CHECKPOINT PRACTICE PAPER 1: NON-FICTION READING Text A A Slice Through Time Pizza, a beloved dish enjoyed by millions worldwide, has a fascinating history that spans centuries and continents. From its humble origins in ancient civilizations to its global popularity today, pizza has evolved into an iconic culinary delight cherished by people of all ages. Its origins can be traced to various cultures and regions, with each contributing to the evolution of this iconic culinary creation. 5 Ancient Beginnings The story of pizza began centuries ago, with the ancient Greeks being among the first to experiment with flatbread topped with oils, herbs, and cheese. Some theories suggest that the word “pizza” may have its roots in the Greek word “pitta” (or “pita”), which originally referred to a type of bran bread. However, it was not until the introduction of tomatoes to Europe from the Americas in the 16th century that pizza as we know it today started to take shape. The addition of tomatoes to yeast-based flatbread, particularly in the impoverished areas around Naples, marked a significant turning point in the development of pizza. 10 Medieval Europe While the exact origins of modern pizza are shrouded in mystery, it is widely believed that Raffaele Esposito, a baker from Naples, played a pivotal role in its popularization. Legend has it that in 1889, Esposito was tasked with creating a special dish to honor Queen Margherita of Italy, who was visiting Naples. Out of the three pizzas he presented to the Queen, one stood out: a pie adorned with tomatoes (representing the red of the Italian flag), fresh basil (symbolizing green), and mozzarella cheese (depicting white). This pizza, known as Pizza Margherita, captured the Queen’s heart and became an instant sensation, forever cementing its place in culinary history. 15 20 Pizza Goes Global The popularity of pizza quickly spread beyond Italy’s borders, with the first pizzeria, Antica Pizzeria Port’Alba, opening its doors in Naples in 1830. In North America, pizza gained traction in the early 20th century, with Gennaro Lombardi opening the first pizzeria in New York City in 1905. This marked the beginning of pizza’s ascent to becoming a beloved staple in American cuisine. The 1930s saw the emergence of Pizza Hut, a chain of pizza restaurants that would go on to become one of the largest and most recognizable pizza brands in the world. Over the decades, pizza has undergone numerous transformations and adaptations, resulting in a wide array of variations and styles enjoyed by people of all cultures and backgrounds. Today, pizza remains one of the most beloved and versatile dishes globally, with countless toppings, crust styles, and regional variations to suit every palate. Whether enjoyed as a quick and satisfying meal or savored as a gourmet delicacy, pizza continues to bring people together and delight taste buds around the world. 25 30 Now answer the questions in the space provided. 1. Look at the first paragraph (lines 1-5) (a) Give one word that suggests ‘a long process to change’. ____________________________________________________________________________ [1] (b) The original pizza and its toppings were very different from the pizza we have known for these days. Complete the table below to show the differences. The original pizza The 16th century pizza bran bread .............................................................................. .............................................................................. topped with tomatoes, vegetables and meat [2] 2. Look at the third paragraph (lines 14-21). (a) Which phrase captures the reader’s attention that Raffaele Esposito has popularised pizza? ____________________________________________________________________________ [1] (b) What effect does the writer create by using the word ‘adorned’? ____________________________________________________________________________ [1] 3. Look at the third paragraph (lines 14-21). (a) The writer creates an image of Pizza Margherita creating a history. How? Support your answer with a quotation. ● Explanation: ____________________________________________________________________ ● Quotation: ____________________________________________________________________ [2] (b) The writer uses the rule of three in the third paragraph. What effect is this intended to have on the reader? ____________________________________________________________________________ [1] (c) Look at the two last sentences of the third paragraph. Extra information is given in two ways: with brackets and with commas. Why is some extra information given in commas? Tick (√) one box. explain previous information repeats something previously mentioned separates independent clauses gives an example of something previously mentioned [1] (d) Why is some extra information given in brackets? ____________________________________________________________________________ [1] 4. Look at the fourth paragraph (lines 22-30). (a) Gennaro Lombardi launched the first pizzeria in New York City in 1905. How does it tell you a change in Americans’ diet and habit? Give one quotation from the text to support your answer. ● Explanation: ____________________________________________________________________ ● Quotation: ____________________________________________________________________ [2] What is the function of some number or statistics in this paragraph? Tick (√) one box. to warn to advise to add facts to explain details [1] 5. How does the text structure make the information accessible to the reader? Match the main topic to each paragraph. One example has been given for you. First paragraph Multi-faceted pizzas Second paragraph Contemporary pizza creation Third paragraph Type of pizza bread Fourth paragraph Pizza’s fame worldwide Fifth paragraph Evolution of pizza [3] 6. In the first paragraph of the text, the writer describes pizza as ‘iconic’. Do you think the pizza is? Tick (√) one box. Yes No ● Explanation: ____________________________________________________________________ ● Quotation: ____________________________________________________________________ [2] Text B Exploring the Pizza Saver Tripod: A Practical Innovation in Pizza Delivery When it comes to pizza delivery, I've seen my fair share of innovations, from faster delivery times to improved packaging. But one invention that truly stands out is the pizza saver tripod. This unassuming yet ingenious fun-size device has completely changed the game, ensuring that my pizzas arrive intact and delicious every time. This review is my firsthand experience with the pizza saver tripod, detailing its functionality, benefits, and impact on the pizza delivery industry. The pizza saver tripod is a real game-changer. It's a small plastic device with three legs connected to a central hub, kind of like a mini table or tripod. When placed on top of my pizza, it elevates the box lid, creating a gap between the toppings and the cardboard surface. This simple yet effective design prevents the toppings from sticking to the lid and preserves the freshness and quality of the pizza during transit. Using the pizza saver tripod has made a world of difference in my pizza delivery experience. First and foremost, it ensures that my pizzas arrive fresh and intact. No more squished toppings or soggy crust—just perfectly preserved deliciousness. Plus, the presentation is top-notch. When I open the box, the toppings are neatly arranged and inviting, making my mouth water before I even take a bite. I've noticed that more and more pizzerias are incorporating pizza savers into their delivery process, and it's easy to see why. Not only does it show a commitment to quality and customer satisfaction, but it also sets them apart from the competition. For me, knowing that my pizza is being handled with care and attention to detail gives me peace of mind and keeps me coming back for more. 5 10 15 20 7. Look at the first paragraph (lines 1-5). Find one three-word phrase that means ‘unexpectedly smart’. ______________________________________________________________________________ [1] Look at the second paragraph (lines 6-10). Find one four-word phrase that means ‘an idea that brings significant shift’. ______________________________________________________________________________ [1] 8. (a) Complete this table with information from the text. Pizza saver tripod Material Size Shape Function Impact [3] (b) Now write a summary of up to 40 words about the benefits a pizza saver tripod could bring to pizza lovers, according to Text B. Use four or five points from the notes you have made. __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ [2] WRITING PAPER 1 - NON-FICTION Based on the article, we know that tiny things can be impactful in our lives. You have been asked to write an article for your school magazine about something small yet useful for human beings. You should think about: • what the thing is (for example: a paper clip, a sticky note, a pen knife, etc.) • where and when you use the it • how it can benefit people. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. CHECKPOINT PRACTICE PAPER 2: FICTION READING The succeeding extract is about a man who meets a magician and his daughter at the backstage of a circus. After the performance has concluded, the man in the grey suit navigates the crush of patrons in the theater lobby with ease. He slips through a curtained door leading to the backstage dressing rooms unnoticed. Stagehands and dressers never so much as glance at him. He raps on the door at the end of the hall with the silver tip of his cane. The door swings open of its own accord, revealing a cluttered dressing room lined with mirrors, each reflecting a different view of Prospero. 5 His tailcoat has been tossed lazily over a velvet armchair, and his waistcoat hangs unbuttoned over his lace-edged shirt. The top hat which featured prominently in his performance sits on a hatstand nearby. The man appeared younger on the stage, his age buried under the glare of the footlights and layers of makeup. The face in the mirrors is lined, the hair significantly greying. But there is something youthful in the grin that appears as he catches sight of the man standing in the doorway. “You hated it, didn’t you?” he asks without turning away from the mirror, addressing the ghostly grey reflection. He wipes a thick residue of powder from his face with a handkerchief that might once have been white. 10 15 “It is a pleasure to see you too, Hector,” the man in the grey suit says, closing the door quietly behind him. “You despised every minute, I can tell,” Hector Bowen says with a laugh. “I was watching you, don’t try to deny it.” He turns and extends a hand the man in the grey suit does not accept. In response, Hector shrugs and waves his fingers dramatically in the direction of the opposite wall. The velvet armchair slides forward from a corner packed with trunks and scarves while the tailcoat floats up from it like a shadow, obediently hanging itself in a wardrobe. 20 “Sit, please,” Hector says. “It’s not as comfortable as the ones upstairs, I’m afraid.” “I cannot say I approve of such exhibitions,” the man in the grey suit says, taking off his gloves and dusting the chair with them before he sits. 25 “Passing off manipulations as tricks and illusion. Charging admission.” Hector tosses the powder-covered handkerchief onto a table littered with brushes and tins of greasepaint. “Not a single person in that audience believes for a second that what I do up there is real,” he says, gesturing in the general direction of the stage. “That’s the beauty of it. Have you seen the contraptions these magicians build to accomplish the most mundane feats? They are a bunch of fish covered in feathers trying to convince the public they can fly, and I am simply a bird in their midst. The audience cannot tell the difference beyond knowing that I am better at it.” 30 35 “That does not make it any less frivolous an endeavor.” “These people line up to be mystified,” Hector says. “I can mystify them easier than most. Seems a waste to let the opportunity pass by. Pays better than you might think, as well. Can I get you a drink? There are bottles hidden around here somewhere, though I’m not entirely sure there are glasses.” He attempts to sort through the contents of a table, pushing aside piles of newspapers and a birdless birdcage. 40 “No, thank you,” the man in the grey suit says, shifting in his chair and resting his hands on the handle of his cane. “I found your performance curious, and the reaction of your audience somewhat perplexing. You were lacking in precision.” “Can’t be too good if I want them to believe I’m as fake as the rest of them,” Hector says with a laugh. “I thank you for coming and suffering through my show. I’m surprised you even turned up, Iwas beginning to give up hope. I’ve had that box reserved for you the entire week.” 45 “I do not often decline invitations. Your letter said you had a proposition for me.” “I do, indeed!” Hector says, striking his hands together in a single sharp clap. “I was hoping you might be up for a game. It has been far too long since we’ve played. Though first, you must meet my new project.” 50 “I was under the impression that you had given up on teaching.” “I had, but this was a singular opportunity I could not resist.” Hector walks over to a door mostly hidden by a long, standing mirror. “Celia, dearest,” he calls into the adjoining room before returning to his chair. 55 A moment later a small girl appears in the doorway, dressed too nicely for the chaotic shabbiness of the surroundings. All ribbons and lace, perfect as a shop-fresh doll save for a few unruly curls escaping her braids. She hesitates, hovering on the threshold, when she sees that her father is not alone. “It’s all right, dearest. Come in, come in,” Hector says, beckoning her forward with a wave of his hand. “This is an associate of mine, no need to be shy.” 60 She takes a few steps closer and executes a perfect curtsey, the lace-trimmed hem of her dress sweeping over the worn floorboards. “This is my daughter, Celia,” Hector says to the man in the grey suit, placing his hand on the girl’s head. “Celia, this is Alexander.” 65 “Pleased to meet you,” she says. Her voice is barely more than a whisper, and pitched lower than might be expected from a girl her size. The man in the grey suit gives her a polite nod. “I would like you to show this gentleman what you can do,” Hector says. He pulls a silver pocket watch on a long chain from his waistcoat and puts it on the table. “Go ahead.” The girl’s eyes widen. “You said I was not to do that in front of anyone,” she says. “You made me promise.” “This gentleman is not just anyone,” Hector replies with a laugh. 70 “You said no exceptions,” Celia protests. Her father’s smile fades. He takes her by the shoulders and looks her sternly in the eye. 75 “This is a very special case,” he says. “Please show this man what you can do, just like in your lessons.” He pushes her toward the table with the watch. The girl nods gravely and shifts her attention to the watch, her hands clasped behind her back. After a moment, the watch begins to rotate slowly, turning in circles on the surface of the table, trailing its chain behind in a spiral. Then the watch lifts from the table, floating into the air and hovering as though it were suspended in water. 80 Hector looks to the man in the grey suit for a reaction. “Impressive,” the man says. “But quite basic.” Celia’s brow furrows over her dark eyes and the watch shatters, gears spilling out into the air. “Celia,” her father says. 85 She blushes at the sharpness of his tone and mumbles an apology. The gears float back to the watch, settling into place until the watch is complete again, hands ticking the seconds forward as though nothing had happened. “Now that is a bit more impressive,” the man in the grey suit admits. “But she has a temper.” “She’s young,” Hector says, patting the top of Celia’s head and ignoring her frown. “This is with not even a year of study, by the time she’s grown she will be incomparable.” 90 “I could take any child off the street and teach them as much. Incomparable is a matter of your personal opinion, and easily disproved.” “Ha!” Hector exclaims. “Then you are willing to play.” The man in the grey suit hesitates only a moment before he nods. 95 “Something a bit more complex than last time, and yes, I may be interested,” he says. “Possibly.” “Of course it will be more complex!” Hector says. “I have a natural talent to play with. I’m not wagering that for anything simple.” “Natural talent is a questionable phenomenon. Inclination perhaps, but innate ability is extremely rare.” 100 “She’s my own child, of course she has innate ability.” “You admit she has had lessons,” the man in the grey suit says. “How can you be certain? You would wager your own child?” “She won’t lose,” Hector says. “I suggest you find a student you can tolerate parting with, if you do not already have one to spare.” “I assume her mother has no opinion on the matter?” “You assume correctly.” 105 Questions PAPER 2: 1. (a) In the first paragraph, the writer tells that: ‘stagehands and dressers never so much as glance at him’. What does this tell the reader about the man?Tick (√) one box. He has a sense of humour. He could be dangerous. He is disguised. He is witty. [1] (b) How does the language help the reader’s understanding his way of entering the backstage dressing rooms? __________________________________________________________________________________ [1] 2. Look at lines 10-15. (a) ‘The man appeared younger ...’ (lines 10-12). Copy two quotations from the lines that tell the reader about how he conceals his true appearance. ● __________________________________________________________________________________ ● __________________________________________________________________________________ [2] (b) State a word that suggests ‘a removed substance’. _________________________________________________________________________________ [1] 3. Look at lines 16-31. The writer uses sentence length to show the changing pace of the narrative. Give two ways the writer does this and explain how each way reflects what is happening in the text. Way Explanation __________________________________________ __________________________________________ First way: Second way: __________________________________________ __________________________________________ [4] 4. The writer tells the reader that magicians try to amaze their audience. Find one metaphor that indicates this. ________________________________________________________________________________________ [1] 5. Look at lines 36-41. Give two words that show the contrast in opinion between the man and Hector. ● The man: ____________________________________________________________________________ ● Hector: ____________________________________________________________________________ [2] 6. Look at lines 57-58. (a) The magician’s daughter is described as ‘a shop-fresh doll save for a few unruly curls escaping her braids’. What effect does this have? Give two ideas. ● __________________________________________________________________________________ ● __________________________________________________________________________________ [2] (b) From lines 71-75, which adverbial phrase marks Hector’s way to insist his daughter perform the magic? _____________________________________________________________________________________ [1] (c) Which literary techique does the writer use to emphasise the variety of emotions Celia is feeling? [1] Tick (√) one box. idiom assonance simile oxymoron metaphor 7. Why do you think Celia refuses to show her ability to the man? Give two explanations for this. Explain your answers with supporting evidence quoted from the text. ● Reason 1: ____________________________________________________________________ ● Evidence: ____________________________________________________________________ ● Reason 2: ____________________________________________________________________ ● Evidence: ____________________________________________________________________ [4] 8. Hector tries to convice the man that Celia deserves the chance to be his student. Give one idea on his way to do this. __________________________________________________________________________________ [1] 9. The text is constructed mainly with dialogues. Explain the function and effect of them. ● Function: ● Effect ____________________________________________________________________ : ____________________________________________________________________ [2] 10. Celia is expected to be trained by the man. Do you think the man will take her in? Give two pieces of evidence from the text to support your answer. Yes No ● 1st evidence: ____________________________________________________________________ ● 2nd evidence: ____________________________________________________________________ [2] WRITING PAPER 2 - FICTION The text you have read involves something happened because of a supernatural ability. Write a story that involves magic. You should think about: • Who are the characters • How the magic is permormed or experienced? • Where, when and why the magic happens? • What happens next? .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. .................................................................................................................................................................................. REMINDER FOR CHECKPOINT WRITING: Paper 1 (Non-Fiction) - Article Features: - Opinions - Rhetorical Question - Emotive Language - Precise Vocabulary - The Rule of Three - 3 examples in a sentence - Written in the 1st person point of view - Positive adjectives - Imperatives - Using verb to begin a sentence - usually for the final paragraph - Attempt all bullet points given by the question! - Do not repeat ideas - Use a wide variety of punctuation ( ; - ...) Layouts: ARTICLE: Title (heading), 2 sub-headings for the body paragraphs, conclusion (persuasive) - PARAGRAPHING Paper 2 (Fiction) - Narrative Descriptive SHOW-Don't tell! Narratives come in lots of different forms, from short stories and novels to poems and play scripts. Narrative letter writing, then, is writing a letter / email that tells the reader a story. It engages the reader from the beginning, through the middle and right to the end. - PARAGRAPHING - Read the question. Are you writing in the 1st or 3rd person POV? - Sentence structure - vary the structures - Punctuations (Use a wide variety of punctuation ( ; - ...) ) - Open with the description of setting, character and a dialogue if possible - Give a clear plot! There must be conflict and climax. - Use figurative language such as personification, simile, metaphor and imagery - Write in PAST TENSE except dialogue or something true - Use time phrases and connectives (before, after, in a split second, etc.) - Ending: proper of cliffhanger? You decide from the start - Use one-sentence paragraph to make it realistic, short sentence for effect - Do not create too many characters. Two main characters maximum. - Feel free to take up inspiration from movies or book you've known but MODIFY IT!
