how we rush around at home, ruled by schedules, whereas nobody hurries in the jungle heat.
Closing — Reflection & Growth
I was, however, shocked to learn how little tourism money reaches the actual townspeople. This trip has taught me to be an environmentally aware tourist and to buy locally to support the economy. Despite the gruelling challenges, I have grown as a person, learned the value of teamwork, and discovered a part of the world I knew little about.
Model Answer: Newspaper Report
A top-band news report demonstrating inverted pyramid structure, the 5 Ws lead, attributed quotations, and objective third-person register.
Headline & Lead
Cycling to school climbs 28 per cent in record borough rise
The number of pupils cycling to school across the borough has risen by 28 per cent since September, the largest single-year increase ever recorded by the council, according to a survey published this week. The change has been sharpest at Northgate Secondary, where the proportion of pupils cycling has doubled in a single academic year.
Key Facts & Causes
The survey links the rise to three causes: new cycle lanes installed on Park Road, free helmets distributed through school councils, and steadily climbing bus fares that have pushed families to seek cheaper alternatives.
Northgate’s headteacher, Mr Patel, said the effect on the school day had been clear. “Pupils arrive more alert and more ready to learn,” he told reporters. “Several teachers noticed the change before I had said a word.”
Balance & Complexity
The trend has not been without difficulty. Some Park Road residents report congestion where the new lanes meet busy junctions, and a small number of incidents between cyclists and pedestrians have been recorded. Council transport officer Mrs Aliyah Khan said a redesign of the worst junction was already planned. “We know where the pinch points are,” she added, “and we are acting on them.”
Context & Close
The survey also found that around one in four pupils still rely on public transport, either because they live more than three miles away or because parents remain concerned about road safety. Its authors concluded that wider investment in infrastructure, rather than pressure on families, would be the key to extending the shift.
A full review of the cycling scheme is due before the council in March.
Model Answer: Article on Food Waste
A top-band directed writing response to Question 1 from the May/June 2024 Paper 2 (variant 21). Demonstrates article register, evaluation of both texts, and practical suggestions for young readers.
Headline & Opening
Your leftovers are louder than you think
A third of the world’s food rots before anyone eats it, and according to climate researchers, tackling that waste would do more for the planet than almost any other single change apart from switching entirely to renewable energy. Yet most of us, if asked, would swear we hardly throw anything away. Surveys suggest that almost nobody sees themselves as part of the problem — which, of course, means almost everybody is.
Paragraph 2 — Evaluating Why It Happens
The reasons are depressingly ordinary. In many countries, households generate the vast majority of food waste — not because people are careless, but because life gets in the way. Plans for home-cooked meals collapse under the weight of late shifts, last-minute invitations, and the simple exhaustion of a long day. Misleading packaging labels do not help: perfectly safe food ends up in the bin because a printed date has passed, and few people pause to check whether “best before” actually means “unsafe after.”
Paragraph 3 — Engaging with Text B’s Attitude
Young people, meanwhile, face a peculiar double bind. One university blogger points out that those aged 18 to 24 are labelled the worst offenders, yet the advice aimed at them — cook more, eat fresh, waste nothing — clashes with the reality of student life, where meals are grabbed between lectures and socialising, and the fridge contains little more than fast food and an ageing apple. There is something unjust, too, about blaming consumers when a third of all food grown never reaches a kitchen at all, lost instead to poor storage, extreme weather, or retailers’ insistence that only blemish-free produce deserves a shelf.
Paragraph 4 — Practical Suggestions (Bullet 2)
None of this, however, means that young people are powerless. Small, realistic adjustments matter more than grand ambitions that collapse by Wednesday. At home, buying smaller quantities more often and learning to read labels properly can quietly shrink the waste pile. At school or college, students could press canteens to reduce portion sizes and partner with local charities that redistribute surplus meals — and do so openly, because the stigma around such schemes fades only when ordinary people treat them as sensible rather than shameful. In the wider world, choosing imperfect fruit from bargain shelves and supporting businesses that sell surplus food sends a clear market signal: profit and responsibility need not be opposites.
Closing
Awareness alone will not empty fewer bins. But awareness combined with a few stubborn habits — a shorter shopping list, a honest look at the fridge before it is too late, a willingness to eat the imperfect apple — might just begin to. The world’s food crisis will not be solved by young people alone, but it certainly will not be solved without them.
Model Answer: Speech on Going Cash-Free
A top-band directed writing response to Question 1 from the October/November 2024 Paper 2 (variant 23). Demonstrates speech register, evaluation of both texts, and consideration of effects on individuals, businesses and the wider community.
Opening & Greeting
Good evening, everyone. Thank you for coming tonight. I know we all lead busy lives, so I will keep this brief — but I believe this proposal deserves far more scrutiny than it has received so far.
Let me ask you a simple question: when did you last pay for something with cash? If you are anything like most people in this room, you probably cannot remember. Contactless cards and phone payments have quietly become the norm, and for good reason — they are fast, convenient, and undeniably simple. But convenience for the majority is not the same as fairness for all, and that is precisely the problem with making our area entirely cash-free.
Paragraph 2 — Effects on Individuals
Consider, first, what going cash-free means for individuals. For those of us who are comfortable with technology, very little changes. But what about elderly residents who have never owned a smartphone? What about families on low incomes who rely on physical money to budget week by week — who divide notes into envelopes for rent, food and bills because that is the only system that stops them overspending? One writer warns that digital payments make it dangerously easy to lose track, and she is right: removing cash removes a discipline that many people depend on. Worse still, as one parent discovered, even teaching a child the value of money becomes almost impossible when coins and notes have vanished from daily life.
Paragraph 3 — Effects on Businesses & Community
The effects on businesses are no less troubling. Street vendors, market traders and charity collectors all depend on the impulse generosity of passers-by reaching into their pockets. Take cash away, and you take away their livelihood — not because people stop caring, but because the friction of opening an app or finding a card reader kills the moment. Small businesses, meanwhile, face transaction fees on every sale, costs that larger chains absorb easily but that could push a local café or corner shop towards closure. And let us not forget the wider community: when a bank decides to charge fees simply for depositing coins — as one resident’s daughter discovered with her hard-saved pocket money — we have to ask ourselves whose interests this cashless future truly serves.
Closing & Call to Action
I am not standing here to tell you that digital payments are the enemy. They are not. But I am asking you to reject a proposal that treats going fully cash-free as progress when, for many of our neighbours, it would be anything but. What we need is not a ban on cash but a guarantee that it remains an option — so that no one in this community is locked out of the economy they helped to build. Thank you.
Form Comparison Table
At-a-glance comparison of all eight writing forms — register, structure, conventions, and what makes each one distinctive.
| Form | Register | Structure | Key Convention | Top-Band Move |
|---|---|---|---|---|
| Report | Formal, impersonal | Overview → Findings → Recommendations | Subheadings, "To the Principal" | Objective evaluation with clear recommendations |
| Article | Semi-formal | Headline → Hook → Development → Conclusion | Engaging headline, expert quotes | Balanced viewpoints with varied evidence |
| Speech | Semi-formal, spoken | Greeting → Argument → Call to action | Direct address, rhetorical Qs, "we"/"our" | Audience interaction woven throughout |
| Letter | Formal or informal | Purpose → Development → Action expected | Dear/Yours, correct sign-off pairing | Calm, polite tone even in complaints |
| Persuasive | Confident, assertive | Thesis → 3 body → Counter-arg → Reframe | DAFOREST techniques, evidence mix | Counter-argument: concede, state, defeat, reaffirm |
| Interview | Two voices, varied | Framing → 5–6 Q&A pairs → Close | Speaker labels, five question types | Distinctive interviewee voice + source integration |
| Journal | Informal, personal | Date → Event → Feelings → Reflection | Date at top, first person, intimate tone | Genuine reflection — what did it mean? |
| Newspaper Report | Impersonal, factual | Headline → 5-Ws lead → Detail → Close | Inverted pyramid, attributed quotes | Named sources + zero editorialising |
Which Form Appears Where?
| Paper | Section | Possible Forms | Marks |
|---|---|---|---|
| Paper 1 | Q4 — Extended response to reading | Letter, report, speech, article, interview, journal | 20 (10R + 10W) |
| Paper 2 | Section A — Directed writing + composition | Any form directed; persuasive/descriptive/narrative choice | 40 (5 + 35) |
| Paper 2 | Section B — Composition | Persuasive/argumentative as one option | 40 |
Common Linking Words by Register
| Purpose | Formal (Report/Letter) | Semi-formal (Article/Speech) |
|---|---|---|
| Addition | Furthermore, moreover, additionally | In addition, likewise, also |
| Contrast | However, nevertheless, conversely | But, on the other hand, yet |
| Cause/Effect | As a consequence, therefore, hence | So, as a result, because of this |
| Conclusion | In conclusion, to summarise, finally | Ultimately, in the end, so |
| Concession | Admittedly, it must be acknowledged | True, granted, fair enough |
Techniques Glossary
Key terms, rhetorical devices, and definitions that Cambridge mark schemes credit — with examples for each.
Rhetorical & Persuasive Devices
| Device | Definition | Example |
|---|---|---|
| Rhetorical question | A question that expects no answer, framing the argument | "Are we content to keep paying the higher cost of inaction?" |
| Tricolon (Rule of three) | Three items grouped for rhythm and completeness | "Cleaner lungs, quieter streets, a town worth walking through." |
| Direct address | Speaking to the reader as "you" / "we" to close distance | "You deserve better than this. We all do." |
| Antithesis | Contrasting two ideas to force the reader into your frame | "The question is not whether we can afford to act — it is whether we can afford not to." |
| Emotive language | Words chosen to provoke an emotional response | "choking traffic" instead of "busy roads" |
| Alliteration | Repeated initial consonant sounds for emphasis | "save our seas" |
| Anecdote | A brief personal story to make abstract arguments human | "Take Priya, a sixteen-year-old who volunteered…" |
| Concession | Briefly admitting the opposing view's strength before defeating it | "Critics are right that initial costs are real." |
| Aphorism | A short, quotable sentence summarising a position | "Tradition is not nothing — but it is not, in this instance, enough." |
| Inclusive pronouns | Using "we", "our", "us" to unite writer and reader | "We owe it to ourselves to demand better." |
Examiner Keywords
| Term | What It Means |
|---|---|
| Stance (thesis) | Your single, clear position on the question, stated early and held consistently. |
| Ethos / Pathos / Logos | Three classical appeals: credibility, emotion, reason. Strong writing uses all three. |
| Counter-argument & rebuttal | An opposing view stated fairly, conceded where true, then defeated. The top-band discriminator. |
| Call to action | A direct demand on the reader at the close — to vote, sign, write, change their mind. |
| PEEL | Point, Evidence, Explain, Link — paragraph structure for argumentative writing. |
| Develop (an idea) | Going beyond what the text states to its implications, feelings, or consequences. Not repetition. |
| Speaker label | Identifier marking each turn in an interview: "Interviewer:" / "Maya:". On every turn, new line. |
| Probing question | A question aimed at a specific idea that invites a developed answer, not yes/no. |
Assessment Objectives at a Glance
| AO | Focus | What Examiners Look For |
|---|---|---|
| AO5 (W) | Vocabulary, structures, stylistic effects | Wide range of techniques used for deliberate effect; varied sentence structures; topic-appropriate vocabulary. |
| AO6 (W) | Spelling, punctuation, grammar | Accurate throughout; ambitious punctuation (semicolons, colons, dashes) used correctly. |
| R1–R5 | Reading (Paper 1 Q4) | Select, develop, evaluate source ideas; use and respond to them in your own voice, not copy. |