Reading and viewing

Question 92evaluating for a purpose · extension

Two reviews of the fictional game Trail Builders Review A — Ella: The map is clear, and the short rounds fit our lunch break. I like having a choice of routes. However, the tiny counters are easily lost. I would recommend this game for a quick challenge if you have a tray to hold the pieces. Review B — Noah: We understood the map immediately. The choice of routes makes each round different, but the rounds finish just when I am enjoying myself. I would prefer a longer game. The counters are too small to handle comfortably. Both reviewers played the same edition. These are their own opinions, not the manufacturer's description.

You want a game for a ten-minute break. Which review helps you decide, and what limitation would you still consider?

What to aim for

Connects the choice to the specified purpose.
Uses a review detail.
Considers a relevant limitation.

Response or adult observation notes

Question 93connecting · core

Tuesday's rehearsal I thought I knew every line of our play. At rehearsal, I spoke before Jo had finished, skipped a whole sentence and forgot to turn towards the audience. Our teacher asked us to try the scene again, more slowly. This time I listened for Jo's final word. I took a breath before answering. The pause felt enormous to me, but our teacher said it helped the audience understand the change of speaker. At home I was going to practise the speech ten times without stopping. Now I have a different plan: Mum will read Jo's part, and I will practise listening as well as speaking. Knowing my own lines is only part of the job.

Connect the writer's lesson about listening with another group activity you know. Use one detail from the diary and one from your example.

What to aim for

States the diary's lesson accurately.
Gives a relevant personal or imagined group activity.
Explains the connection.

Response or adult observation notes

Question 94texts across time · extension

Two children's story openings from different times A — The Tale of Peter Rabbit by Beatrix Potter, first published in 1902. This is its opening sentence, with line breaks preserved: “Once upon a time there were four little Rabbits, and their names were— Flopsy, Mopsy, Cotton-tail, and Peter.” B — Pip's Morning, an original Pileo Academy classroom story, 2026: Meet Pip: a rabbit with muddy paws and a plan. This morning she is going to find out who has been nibbling the carrot tops. Her brothers think the answer is obvious. Pip is not so sure. Both openings introduce rabbit characters in stories for children. The short extracts do not show the complete stories.

Compare the dated story openings using one similarity of purpose and two differences in language or presentation. Explain why the dates do not prove that every story of each period uses the same style.

What to aim for

Names the common purpose and audience.
Gives two supported differences.
Avoids generalising two extracts to all writing in either period.

Response or adult observation notes

VC2E4LY07 VC2E4LY09

Text references: The Tale of Peter Rabbit (1902), Beatrix Potter — public-domain text

Question 95text organisation · core

Testing the shade cloth Our class wanted to find out whether a shade cloth helped the soil stay damp. We filled two identical trays with the same amount of soil and water. We put them side by side outside. One tray was covered by shade cloth; the other was uncovered. We checked both trays at three o'clock each afternoon. Monday: covered soil damp; uncovered soil damp. Tuesday: covered soil damp; uncovered soil slightly damp. Wednesday: covered soil slightly damp; uncovered soil dry. We concluded that, in our three-day trial, the covered soil stayed damp longer. We want to repeat the trial in different weather before making a general claim.

Suggest two headings that would help a reader find the method and the results. State which sentences belong under each heading.

What to aim for

Provides clear headings.
Matches each heading to relevant information.
Preserves the distinction between procedure and observations.

Response or adult observation notes

Question 96moving images and sound · extension

Use the three numbered panels; the dot moves once for five seconds, with a static fallback for reduced motion. You can trace the sequence with a finger at any time. For sound tasks, an adult or partner supplies the specified quiet taps/clap at a comfortable volume; no recording is required.

Original moving-image study: a ball rolls towards a block tower. The three panels show the start, approach and result.

An original three-frame storyboard: 1, a small ball rests high on a ramp; 2, the ball rolls downhill towards a tower of blocks; 3, the blocks fall. A dot below makes one five-second movement to demonstrate the direction from the ramp towards the tower. — Open a larger view of the image

Watch the dot make one five-second movement, or follow the three panels if reduced motion is enabled. Explain how position changes show the sequence without needing a paragraph of narration.

What to aim for

Refers to at least two panels.
Explains movement or position.
Connects the sequence to the event.

Response or adult observation notes

Question 97moving images and sound · extension

Use the three numbered panels; the dot moves once for five seconds, with a static fallback for reduced motion. You can trace the sequence with a finger at any time. For sound tasks, an adult or partner supplies the specified quiet taps/clap at a comfortable volume; no recording is required.

A film could begin with a close view of the ball or a wide view of the whole ramp and tower. Explain what each opening would reveal and which you would choose to help a new viewer understand the setup.

What to aim for

Compares both framing choices.
Explains information included or excluded.
Justifies a choice for the audience.

Response or adult observation notes

Question 98moving images and sound · extension

Use the three numbered panels; the dot moves once for five seconds, with a static fallback for reduced motion. You can trace the sequence with a finger at any time. For sound tasks, an adult or partner supplies the specified quiet taps/clap at a comfortable volume; no recording is required.

Ask an adult to tap slowly while pointing to panel 1, then tap faster while following the moving dot towards the tower. Watch once with these sounds and once silently. Describe how sound changes your expectation.

What to aim for

Experiences both a silent and sounded version.
Names a change in the sound.
Explains a supported effect on the viewer.

Response or adult observation notes

Question 99moving images and sound · extension

Use the three numbered panels; the dot moves once for five seconds, with a static fallback for reduced motion. You can trace the sequence with a finger at any time. For sound tasks, an adult or partner supplies the specified quiet taps/clap at a comfortable volume; no recording is required.

Make two sound versions of panel 3: one soft tap and one sudden louder clap. Keep the drawing the same. Explain how the two versions change the apparent size or force of the event.

What to aim for

Compares two actual sound versions.
Keeps the image constant.
Connects loudness to an interpretation without calling it proof.

Response or adult observation notes

Question 100moving images and sound · extension

Use the three numbered panels; the dot moves once for five seconds, with a static fallback for reduced motion. You can trace the sequence with a finger at any time. For sound tasks, an adult or partner supplies the specified quiet taps/clap at a comfortable volume; no recording is required.

Imagine enlarging only the tower in panel 2 and making the other elements pale. Explain how that would change the viewer's attention before the fall.

What to aim for

Identifies changes in size or contrast.
Explains which element becomes prominent.
Connects attention with anticipation.

Response or adult observation notes