grade 9 creative writing answers

How to get a grade 9 in GCSE English creative writing…

• January 29, 2024

A common mistake students make is TELLING the examiner how a character feels (e.g. ‘Johnny was scared) instead of SHOWING how they feel through descriptive language. 

But here’s the other thing…

Examiners aren’t looking for a really really interesting story – IN FACT – the boring storylines often perform best!

But a boring storyline – doesn’t mean a boring description.

And an interesting description – comes from SHOWING not TELLING. 

Because showing how the character feels – is much more engaging to read,

And this – is what helps students stand out to the examiner so they can reach a grade 9!

But what do we mean by showing instead of telling? How does this look in practice?

Let’s take a look at an example – where the plot of the story is the main character being chased through a haunted forest.

Here’s what a grade 9 answer would include 

Table of Contents

The key components of a grade 9 creative writing answer.

Picture your character being chased through a haunted forest. Instead of just saying they are scared (i.e. telling the examiner how they feel), let’s use simple yet effective techniques to bring the setting to life.

i. Descriptive Words…

 Using describing words to paint a picture of the eerie forest is one way you can show the character’s fear. 

Instead of saying ‘Johnny is scared’ – talk about the overbearing trees, or a spooky house in the distance, or describe the darkness within the forest etc.

These help paint a picture in the examiner’s mind – something which they are looking for from grade 9 students!

ii. Action Words… 

Focus on what Johnny does that shows they are scared. 

Describe HOW he runs away from something he sees in the forest, or the look on his face when he hears a noise, or the scream he makes when he sees something move! 

It doesn’t just have to be these – but anything that SHOWS the examiner what is going on in a descriptive and exciting way… 

Rather than just TELLING them this happened…then this…then this – because that’s just boring!

iii. Sensory Details… 

Engage the reader’s senses. 

For example – describe the sounds of a crow, the wind in the trees, or how the surroundings affect Johnny’s body as he runs. 

These details make the story more exciting. Essentially – they are the icing on the cake! 

They build on everything from before, and actually start to make the setting dynamic and alive.

Why Showing is Better Than Telling

Remember – this concept doesn’t just apply to being chased in a forest…

It goes for ANY storyline in creative writing.

If your character is relaxing on a beach – SHOW the examiner HOW they are relaxed – don’t just tell them that the character is relaxed!

If your character is playing football – SHOW the examiner HOW they feel while playing – don’t just tell them that the character is playing…

You get the idea!

Because rather than simply stating the character’s emotions – ‘Josh was happy to be playing football’ – showing allows us to explain why they feel a certain way – ‘The sun was beating down on the pitch, Josh had just scored a great goal and his massive grin let everyone know how happy he was as he wheeled away in celebration’ – I’m sure you can see which one is better!

Here are 2 more rules to keep in mind when doing this:

• Engaging the Examiner: 80% of the time – show the examiner instead of just telling – you won’t always be able to do it which is why we say 80%

But anything less than that and you run the risk of a much lower grade!

• Create a Memorable Scene: 

The scene itself doesn’t have to be very special or interesting – but you need to make it sound interesting.

It can be as simple as…someone’s house, garden, your local town, a forest, a beach etc. 

But you need to bring the place to life using all the points we mentioned above – in order to make an otherwise boring place, extremely interesting!

Let’s recap on what we mean by ‘descriptive language’

To further understand the importance of descriptive language, let’s break down the elements that contribute to creating an immersive scene…

• Visual : what can be seen that adds to how the character feels (e.g. the big trees representing fear, or the scorching sun representing happiness)
• Action : What is the character doing that shows how they feel (e.g. running away = scared, dancing = happy etc.)
• Sound : Engage the examiner’s ears with a description of sounds (e.g. the rustling of the trees, the cheering of a crowd, the loud traffic etc.)
• Sense : Talk about how the setting affects the characters body (e.g. shivering = cold, goosebumps = excited or scared), what can the character smell? Etc. 

Mastering the Craft of Creative Writing

Remember…

Creative writing in GCSE English isn’t about coming up with the most interesting storyline. 

They’re not looking for you to come up with the next Harry Potter or Lord of the Rings in your exam!

They just want you to pick a boring storyline – and make it interesting for the examiner to read!

Exactly how we did above with Johnny being chased in the forest.

Because is being chased in the forest a new, or really exciting idea? Not really. 

But can we make it interesting to read? Of course!

So if you’re a student currently struggling with creative writing – make sure to read through this again so you’ve understood it all!

And if you’re a parent – make sure to forward this to your child so they can see what it takes to reach a grade 9!

And Lastly, if you wanted to attend a free, live grade 9 secrets MasterClass (for parents and students) where we’ll be going through other revision methods that helped over 400 of our students reach a grade 9…

Just click here to learn more: https://jpwtutors.com/register-grade-9-secrets-org

I hope this helps and hopefully we’ll see you soon in one of our free classes!

• Jacob Williams

Jacob Williams is the founder of JPW Academy and the creator of the English Excellence method, which helped over 400 students reach a grade 9 last year. After graduating from Oxford and teaching at a private school, he made a commitment to help as many students as possible reach top grades. He has published a revision guide, Mastering Macbeth, which is a #1 Amazon bestseller.

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Miss Huttlestone's GCSE English

Because a whole class of wonderful minds are better than just one!

2 Grade 9 Creative Writing Examples

I recently asked my year 11s to pen a piece of description and/or narrative writing for their mini assessment. I gave them the following prompts:

Your school wants you to contribute to a collection of creative writing.

EITHER: Write a short story as suggested by this picture:

OR: Write a description about a person who has made a strong impression on you.

The following were two COMPELLING and CONVINCING examples of the second choice – one pupil taking ‘you’ as a fictional invitation, the other as a biographical one:

EXAMPLE ONE:

Gradually, I awake and open my eyes only to see the cracked white ceiling which greets me every day. Here I sit, slumped in the bed with the scratchy white sheets hugging me and muffled beeping noises jumping into my ears. Rubbing the sleep crust from my bloodshot eyes, I observe the scene before me. The sound of footsteps overlapping as nurses rush from bed to bed; the metallic tang from stainless steel invading my nostrils; the cold metal bed rail imprisoning and mocking me; the pungent scent of antiseptic troubling me and the blood-curdling cries and moans utterly terrifying me. Using all my strength, I try to imagine I am somewhere else, anywhere else but here.

Crowds, signs, roars: it was 1903 and the suffragette movement had begun. It was a crisp night, refreshing almost and I had taken to the streets. It was like I was possessed by something that night, some urge and deep desire within me that had led me there, surrounded by women like myself. I stood clueless and lost in the crowd; the women yelling ‘Deeds not words’ in unison; passionately parading with large wooden signs and viciously shattering windows with bricks and stones. Despite the violence that was displayed before me, I was not afraid of what was happening and I didn’t deem it unnecessary or improper, in fact I wanted the same as these women, I wanted equality. Abruptly, all of the roars and cheers became muted and faint, one woman walked slowly towards me, her hair messily swooped into an updo, her clothes somewhat dirtied and her chocolate brown corset slightly loosened. There was a glimmer in her eyes as tears seemed to swell within their hazel pools, she seemed inspired, hopeful. After reaching me in the crowd, she held out her hand, gently passing me a sign. Immediately, I clasped it and the yelling and chanting rang loudly in my ears once more. My journey had begun.

Here however, is where it ends. I am aware I do not have much time left, as the doctors have told me so, and spending my last moments in this hospital room is not optimal. However, as I look around I can see beauty within a room which at first glance seems void of it. The hollow medical tubes by my side remind me of the awful act of force feeding I have faced in the past; the shrieks and bawls of patients reflecting the pain women had felt in my time and the bed bars mirroring the prisons we were thrown into and the gates we would chain ourselves too. I know these things may seem far from beautiful, but I can see my past within this room, the power I possessed and the changes I have contributed to today. I know now that I can leave this earth having had an impact. Slowly I close my eyes, I can see her, the women who changed my life many years ago, her name, Emmeline Pankhurst.

EXAMPLE TWO:

I will never forget that day. The hazel pools of her eyes glazed over, and hands delicately placed at her sides. Nobody in the room could quite grasp the fact that this was happening. The crowds of black attire row on row seemed to mimic the thing she loves most in life, the piano. However, this time she had taken the ivory natural keys with her and left everyone else with the sharp tones. You needed both to create beautiful symphonies but all that filled the room was the excruciating silence of her absense. Even the metronone like ticks of the clock seemed to come to a standstill.

It had all began that day, she seemed to open up this whole new world for us to explore together as she placed my fingers onto the keys for the first time. I knew that this was what I was meant to do. She was the most passionately beautiful pianist I had ever seen in my life. Often, I would peer round the oak doorway before my lessons just to catch a glimpse at her. It seemed like nothing in the world mattered to her at the time.

As the years progressed, so did the scope of this world we were exploring. Each sheet of lovingly handwritten sheet music was like a new section of the map we were slowly creating together. Each of her students had their own map. Each as beautiful and each as unique as the pianist. The crotchets and quavers that adorned the staves directed the different paths we could take as my fingers graced the keys. This may not have been a beautiful ballet routine, but this was our dance and it had been carefully choreographed just for us.

That piano room was the safest place in the world. Every inch of it her: the potent scent of her floral perfume; shelves full of scruffy and well loved sheet music; rows upon rows of framed photos of her and her students; the vintage piano which she always kept in tune, it was home. I couldn’t bear the

idea that someone else was going move in and rip away the music room without a second thought. It was her music room.

It was up to me now. Up to me to finish this journey we had begun together.

She may not be with me in person anymore, but she will always live within the world we built together and nothing could ever change that. For she could never truly be gone since she left a piece of her within every one of her students; the passion for piano.

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gcseenglishwithmisshuttlestone

Secondary English teacher in Herts. View all posts by gcseenglishwithmisshuttlestone

2 thoughts on “2 Grade 9 Creative Writing Examples”

This has helped me a lot, I myself am preparing for a narrative test like this and these prompts and descriptive short stories are marvellous! Thank you for sharing this! 🙂

My pleasure!

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ALEVELENGLISHLANGANDLIT

• alevelenglish
• Dec 28, 2020
• 11 min read

AQA English Language, Paper 1 Full Mark Responses

Below are grade 9 exemplar answers written in timed conditions crediting full marks.

Rosabel looked out of the windows; the street was blurred and misty, but light striking on the panes turned their dullness to opal and silver, and the jewellers' shops seen through this were fairy palaces. Her feet were horribly wet, and she knew the bottom of her skirt and petticoat would be coated with black, greasy mud. There was a sickening smell of warm humanity – it seemed to be oozing out of everybody in the bus – and everybody had the same expression, sitting so still, staring in front of them. Rosabel stirred suddenly and unfastened the two top buttons of her coat… she felt almost stifled. Through her half-closed eyes, the whole row of people on the opposite seat seemed to resolve into one meaningless, staring face.

How does the writer use language here to describe Rosabel’s bus journey home?

You could include the writer’s choice of:

- words and phrases

- language features and techniques

- sentence forms

Mansfield uses the contrast of imagery of the street’s windows, which in reality were “blurred and misty” but to Rosabel seemed “opal and silver” under the light. The second description seems almost magical and creates and ethereal atmosphere which gives the reader an insight into how Rosabel views even the “dullness” as beautiful. These images also both allude to jewels creating a sense of lavishness. This is emphasised by how the “jewellers’ shops” seemed like “fairy palaces”. This is an image that incorporates both other worldly as well as rich elements, suggesting that Rosabel does not see beauty in all things under the horrible weather, but rather just the jewellery shops. They are also made to seem unaitanable as faries are not of this world, suggesting that Rosabel feels the jewellers’ shops are not a part of her lifestyle and suggests to the reader that she might be feeling envious.

This ethereal imagery sharply contrasts to how Rosabel then views the rest of the scene. She knew that her coat would “be coated in black, greasy mud”. This is a sharp contrast to the previous descriptions and makes the reader pity Rosabel. The colour black also connotes lack of splendour while directly contrasting the light tone of “silver” used to describe the jewellers’ shop and the image of the mud highlights the contrast between Rosabel’s poor situation compared to the more comfortable and magical alternative previously described.

The people in the bus are also described as dull, showing their lack of appeal to Rosabel and how she does not have interest in them. Alliterating of “sitting so still, staring” is used to show their monotonous actions suggesting to the reader a lack of life and movement. They are also described to have the “same expression” with a “whole row of people becoming one meaningless, staring face”. The lack of individuality creates a sense of dullness while how they’re on the “opposite seat” uses space to show how Rosabel feels distant and opposite in nature from them.

Examiner Comments:

This response demonstrates a perceptive and detailed understanding of language. The candidate selects a range of judicious textual details, analyses the writer's choices and uses subject terminology seamlessly to enhance comments made.

You now need to think about the whole of the source.

This text is from the beginning of a short story.

How has the writer structured the text to interest you as a reader?

You could write about:

- what the writer focuses your attention on at the beginning of the source

- how and why the writer changes this focus as the source develops

- any other structural features that interest you.

The structure of the extract is split into two sections, the first being the present time that Rosabel is in – carrying on with her mundane routine of tea and the bus journey home. The second is a flashback of ‘all that had happened during the day’ at Rosabel’s hat shop. These two sections are directly contrasted and juxtaposed through a number of ways: the actions Rosabel carries out, the actions of the people she is with and the setting of each of the scenes. The fact that Rosabel is the one character that remains constant throughout the extract suggests that she is a central character to the plot of the story. Initially, the writer immediately sets up the time, manner and place of the story. The focus is placed primarily on Rosabel in the beginning with her buying ‘a bunch of violets’ and having ‘so little [for] tea’. This allows the writer to set up the scene and setting for the extract. Later the focus changes to Rosabel getting onto the bus. The fact that the second paragraph shifts from ‘one street’ to ‘everybody in the bus’ reflects the external nature of the outside world compared to the internal environment of the bus. The fact that the writer changes the focus constantly, allows the reader to be brought inside of the bus. The focus then narrows further to Rosabels own internal thoughts of her feeling ‘stifled’. This change in focus provides a smooth transition to the second part of the extract, Rosabel’s flashback.

The writer shifts the focus to Rosabel’s memory of the day she experienced at her ‘hat shop’. The writer juxtaposes two of Rosabel’s customers, ‘the girl who tried on every hat’ and ‘a girl with beautiful red hair’. This juxtaposition makes the description of the second customer more striking, placing significance on her, for the reader. This enables the reader to experience the flashback with greater understanding. The writer changes the focus to Rosabel’s experience with the customer ‘with beautiful red hair’. The fact that the only bits of dialogue in the extract are from Rosabel’s interaction with this customer, reflect the important of the pair’s conversation. This creates mystery around the customer. The fact that the writer ends with the cliffhanger of ‘Rosabel heard her say’ creates more mystery and foreshadows the later parts of the extract, making the reader interested. The fact that the writer shifts from Rosabel’s present experience to her flashback, narrows the focus to Rosabel’s internal thoughts which makes the extract more interesting to the reader. The fact that the narrative perspective remains the same reinforces the fact that Rosabel is a central character which intrigues the reader to find out what happens to her.

This response is both detailed and perceptive. It begins with an overview of the text that demonstrates a clear understanding of structure, and then focuses on specific shifts within the text and analyses their significance. Recognition of the writer constantly narrowing the focus from the jewellers' shops, to the passengers on the bus, to Rosabel's internal thoughts, in order to provide a smooth transition to the flashback of the second part of the text, is particularly perceptive. The response is over-long and the final paragraph adds little, but this does not detract from the quality elsewhere. Subject terminology is used confidently, and is seamlessly embedded throughout the response.

Focus this part of your answer on the second part of the source, from line 19 to the end .

A student said, ‘This part of the story, set in the hat shop, shows that the

red-haired girl has many advantages in life, and I think Rosabel is right to be angry.’

To what extent do you agree?

In your response, you could:

- consider your own impressions of the red-haired girl

- evaluate how the writer conveys Rosabel’s reactions to the red-haired girl

- support your response with references to the text.

In the second part of the source, the writer describes the red-haired girl to be very privileged, which upsets Rosabel. This is somewhat justified, but there are many reasons why it is not fair for Rosabel to be angry.

From the beginning, the girl is described very carefully and in much detail. Her “beautiful” hair and “white” skin have connotations of purity and angelic features, which are inevitably enviable qualities. The writer describes the girl’s eyes as green like “that green ribbon shot with gold they had got from Paris last week”. By including “gold” and “Paris”, the reader associates the girl with opulence and grandeur. This shows her wealth and status immediately, suggesting that she has been given many opportunities in life, a notion which is emphasised by the appearance of her “carriage”.

The writer also describes the girl’s company in order to show that the “young man” is also “well dressed” and therefore of the same social status. The contrast between Rosabel and the girl is emphasised by the girl’s companion, as it outnumbers Rosabel.

The writer describes simultaneous actions to emphasis the contrast further – as the girl speaks to the man, Rosabel “took the pins out of her hat, untied her veil and gave her a hand-mirror”. This portrays Rosabel as a servant, and shows her social inferiority clearly, as does the phrase “the girl glanced at Rosabel laughingly”. The verb glances makes Rosabel seem insignificant in the eyes of the girl, and the adverb “laughingly” has a mocking tone. The phrase “they had been very hard to please” also shows the high standards of the customers and the desperate and eager tone of “she had run up, breathlessly” emphasises how much Rosabel wants and needs to make the sale, further emphasising her social standing.

The “untouched box” creates an idea that this hat was special, reinforcing the idea that this girl is deserving or worthy of such an object. The “velvet rose” and “great, curled feather” add to the idea of oppulence that surrounds the girl.

The command of “let me see” shows how the girl can easily use her position to make orders to Rosabel, as does the fact that she “swept out to her carriage and left Harry to pay and bring the box”. This suggests that the girl is accustomed to being catered for and waited on.

Rosabel is heavily contrasted to the girl throughout the passage, even in their appearances, with the girl’s “beautiful red hair” and Rosabel’s “brown hair”. In contrast, Rosabel seems plain and dull. It is clear that Rosabel feels threatened and inferior to the girl, as the “sudden, ridiculous feeling of anger had seized” her. The adjectives used indicate that Rosabel is aware of the foolishness of her emotions, but the “sudden” feeling that “seized” her is passive, and powerful, suggesting that Rosabel can neither stop nor comprehend her feelings. The emotive and violent imagery used of “she longed to throw the lovely, perishable thing”, “bent over” and “flushing”, shows a physical power over Rosabel that is caused by these emotions.

Although Rosabel’s reaction was provoked by the girl “smil[ing]” and calling Rosabel beautiful, Rosabel is mostly justified in feeling angry, for the feelings are taking control of her senses, and are out of her control. Throughout the passage the girl is shown to be entitled, wealthy and “hard to please”, as well as taking Rosabel’s assistance for granted. She also perhaps unknowingly taunts Rosabel by making her try on the hat, and exclaiming that she “must have that!”.

Whilst the girl can't be blamed for being born into her privilege, and she doesn’t actively say anything malicious or rude to Rosabel, it is still unjust for Rosabel that their class division is so wide. It is very likely that Rosabel’s anger is not directly towards the girl, but towards society in general, which is completely justified.

Mark: 20/20

Examiner Comments: T his is a full mark response that shows what a candidate can achieve in response to an unseen text within the time constraints of an examination. It begins with a clear overview - the candidate knows precisely where they are heading with their line of argument. What is produced is a perceptive and detailed evaluation, and a convincing and critical response to the focus of the statement, supported with a range of judicious textual details throughout. The perceptive understanding of writer's methods, eg the use of simultaneous actions by Rosabel and the red-haired girl, one symbolising servant and the other master, is exceptionally clever.

Question 5: Creative Writing

Jessie had just finished milking the cow when the mailman came. “Is for you, Mrs ‘earse’. He pronounced ‘Hearse’ without the ‘H’, his rough country accent mimicking the rest of the small population of Cornbury. He shoved a rather elegant looking envelope in the basket that they used for a mailbox, and strode away, whistling.

Puzzled, Jessie wiped her hands on her apron, before bustling over. It was heavy, no doubt made with a sort of expensive paper, with a seal that looked like a coat of arms. Frowning, she carefully walked inside, handling the letter as though it were some priceless treasure. “Rupert!” she called out to her husband, who seemed to be fiddling with the boiler pipes, again. He appeared soon after, his sandy hair an unruly mess, his fingers covered in grime. His eyes lit up when he saw the seal, obviously it meant something. Snatching the letter from Jessie’s hand, he opened it, like a child with a new toy. “It's from Reg.” he exclaimed delightedly “my best friend from ‘igh school. And he wants us to come for dinner… today.” His face turned slightly panic-stricken. “Must’ve got lost in the post”, he whispered hoarsely. The young couple looked at each other, wide eyed and silent, before suddenly launching into chaos.

An hour later, after much garment changing and hair washing, Jessie stepped out of the cottage, wearing her best blue and white frock, her husband behind her, with borrowed dungarees. A limousine pulled up, its smooth black tyres now respectably mud-splattered, and came to a halt at the fence. A rather middle-aged man got out, and opened the door for them, his dazzling white glove contrasting with the sleek darkness of the vehicle.

When the car drove off, Rupert almost started in surprise. This was much unlike their old tractor; it felt like they were gliding over the earth, rather than rumbling through country lanes. In what felt like 5 minutes (in reality, it was over an hour), the car stopped, and once again, the doors were opened for them. Jessie skipped out, taking in her surroundings in awe.

They were in the middle of a great courtyard, surrounded by windows that looked like a thousand gleaming gems. One could say it was too bright to see, however in Rupert’s case, there was simply too much to see. There was a foundation in the middle, water cascading down, so clean, and sparkly, all of a sudden Jessie, in her best blue and white frock, suddenly felt filthy, and very, very out of place. She glanced at her husband, although he seemed to be just as fascinated as she was.

With a boom, the oak doors in front of them slowly opened, and they hesitantly went inside; the lions on either side almost seemed to be bowing at them, their majestic stone manes elaborately carved, almost sparkling in the heat of the sun.

“Rupert!” exclaimed a young man, of a similar age, as he strode towards Rupert, and offered his hand. Reginald, or Reg, as he liked to be called, obviously expected a handshake, so no one was more surprised than he when his friend tackled him in a bear hug. Lightly, so as not to appear impolite, Reg dusted off his jacket before turning to Jessie “And you must be Jessie. Here's my wife Bella. I'm sure you two will get on beautifully.” A woman stepped out from behind Reg, her long dark hair tumbling down in such a way that reminded Jessie of the fountain outside.

The farmer’s wife gaped at her. She was beautiful. Although in her best blue and white frock, she felt ashamed, as though she were wearing rags. Of course, she was not the only one. Out of the corner of her eye, she saw Rupert fidget nervously, in his dungarees, as he, too, took in the magnificent grey gown, diamonds twinkling, reminding Jessie of the stars they could see from their farm. The ghost of a smile was still etched on her face, as she sighed inwardly and shook Bella’s gloved hand. This was going to be a rather uncomfortable evening.

Mark: 40/40 A05:24 marks A06:16 marks

Content and Organisation (AO5): Convincing, compelling communication, assuredly matched to purpose. Complex ideas and details are embedded seamlessly and the writing is fluent and seemingly effortless. The gentle tone is entirely appropriate for the subject matter. Upper Level 4

Technical Accuracy (AO6): Highly accurate in all aspects of technical accuracy. Level 4

N.B: we've decided not to give answers for question 1 as almost every student in the country gets full marks.

Hope this helps making grade 9 less impossible.

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Creative Story Model Answers for GCSE English Language Grade 9 (eBook)

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Twelve Creative Story writing tasks with complete Grade 9 model answers. Available immediately as a PDF download.

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GCSE English Language Description Grade 9 model answers from GCSEEnglish.uk. The best preparation for the AQA GCSE English Language Paper 1 Section B exam.

Twelve Description writing tasks with complete Grade 9 model answers. Available immediately as a PDF download.

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• TOP GRADES If you’re trying to hunt down a top grade, you’re on the right track. This unbeatable guide shows GCSE English Language students all you need to write simply marvellous Creative Stories as part of your AQA Paper 1 Section B writing assessment. Sit your exams with confidence and certainty, ready to amaze your examiner with your knowledge and skill.
• MODEL ANSWERS This book is packed with powerful, emotive, highly descriptive model answers that demonstrate exactly the range of writing skill and technique the examiners are looking for. Each task is based on a real past exam question.
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Everyday Cup of English

• Active and Passive voice 4
• Adjectives 24

Descriptive Writing (Grade 9)

• Use the following information to describe Hannah, a thirteen years old girl being reported as missing by her parents:
• Face: oval, fresh-faced, spotless, almond-shaped black eyes, expressive
• Hair: long, black, wavy
• Build: small, bony, broad-shouldered
• Clothing: polo-shirt, jeans, boots
• Appearance: smart, carefree

      2. Complete the following description using the information given:

          Rohan Khan is twenty-six years old. He is about five feet ten inches tall…….

• Eyes: brown
• Hair: black
• Profession: singer
• Residence: a bungalow in Andheri (east), Mumbai
• Family: Parents in Punjab, Younger brother a professional choreographer
• Daily routine: exercise at gym for two hours, practice singing for four hours, recording songs in studio, dinner with friends
• Nature: ambitious, hard-working, humble

      3. Describe the following places using the details given:

         Matheran

• a hill station in the district of Raigad
• situated at a height of 800m in hill ranges of Sahyadri mountain
• discovered in 1850 by Lord Elphinston, governor of Bombay
• peaceful and pleasant
• cars not allowed; meter gauge train running from Neral to Matheran
• heaven for nature lovers

         A Vegetable Market

• crowded place in morning as well as evening
• center of the city
• well planned
• two sections: one for fruits, other for vegetable vendors
• enclosed small section for mutton and fish
• stone platforms; marked places for vendors
• wholesale prices
• popular place

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Related posts, collective nouns-a list, grammar exercises- grade 9, proper and common nouns (beginners).

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Descriptive Writing - Grade 9 sample answers

Subject: English

Age range: 14-16

Resource type: Assessment and revision

Last updated

2 April 2024

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This pack contains a wide variety of grade 9 sample answers and the images they are based on. Great for modeling writing techniques to students. Could be used as a grade 9 sample booklet or worked into schemes of work as worked examples. These have also been used as scripts for walking talking mocks with whole cohorts.

You will see similar vocabulary, imagery and sentence structures being used in each so that students are seeing good writing repeatedly.

Tes paid licence How can I reuse this?

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