CAMBRIDGE INTERNATIONAL EXAMINATIONS

Cambridge International General Certificate of Secondary Education

MARK SCHEME for the October/November 2014 series

0500 FIRST LANGUAGE ENGLISH

0500/32 Paper 3 (Directed Writing and Composition),
maximum raw mark 50

This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of
the examination. It shows the basis on which Examiners were instructed to award marks. It does not
indicate the details of the discussions that took place at an Examiners’ meeting before marking began,
which would have considered the acceptability of alternative answers.

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Mark schemes should be read in conjunction with the question paper and the Principal Examiner
Report for Teachers.

Cambridge will not enter into discussions about these mark schemes.

Cambridge is publishing the mark schemes for the October/November 2014 series for
most Cambridge IGCSE®, Cambridge International A and AS Level components and some
Cambridge O Level components.

® IGCSE is the registered trademark of Cambridge International Examinations.

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Note: All Examiners are instructed that alternative correct answers and unexpected approaches in
candidates’ scripts must be given marks that fairly reflect the relevant knowledge and skills
demonstrated. Nonetheless, the content must be clearly related to and derived from the
passage.

Section 1: Directed Writing

Question 1

This question tests Writing Objectives W1–W5 (15 marks):

• articulate experience and express what is thought, felt and imagined

• order and present facts, ideas and opinions
• understand and use a range of appropriate vocabulary
• use language and register appropriate to audience and context
• make accurate and effective use of paragraphs, grammatical structures, sentences, punctuation
and spelling.

AND aspects of Reading Objectives R1–R3 (10 marks):

• understand and collate explicit meanings

• understand, explain and collate implicit meanings and attitudes
• select, analyse and evaluate what is relevant to specific purposes.

Imagine that you are Elena and you are going to answer Freya’s letter.

Write your letter, which will be published in the magazine.

In your letter you should:

• identify and evaluate Freya’s arguments and concerns
• give Freya suitable advice for her situation.

Base your letter on what you have read in the passage, but be careful to use your own words.
Begin your letter, ‘Dear Freya, I was sad to read your letter and I understand your feelings.
However, I am sure that your situation is not as hopeless as you imagine…’.

You should write between 1½ to 2 sides allowing for the size of your handwriting.
Up to 10 marks are available for the content of your answer, and up to 15 marks for the
quality of your writing.
[25]

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General notes on likely content:

The best responses show sympathy to Freya but try to persuade her that her attitude is rather selfish;
the advice is to change the direction of her life. There is some skill in selecting which of the content to
evaluate, but there is plenty of detail from the text.

Average responses tend to summarise Freya’s arguments and concerns and the best of these are
well ordered. However, the quality of the advice is less good and individual suggestions are rather
brief.

Weaker responses tend to summarise some of the text in no particular order, lift parts of the reading
material or write irrelevantly, drifting away from the passage.

Candidates might use the following ideas:

Responses may include a wide range of points of which the following are examples:

Identification of Freya’s arguments

• She and her husband have sacrificed their lives to bring Jacob up
• Jacob’s actions in leaving home are unnecessary
• He is ungrateful, thoughtless and selfish
• What he is doing is risky, and here there is security
• Her role as a mother and grandparent is being taken away
• She and her husband are getting older and will be isolated from everybody

Suitable advice: Give credit for an appropriate mix of sympathy for both Freya and Jacob.
• Let Jacob go and promise your support for his ventures
• Perhaps this is a knee-jerk reaction and with time your attitudes will change
• Make sure that you are able to keep in touch via the internet – he will teach you
• Stop being sorry for yourself and thinking you are getting old
• Go on a holiday, and trust your two workers to look after it in your absence
• Be less grudging about welcoming Jacob’s family. The grandchildren will make you feel young
again.
• Find time to socialise with your neighbouring farmers
• Talk to Jacob unselfishly about the whole situation and about his inheritance to discover his real
views

They may also explore ideas such as:

• Freya's reaction – She has given far too much and needs to look at her life anew.
• Jacob has every right to take the course he has decided on.

Accept other relevant ideas derived from the passage and relevant to the question.

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The question is marked out of 10 for Reading and 15 for Writing.

Use the following table to give a mark out of 10 for Reading.

Band 1 9–10 Gives a thorough, perceptive, convincing evaluation. Reads effectively between
the lines. Shows understanding by developing much of the reading material and
assimilating it into a response to the task.

Band 2 7–8 Some evidence of evaluation, engaging with a few of the main points with
success. Uses reading material to support the argument. Occasionally effective
development of ideas in the material.

Band 3 5–6 Reproduces a number of points to make a satisfactory response. The response
covers the material adequately, but may miss opportunities to develop it
relevantly or at length.

Band 4 3–4 Selects points from the passage rather literally and/or uses the material thinly.
Does not combine points into a connected response.

Band 5 1–2 Parts of the response are relevant, though the material may be repeated or used
inappropriately.

Band 6 0 Response does not relate to question and/or too much unselective copying
directly from the material to gain a mark in Band 5.
First variant Mark Scheme
Use the following table to give a mark out of 15 for Writing.

Band 1 13–15 Consistent sense of audience; authoritative and appropriate style. Fluent, varied
sentences; wide range of vocabulary. Strong sense of structure, paragraphing
and sequence. Virtually no error.

Band 2 10–12 Sense of audience mostly secure; there is evidence of style and fluency;
sentences and vocabulary are effective. Secure overall structure; mostly well-
sequenced. Writing is mainly accurate.

Band 3 8–9 Occasional sense of audience; mostly written in correctly structured sentences;
vocabulary may be plain but adequate for the task; mostly quite well structured.
Errors minor.

Band 4 5–7 Inconsistent style; simple or faultily constructed sentences; vocabulary simple;
basic structure. Frequent errors, including sentence separation.

Band 5 3–4 Inappropriate expression; the response is not always well sequenced. Serious
errors in sentence structure/vocabulary/grammar/punctuation.

Band 6 1–2 Expression unclear; flawed sentence construction and order. Persistent serious
errors interfere with the conveying of meaning.

Band 7 0 Problems of expression and accuracy are too serious to gain a mark in Band 6.

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Section 2: Composition

Questions 2 (a), 2 (b), 3 (a), 3 (b), 4 (a) and 4 (b).

Give two marks:

• the first mark is out of 13 for Content and Structure: see Table A
• the second mark is out of 12 for Style and Accuracy: see Table B

Write about 2 sides, allowing for the size of your handwriting, on one of the following:

Argumentative/Discursive writing

2 (a) Would you enjoy being one of these: a teacher, a police officer or a doctor? Explain why or
why not. [25]

OR

(b) ‘Getting old is something to be dreaded’. Do you agree? [25]

Descriptive writing

3 (a) Describe a classroom of students with no teacher present. End your description as the
classroom door suddenly opens. [25]

OR

(b) You climb a tree and cannot be seen. Describe what you see and hear happening below. [25]

Narrative writing

4 (a) Write a story which begins with the words ‘Nothing could have prepared me for what I had to
do next.’ [25]

OR

(b) You have the power to go back 24 hours to change what happened or what was said. Write a
story involving this power, making it clear why you needed to make changes. [25]

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COMPOSITION TASKS: TABLE A – CONTENT AND STRUCTURE

ARGUMENTATIVE/ DESCRIPTIVE TASK NARRATIVE TASK

DISCURSIVE TASK

Band 1 • Consistently well • There are many well- • The narrative is

developed, logical defined, well-developed complex and
11–13 stages in an overall, at ideas and images, sophisticated and
times complex, describing complex may contain devices
argument. atmospheres with a such as sub-texts,
range of details. flashbacks and time
• Each stage is linked lapses. Cogent details
to the preceding one, • Overall structure is are provided where
and sentences within provided through necessary or
paragraphs are devices such as the appropriate.
soundly sequenced. movements of the
persona, the creation of a • Different parts of the
short time span, or the story are balanced
creation of atmosphere or and the climax
tension. There is no carefully managed.
confusion with writing a Sentence sequences
story. Repetition is are sometimes
avoided and the sequence arranged to produce
of sentences makes the effects such as the
picture clear to the reader. building up of
tension or providing a
sudden turn of events.

Band 2 • Each stage of the • There is a good range of • The writing develops
argument is defined images with interesting some interesting
9–10 and developed, details which contribute features, but not
although the to a sense of consistently so.
explanation may not atmosphere. Expect the use of
be consistent. detail and some
• These are formed into an attention to character
• The stages follow in a overall picture of some or setting.
generally cohesive clarity, largely consistent
progression. and effective. There may • Writing is orderly and
Paragraphs are mostly be occasional repetition, the beginning and
well sequenced, and opportunities for ending are
although some may development or the satisfactorily
finish less strongly provision of detail may be managed. The reader
than they begin. missed. Sentences are is well aware of the
often well sequenced. climax even if it is
not fully effective.
Sequencing of
sentences provides
clarity and engages
the reader in events
or atmosphere.

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Band 3 • There is a series of • There is a selection of • A straightforward

relevant points and a relevant ideas, images, but cohesive story
7–8 clear attempt is made and details, which with identification of
to develop some of satisfactorily address the features such as
them. These points task. An attempt is made character and setting.
are straightforward to create atmosphere.
and logical/coherent. • While opportunities
• The description provides a for appropriate
• Repetition is avoided, series of points rather development of
but the order of the than a sense of their being ideas are sometimes
stages in the overall combined to make an missed, overall
argument can be overall picture, but some structure is
changed without ideas are developed competent, and some
adverse effect. The successfully, albeit features of a
sequence of the straightforwardly. Some developed narrative
sentences within sentences are well are evident.
paragraphs is sequenced. Sentences are usually
satisfactory, but the sequenced to narrate
linking of ideas may events clearly.
be insecure.

Band 4 • Mainly relevant points • Some relevant ideas are • Responds relevantly
are made and they are provided and to the topic, but is
5–6 developed partially occasionally developed only a series of
with some brief a little, perhaps as a chronological
effectiveness. narrative. There are events with
some descriptive details, occasional references
• The overall argument but the use of event may to character and
shows signs of overshadow them. setting.
structure but may be
sounder at the • There is some overall • Overall structure is
beginning than at the structure, but the writing sound, but there are
end, or may drift away may lack direction and examples where
from the topic. There intent. There may be particular parts are
may be some interruptions in the too long or short.
repetition. The sequence of sentences The climax is not
sequence of and/or some lack of effectively described
sentences may be clarity. or prepared.
occasionally insecure. Sentence sequences
narrate events and
occasionally contain
irrelevances.

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Band 5 • A few relevant points • Content is relevant but • A very simple

are made and may be lacking in scope or narrative; it may
3–4 expanded into variety. Opportunities to consist of nonsensical
paragraphs, but provide development and or confusing events.
development is very detail are frequently
simple and not always missed. • Unequal or
logical. inappropriate
• The overall structure, importance is given
• There is weakness of though readily discernible, to parts of the story.
sequencing overall lacks form and Paragraphing is
and within paragraphs. dimension. Paragraphing inconsistent. Dialogue
Paragraphing is is inconsistent. The may be used
inconsistent. reliance on identifying ineffectively. There is
Repetition and an events, objects and/or no real climax.
inability to sustain people sometimes leads Sentence sequences
relevant argument to a sequence of are used only to link
are obvious. sentences without simple series of
progression. events.

Band 6 • A few points are • Some relevant facts are • Stories are
discernible but any identified, but the overall incoherent and
1–2 attempt to develop picture is unclear and narrate events
them is very limited. lacks development. indiscriminately.
Endings are absent or
• Overall argument • There are examples of lack effect.
only progresses here sequenced sentences, but
and there and the there is also repetition and • The shape of the
sequence of muddled ordering. narrative is unclear;
sentences is poor. some of the content
has no relevance to
the plot. Sequences of
sentences are
sometimes poor,
leading to a lack of
clarity.

Band 7 • Rarely relevant, little • Rarely relevant, little • Rarely relevant, little
material, and material, and presented in material, and
0 presented in a a disorderly structure. Not presented in a
disorderly structure. sufficient to be placed in disorderly structure.
Not sufficient to be Band 6. Not sufficient to be
placed in Band 6. placed in Band 6.

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COMPOSITION TASKS: TABLE B: STYLE AND ACCURACY

Band 1 11–12 Writing is consistent, stylistically fluent, linguistically strong and

accurate; has sense of audience.
Look for:
• appropriately used ambitious words
• complex sentence structures where appropriate

Band 2 9–10 Writing is mostly fluent, sometimes linguistically effective and largely
accurate; may have some sense of audience.
Look for:
• signs of a developing style
• some ability to express shades of meaning

Band 3 7–8 Writing is clear, competent (if plain) in vocabulary and grammar; errors
perhaps frequent, but minor.
Look for:
• mostly correct sentence separation
• occasional precision and/or interest in choice of words

Band 4 5–6 Writing is clear and accurate in places, and uses limited vocabulary and
grammar; errors occasionally serious.
Look for:
• simple sentences
• errors of sentence separation

Band 5 3–4 Writing is simple in vocabulary and grammar; errors are distracting and
sometimes serious, but overall meaning can be followed.
Look for:
• definite weaknesses in sentence structures
• grammatical errors such as incorrect use of prepositions and tense

Band 6 1–2 Writing is weak in vocabulary and grammar; serious, persistent errors;
meaning is blurred.
Look for:
• faulty and/or rambling sentences
• language insufficient to carry intended meaning

Band 7 0 Writing is difficult to follow because of inadequate language proficiency

and error.

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