Relax your mind, study with purpose, and let success unfold.
2
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Paper 1 Non-fiction
Read the text below and answer Questions 1-9.
The Universal Pause
For something so ordinary, it holds a power over us that is almost remarkable. Just eight sides,
a single colour, and four simple letters, yet it is one of the most recognized symbols in the
world. Every driver knows what it means, every pedestrian understands its role. It sits at the
edge of almost every street corner, waiting quietly, unchanging and familiar, making us pause, 5
to keep us safe, and to remind us that sometimes, a momentary stop can be the best decision
of all. The stop sign.
The stop sign did not always look the way it does now. In fact, its simple, bold design is the
result of decades of thought, experimentation, and adjustment. It may seem plain, but in many
ways, the stop sign is a masterpiece of functional design. Its red colour was chosen because 10
red is one of the most visible colours to the human eye, especially in low light or on foggy days.
Its octagonal shape ensures that even if you see the back of the sign, you recognize what it is
right away. Its letters are thick and white, chosen to stand out boldly against the red
background.
On a recent radio show discussing the design of everyday objects, a caller described her own 15
unexpected appreciation for the stop sign, for it was "one of those things you never really think
about", but it was always there, doing its job. She shared how, on a long drive, she began to
notice every stop sign along the way. She found that each one felt like a reminder to pause, to
take in the scenery for a moment, or just to breathe. In a strange way, the stop sign became a
sort of "checkpoint." She would see one, take a quick breath, and then continue on. 20
The simplicity of the stop sign is not accidental. Safety experts and city planners carefully
considered its every detail to make sure its message could be understood instantly. The colour
red, in particular, was not always used for stop signs. It was not until the 1950s, when high-
quality red reflective paint became widely available, that it was officially adopted. Before that,
stop signs were yellow, which was considered easier to see at night. Today, however, the red 25
stop sign is so familiar that it feels as if it has always been this way.
After the radio show, another listener—a graphic designer—sent in an email sharing her
thoughts on the stop sign as a piece of design. "There is a beauty in how clear and direct it is,"
she wrote. "With one word and one shape, it communicates a command that is understood all
over the world." She explained how the shape and colour had become so iconic that even 30
young children recognise the stop sign long before they can read. "It is one of those rare
designs that is purely simple, yet still widely admired," she added.
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But not everyone views the stop sign with such enthusiasm. Some people see it as an
interruption to their journey, a minor obstacle on the way to their destination. For a driver in a
hurry, the stop sign might feel like a nuisance, a delay, something to rush through rather than 35
appreciate. Yet even the critics acknowledge its necessity. "You could design something better,"
they might say. But would something better work as reliably as the stop sign we know today? It
is hard to imagine an improvement that would maintain the same level of clarity and simplicity.
The role of the stop sign extends beyond traffic safety. In a way, it teaches us a lesson in the
power of stopping. How often do we rush through our days without pausing, without taking a 40
moment to stop and think? The stop sign, though it was never designed with this purpose in
mind, reminds us that sometimes, the best thing to do is to take a brief pause. It is a moment
to check for oncoming traffic, to notice the surroundings, and to be aware of where we are.
One unusual fact about the stop sign is that it is not universal. While it is widely used in many
countries, some parts of the world have their own versions. For example, Japan’s stop signs are 45
triangular, and instead of saying "STOP," they display Japanese characters that mean the same
thing. But despite these variations, the basic idea remains the same: a sign that commands
attention and instructs people to pause for safety.
Design is, at its heart, a form of decision-making. Every element of the stop sign—from its
shape to its colour to the thickness of its letters—was a decision made by someone 50
somewhere, with a specific purpose in mind. These choices were guided by the needs of
drivers and pedestrians, by visibility requirements, and by the need for instant recognition.
Each feature, no matter how small, plays a role in ensuring that the stop sign does its job
effectively.
In a world where we are constantly bombarded with complex information, the simplicity of the 55
stop sign stands out. It is a reminder that good design does not have to be fancy or flashy.
Sometimes, the best design is the one that just works, quietly and reliably, doing its job
without fuss or fanfare. The stop sign may never win any awards, and it may never be
something people put on display in their homes. But its beauty lies in its purpose, in its
effectiveness, and in its ability to make us stop to move on safely and take notice—if only for a 60
moment.
Relax your mind, study with purpose, and let success unfold. 4
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Section A: Reading
Answer Questions 1-9 .
1. Look at the first paragraph (lines 2-7).
(a) How does the writer intrigue the reader in this paragraph? Give one way.
…………………………………………………………………………………………………………………………………………….. [1]
(b) Explain how the writer links the end of this paragraph to the first sentence.
…………………………………………………………………………………………………………………………………………………..
…………………………………………………………………………………………………………………………………………….. [1]
2. Look at the second paragraph (lines 8-13).
(a) Why does the writer begin the paragraph with the phrase ‘The stop sign’ (line 8)?
…………………………………………………………………………………………………………………………………………….. [1]
(b) How does the use of the word ‘bold’ (line 8) enhance our understanding of the stop sign’s
design? Give two ideas.
• ……………………………………………………………………………………………………………………………………….
• ……………………………………………………………………………………………………………………………………….
[2]
(c) The current design of the stop sign has been developed many times. Give one phrase that
tells this.
…………………………………………………………………………………………………………………………………………….. [1]
(d) Explain in your own words why the design of the stop sign is described as ‘functional’.
…………………………………………………………………………………………………………………………………………………..
…………………………………………………………………………………………………………………………………………….. [1]
3. Look at the third paragraph (lines 15-20).
(a) Why does the writer use inverted commas in this paragraph?
…………………………………………………………………………………………………………………………………………….. [1]
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(b) According to the caller, the stop sign provides mental benefits.
Name one of these benefits.
…………………………………………………………………………………………………………………………………………….. [1]
4. Look at the fourth paragraph (lines 21-26).
(a) The phrase ‘carefully considered’ (line 21-22) indicates that the design of the stop sign was
created with intention and precision.
Give another two-word phrase from the paragraph that conveys this same idea.
…………………………………………………………………………………………………………………………………………….. [1]
(b) Look at lines 23-25.
What text structure technique does the writer use to sequence the information in this part?
…………………………………………………………………………………………………………………………………………….. [1]
(c) Why was the red colour adopted in the 1950s? Give one reason.
…………………………………………………………………………………………………………………………………………….. [1]
5. Look at the fifth paragraph (lines 27-32).
(a) Dashes are used to make specific information stand out.
Why does the writer put the phrase a graphic designer (line 27) between two dashes?
…………………………………………………………………………………………………………………………………………….. [1]
(b) Give one adverb that indicates a feeling of surprise.
…………………………………………………………………………………………………………………………………………….. [1]
(c) What does ‘it’ in line 29 refer to?
…………………………………………………………………………………………………………………………………………….. [1]
6. Look at the sixth paragraph (line 33-38).
(a) What does the first sentence tell us about the information the paragraph includes?
…………………………………………………………………………………………………………………………………………….. [1]
(b) The opinions regarding the stop sign vary.
(i) What is the writer’s opinion?
…………………………………………………………………………………………………………………………………………….. [1]
Relax your mind, study with purpose, and let success unfold. 6
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(ii) What literary technique does he use to express this opinion?
…………………………………………………………………………………………………………………………………………….. [1]
7. Look at lines (39-43).
Give one passive verb form.
…………………………………………………………………………………………………………………………………………….. [1]
8. Look at lines 44-48.
What type of sentence is the third sentence of the paragraph an example of?
…………………………………………………………………………………………………………………………………………….. [1]
9. Look at the whole text.
(a) Complete the table below with information about the stop sign:
Stop sign
Universal Current appearance …………………………………………………………………………………………
…………………………………………………………………………………………
Material …………………………………………………………………………………………
Intended Use …………………………………………………………………………………………
Historical Change …………………………………………………………………………………………
Other Versions …………………………………………………………………………………………
[3]
(b) Using information from the table, write a summary to describe the stop sign and its
features.
Write up to 40 words.
…………………………………………………………………………………………………………………………………………………..
…………………………………………………………………………………………………………………………………………………..
…………………………………………………………………………………………………………………………………………………..
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[2]
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Section B: Writing
10. Write a report for your school magazine about an everyday object that you see and use
regularly, but might not fully appreciate for its design and purpose.
Think about:
• What the object is (e.g., park benches, streetlights, or traffic signs)
• How and where it is used
• Why its design is important, even if it goes unnoticed.
Space for your plan:
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Relax your mind, study with purpose, and let success unfold. 9
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Relax your mind, study with purpose, and let success unfold. 10
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Paper 2 Fiction
Read the text below and answer Questions 1-11.
Time was never a line for me; it was something I could stretch, bend, twist, and manipulate. I
didn’t understand that. But Mark did.
He sat across from me one biting cold afternoon, his back against the brick wall of the old
warehouse where we used to hang out. He wore his usual smirk, a half-grin that suggested he
knew something I didn’t—about everything, it seemed. 5
“You know, time’s not what people think,” Mark said, pulling the collar of his coat up higher. His
voice, as always, was matter-of-fact. “It’s not this thing that just moves forward like some clock
ticking away.” He paused, as if giving me a moment to let it sink in.
I’d tilted my head, not really understanding. “What do you mean?”
Mark didn’t look at me directly. Instead, he stared off at the street ahead, at the cars rushing 10
by, their tires hissing over wet asphalt. "You think time’s like a river, right? It flows, it carries
you along. But it's more like a pool. A stagnant pool. And the more you throw in it, the more it
fills up."
I frowned. “Throw in what?”
“Money. Work. Whatever you can fill it with, really. Time's a resource. You fill it up with 15
enough, and you control it. You control everything."
I thought about that for a moment. The idea of filling something with work, with wealth. I’d
been working part-time jobs since I was fourteen, always chasing the next dollar, the next
opportunity. It made sense, in a way. The more I worked, the more I had, and the more I could
keep everything in motion. 20
But what Mark said next hit me like a sudden gust of wind.
"People say you can’t buy time, but that’s not true. You can. The more memories you create,
the more time you own. And how do you buy time? Simple. Make memories—moments
shared with the ones you love. Money won’t guarantee their presence, but memories will."
At the time, it seemed so simple, so clear. I nodded along, pretending to agree because it 25
sounded wise, but deep down, I couldn’t shake the feeling that it was nonsense.
Now, sitting in this cold apartment of mine, the walls pressing in with their quiet weight, I
realise how far I’ve come from that afternoon. The room is small, cluttered with things I don’t
really need. The clock on the wall ticks incessantly, each second heavier than the last, each one
reminding me of the years I spent chasing… nothing. The air is stale with the scent of old 30
leather and dust, a lingering reminder of all the things I never noticed.
I glance out the window, but the city seems distant now, like a painting in a frame, its
movement reduced to little more than shapes and colours. The people down below hurry,
Relax your mind, study with purpose, and let success unfold. 11
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faces blurred by the speed of their lives, their purpose not even a whisper to me. They pass,
and I am left behind. My children, my sons and daughters, scattered across the world, chasing 35
their own moments. I try to reach them—calls, messages, anything—but their lives are too full.
Busy with work, busy with families. They don’t have time for me. Not anymore.
I spent years thinking that if I worked hard enough, if I made enough money, I could buy their
time. That somehow, with enough in my pocket, I could make everything else align. I told
myself that it would all come together eventually—that the house, the cars, the vacations, 40
would fill the spaces between us, bring us closer. But now, I know. Now, I see. It never worked.
The money, the wealth, they were never what I thought. I had them, yes, but at what cost?
What did I really gain?
I remember the last time I saw Mark. It wasn’t the usual sort of reunion, not like we had when
we were young. No bright smiles or familiar laughter. Instead, there he was, standing on a 45
street corner—a place I hadn’t been in years—looking older than I remembered, the sharpness
in his eyes dulled by time. He wore a coat that had seen better days, his shoes scuffed and
worn. And when he turned to face me, it wasn’t the self-assured grin I was used to. His
expression was different now. A sort of knowing sadness lingered there.
“Mark?” I called out, my voice uncertain, unsure of the greeting or the question I even wanted 50
to ask.
He squinted at me for a moment, recognition crossing his face. “You? I didn’t think you’d make
it.”
I didn’t know how to answer that. “Make it? I’m here, aren’t I?”
He laughed, a sound like gravel scraping against stone. “Yeah, you made it alright. All the way 55
to here.”
I frowned. “What do you mean?”
He shrugged, his hands deep in his pockets. “You think all the money, all the success—you’d
get here and everything would be set. But it’s just… it’s just time, man. And time doesn’t work
the way we think.” 60
I could feel the weight of his words, but I didn’t know what to do with them. He sounded like
he had been carrying something I hadn’t yet touched.
“What are you saying?” I asked, though part of me already understood.
Mark took a deep breath, his gaze drifting past me. “You worked your whole life for money. But
now, what do you have? And when you look back—what do you see? The moments you 65
missed?”
The world around us seemed to stand still, and I saw it.
The silence between us stretched…
Relax your mind, study with purpose, and let success unfold. 12
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Section A: Reading
Answer Questions 1-11 .
1. Look at lines 1-2.
(a) What figurative technique does the writer use in the first sentence?
…………………………………………………………………………………………………………………………………………….. [1]
(b) What is the effect of the sequence of verbs stretch…bend… twist…and manipulate?
…………………………………………………………………………………………………………………………………………….. [1]
2. Look at lines 3-5.
(a) Extra information is given in two ways: after commas and after a dash.
Why is some extra information given after the comma in line 4? Tick one box.
The information given after the comma
contrasts previous information.
repeats something previously mentioned.
separates independent clauses.
gives an example of something previously mentioned.
[1]
(b) Why is some extra information given after the dash?
…………………………………………………………………………………………………………………………………………….. [1]
(c) Give one relative clause.
…………………………………………………………………………………………………………………………………………….. [1]
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3. Look at the third paragraph (lines 6-8).
(a) The idea that the weather was biting is mentioned in the second paragraph and is repeated
in the third one.
Give one quotation that repeats this idea.
…………………………………………………………………………………………………………………………………………….. [1]
(b) What does describing Marks’s voice as ‘matter-of-fact’ (line 7) suggest about his character?
…………………………………………………………………………………………………………………………………………….. [1]
(c) What is the meaning of the phrasal verb ‘sink in’ (line 8) as used in this paragraph?
…………………………………………………………………………………………………………………………………………….. [1]
4. Look at lines 10-16.
(a) Explain in your own words how the writer uses the setting in these lines to contrast the idea
Mark is discussing.
…………………………………………………………………………………………………………………………………………………..
…………………………………………………………………………………………………………………………………………….. [1]
(b) Give one word that has the same meaning as ‘motionless’.
…………………………………………………………………………………………………………………………………………….. [1]
(c) The writer uses an aural imagery to create a sense of danger and threat.
Give one word that creates this imagery.
…………………………………………………………………………………………………………………………………………….. [1]
5. Look at lines 17-26.
(a) What part of speech is the word ‘part-time’ (line 18)?
…………………………………………………………………………………………………………………………………………….. [1]
(b)Look at lines 17-20.
Though applying it, the narrator was not fully convinced with the idea of chasing wealth.
Give one phrase that suggests this.
…………………………………………………………………………………………………………………………………………….. [1]
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(c) The writer uses a simile in line 21.
What does this simile tell us about the effect Mark’s words have on the narrator?
…………………………………………………………………………………………………………………………………………….. [1]
(d) Mark and the narrator had two different approaches towards the theme of time and what it
should be filled with.
Explain these two different approaches supporting each one with a quotation from this
section.
The narrator’s approach: ……………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………..
Quotation: …………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………..
Mark’s approach: ………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………..
Quotation: …………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………..
[4]
6. Time is one of the themes of this extract.
What text structure technique does the writer use to convey the idea of time?
…………………………………………………………………………………………………………………………………………….. [1]
7. Look at lines 25-31.
(a) Which word does the writer use to link the narrator’s past life to his present life?
…………………………………………………………………………………………………………………………………………….. [1]
(b) Why is an ellipsis used in line 30?
…………………………………………………………………………………………………………………………………………….. [1]
8. Look at lines 32-37.
What does the sequence of nouns ‘calls… messages… anything’ (line 36) imply?
…………………………………………………………………………………………………………………………………………….. [1]
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9. Look at lines 38-41.
The writer uses three short sentences at the end of this paragraph (line 41) to emphasise the
narrator’s regret.
Give another language technique these sentences contain used for the same purpose.
…………………………………………………………………………………………………………………………………………….. [1]
10. Look at lines 44-49.
How did time affect Mark? Give one idea.
…………………………………………………………………………………………………………………………………………….. [1]
11. What does ‘it’ in line 65 refer to?
…………………………………………………………………………………………………………………………………………….. [1]
Relax your mind, study with purpose, and let success unfold. 16
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Section B: Writing
12. Write a story about a person who has spent their life focusing only on themselves,
forgetting the needs of those around them, until a single event changes everything.
You could consider:
• the type of lifestyle they lead
• how they view others and their own priorities
• the situation that causes them to rethink their choices
• how they feel as they confront this new reality.
Space for your plan:
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Relax your mind, study with purpose, and let success unfold. 18
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Relax your mind, study with purpose, and let success unfold. 19
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