Grade 9 Creative Writing Examples (AQA GCSE English Language Paper 1 Q5)
Two full model answers + examiner breakdown + techniques you can actually steal
TL;DR — Is this what you're looking for?
YES if you want: Full Grade 9 creative writing examples for AQA Paper 1 Question 5 (the 40-mark creative writing question), with examiner-style commentary that shows you exactly why they hit top marks + the specific techniques you can copy.
NO if you need: Past papers (check our AQA English Language past papers page), Paper 2 writing help (that's transactional writing—letters, articles, speeches), or reading question tips (we've got those too).
Scroll down for the examples, or use the jump links to skip to what you need.
Looking for real Grade 9 creative writing examples that actually show you what examiners want for AQA GCSE English Language Paper 1, Question 5? You're in the right place.
Below are two full model answers (both narrative story openings) that demonstrate top-band performance. Each one comes with a breakdown of why it hits Grade 9 and the specific techniques you can use in your own writing.
Heads up: These aren't generic examples. They're written to show you exactly what "ambitious vocabulary used precisely," "controlled structure," and "technical accuracy" actually look like in practice. For more help with AQA English Language Paper 1 exam technique, check out our full guide.
Jump to what you need:
What Actually Makes a Grade 9 (AQA Paper 1 Q5 Rubric)
Examiners mark out of 40 total: 24 marks for content & organisation, 16 marks for technical accuracy. Here's what top-band (Level 4) performance looks like in each area:
Content & Organisation (24/24 marks)
- Sophisticated narrative voice or description - Not trying too hard. Sounds like a real person (or a real character), not a thesaurus.
- Compelling ideas and originality - You're not just describing a zoo or writing a generic "I met an animal" story. There's something interesting happening.
- Structural control - Your writing has a shape. It builds, it shifts, it lands. Not just a list of things that happened.
- Effective use of paragraphing - You're using paragraph breaks strategically, not just randomly.
- Sense of place and/or character - We can picture where this is happening and/or understand who's telling the story.
Technical Accuracy (16/16 marks)
- Sentence variety - Mix of short, punchy sentences and longer, complex ones. Not all the same length.
- Ambitious vocabulary used correctly - You're using interesting words, but they actually fit. Not random.
- Punctuation for effect - Dashes, semicolons, ellipses... you're using them because they do something, not just because they look fancy.
- Spelling and grammar - Basically perfect. Typos and grammar mistakes lose marks.
- Dialogue (if used) - Punctuated correctly and sounds like real speech.
The Question (AQA GCSE English Language Paper 1, Section B)
Question 5: A wildlife magazine is running a creative writing competition. Choose one of the options below for your entry.
Either: Write a description of a zoo or wildlife park from your imagination. You may choose to use the picture provided for ideas.
Or: Write the opening of a story about a human meeting an animal.
(24 marks for content and organisation; 16 marks for technical accuracy) [40 marks total]
Note: Both examples below answer the narrative option (story opening). For more AQA English Language tips and examples, explore our full collection.
Grade 9 Example 1 – "The Fox on Platform 3"
Narrative opening • Urban setting • Introspective tone • Realistic teenage perspective
The last train had already left when I saw it.
I'd missed the 23:47 because of course I had—spent too long arguing with Mum about curfews and whether sixteen was old enough to make my own decisions. Now I was stuck on Platform 3 with a dead phone and forty-five minutes until the next service, if it even bothered turning up.
The station was emptier than I'd ever seen it. Just me, a flickering light that kept threatening to give up entirely, and the kind of silence that makes you notice your own breathing. I sat down on the bench, pulling my jacket tighter even though it was August. There's something about empty stations that feels cold regardless.
That's when the fox appeared.
At first, I thought it was a cat—just a flash of russet moving between the tracks. But then it stopped, right there in the middle of Platform 2, and looked directly at me. Not the way animals usually look at you, all skittish and ready to bolt. This was different. Calculated, almost. Like it was deciding something.
I'd seen foxes before, obviously. You can't live in London without seeing them rummaging through bins at 3am or screaming like someone's being murdered. But I'd never been this close to one, never really looked at one properly. This fox was smaller than I expected, scrappier. One ear had a chunk missing from it, probably from some fight I didn't want to imagine. Its fur looked matted in places, and there was something in the way it held itself not quite wild, not quite tame. Surviving, I suppose. Making do.
We stared at each other for what felt like ages but was probably only thirty seconds. The light flickered again. The departure board scrolled through its useless information. The fox didn't move.
I don't know why I did what I did next. Maybe because I was angry at Mum, or because missing the train felt like the perfect metaphor for my entire year so far, or because sometimes you just want to feel like something matters. I reached into my bag, slowly, so I wouldn't scare it and pulled out the Tesco meal deal I'd barely touched. Ham and cheese sandwich, squashed from being at the bottom of my bag all day.
"Want this?" I said, which was stupid because obviously it couldn't understand me.
But I unwrapped it anyway and tore off a piece, tossing it gently onto the platform between us. It landed with a soft thud that seemed too loud in the quiet.
The fox tilted its head, considering. Then, with movements so deliberate they almost looked rehearsed, it stepped forward. Not rushing. Not cautious either, exactly more like it had decided I wasn't worth worrying about. It picked up the sandwich in its jaws, and for a second our eyes met again.
I thought it might leave then, disappear back into whatever urban wilderness it came from. But it didn't. Instead, it sat down right there on the platform, about three metres away, and started eating. Not frantically like a starving creature, but methodically. Taking its time. Like we were just two Londoners having a late-night snack at the station.
"Rough day?" I asked it.
The fox paused mid-chew, as if genuinely considering the question. Then it went back to eating.
I laughed, actually laughed, for the first time that day. Because here I was, having a crisis about curfews and independence and whether anything I did actually mattered, and this fox was just... existing. Surviving. Finding food where it could, fighting when it had to, making homes in places that weren't meant for it.
The departure board beeped. 00:32 train now approaching.
The fox finished the last of the sandwich, looked at me one final time with those amber eyes that reflected the fluorescent lights, and trotted off down the platform. It squeezed through a gap in the fence I'd never noticed before and vanished.
I stood up as the train pulled in, doors hissing open into the empty carriage. Through the window, I could just about make out a flash of red disappearing into the darkness beyond the tracks.
Maybe Mum was right about some things. Maybe she wasn't. But as the train lurched forward, I thought about that fox—scarred and scrappy and still going—and decided that making it home alive, on your own terms, in a world that wasn't built for you... well, that counted for something.
Word count: 645 words
Why This Hits Grade 9
Content & Organisation (24/24)
- Authentic teenage voice - Sounds like a real 16-year-old, not a teacher pretending to be one. "Of course I had," "if it even bothered turning up," "obviously"—these feel natural.
- Layered symbolism that doesn't feel forced - The fox as a metaphor for survival and independence emerges naturally. You're not hit over the head with it.
- Structural control - Circular structure (train at start and end). Single-line paragraph "That's when the fox appeared" creates a dramatic pause. Pacing is deliberate.
- Vivid sense of place - Urban setting through specific details (Platform 3, 23:47 train, Tesco meal deal, departure board) rather than generic description.
- Character development in brief space - We understand the narrator's relationship with their mum, their age, their mood, their location—all through indirect details.
Technical Accuracy (16/16)
- Ambitious vocabulary used naturally - "russet," "methodically," "deliberate," "calculated"—all fit the teenage voice without sounding forced.
- Sentence variety - Mix of short, punchy sentences ("That's when the fox appeared") and longer, flowing ones. Creates natural rhythm.
- Sensory detail - "flickering light," "soft thud," "amber eyes," "fluorescent lights"—appeals to multiple senses.
- Punctuation for effect - Dashes and ellipses create hesitation and reflection. Fragment sentences ("Surviving, I suppose. Making do.") add contemplative tone.
- Spelling and grammar - Flawless throughout. Dialogue punctuated correctly.
Techniques You Can Use:
- Single-line paragraphs for impact - "That's when the fox appeared." Use this when you want to shift the reader's attention or create a dramatic moment.
- Specific, mundane details - "Tesco meal deal," "23:47 train," "Platform 3." These make your writing feel real and grounded.
- Internal monologue - "I don't know why I did what I did next. Maybe because..." This lets readers into your character's head.
- Dialogue that reveals character - "Want this?" and "Rough day?" aren't just words—they show the narrator's personality and emotional state.
- Metaphor that emerges naturally - Don't announce your symbolism. Let it happen through the story itself.
Grade 9 Example 2 – "The Deer in the Road"
Narrative opening • Rural setting • Dynamic/urgent tone • Suspenseful atmosphere
Dad swerved and I screamed, and the deer just stood there watching us spin.
Everything happened in that weird slow-motion way that people always describe in films but you never really believe until it's you in the passenger seat, watching the headlights catch the trees at completely wrong angles. The car was screaming too, brakes shrieking like something alive, and I could smell burning rubber and see Dad's knuckles white on the steering wheel.
Then we stopped. Just... stopped.
The engine cut out. In the sudden silence, I could hear both of us breathing too fast, could feel my heart doing something complicated and painful in my chest. Dad's hand was reaching over before I'd even processed what happened, grabbing my shoulder.
"You okay? Evie, are you okay?"
I nodded because my mouth wasn't working properly yet. My hands were shaking. We were diagonal across the lane, halfway into a ditch that had appeared out of nowhere, and when I turned my head slowly, because everything felt fragile I could see what had caused it all.
The deer was still there.
It stood in the exact middle of the road, caught in the red glow of our taillights. A stag, massive, with antlers that branched out like bare winter trees. It should have run. Should have bolted the second our car came round that corner. That's what deer do—they're supposed to be skittish, terrified of humans, programmed to flee. But this one hadn't moved an inch. Not when we'd nearly hit it. Not when we'd spun out. Not now.
It was just watching us.
"Wow" Dad breathed. His voice had that shaky quality that meant he was more scared than he was letting on. "That was close. That was so close, Evie"
"Why isn't it moving?" I interrupted.
Because it wasn't. And the longer I looked at it, the weirder it seemed. Its eyes were reflecting the light in that animal way that's always slightly disturbing, like there's something glowing inside its skull. But it wasn't the eyes that got me. It was the way it held itself. Perfectly still. Not frozen in panic I'd seen rabbits freeze in panic before and this wasn't that. This was something else. Choice, maybe. Or judgement.
Dad tried the ignition. The engine turned over once, twice, then caught with a rattling cough that didn't sound promising. We were at a weird angle, one wheel definitely in the ditch, but the car was alive at least.
"Right," Dad said, more to himself than me. "Right. We're okay. We just need to"
The deer took a step forward.
I grabbed Dad's arm without meaning to. "Dad."
"I see it."
Another step. Then another. It was walking toward us, slow and deliberate, antlers swaying slightly with each movement. This wasn't right. This wasn't how animals behaved. They ran from cars, from noise, from humans. They didn't approach.
"Dad, go. Just go."
"The wheel's in the ditch, I can't just—"
"Try!"
He must have heard something in my voice because he put the car in reverse without arguing. The engine whined. The wheel spun uselessly. We didn't move.
The deer was three metres away now. Then two.
I could see details I didn't want to see: the steam of its breath in the cold November air, the scars along its flank, the way its muscles moved under the dark fur. It was huge this close. Properly huge. Those antlers could smash straight through the windscreen if it wanted them to.
"Dad," I whispered.
"I know. I know, just"
The stag reached the bonnet of our car. It lowered its head slowly, antlers scraping against the metal with a sound that made my teeth hurt. Then it looked directly at me through the windscreen, and I swear - I absolutely swear - there was something intelligent in that look. Something that understood exactly what it was doing.
For ten seconds that lasted approximately ten years, we stared at each other.
Then it lifted its head, turned with impossible grace considering its size, and walked calmly back to the middle of the road. It stood there a moment longer, silhouetted in our lights like some ancient thing from a myth nobody remembered properly.
And then it leapt, one powerful movement, over the opposite hedge and disappeared.
The car finally found traction. Dad reversed us onto the road properly, hands still shaking, neither of us speaking. But I couldn't stop thinking about those eyes, about that deliberate walk toward our car instead of away from it.
About how it had looked at me like it knew something I didn't.
Word count: 639 words
Why This Hits Grade 9
Content & Organisation (24/24)
- In medias res opening - Drops you straight into action. "Dad swerved and I screamed" immediately grabs attention and disorients you (intentionally).
- Expertly controlled tension - Builds suspense systematically: crash → stillness → deer approaches → confrontation → departure. Each stage escalates naturally.
- Authentic dialogue - Short, panicked exchanges between father and daughter feel real. Fragmented speech ("I can't just—") shows stress.
- Strategic use of short paragraphs - "The deer was still there." "It was just watching us." "The deer took a step forward." Creates staccato rhythm that heightens tension.
- Ambiguous, unsettling ending - Leaves you with questions about the deer's behaviour. Shows sophistication by resisting neat explanation.
Technical Accuracy (16/16)
- Dynamic verbs - "swerved," "screamed," "shrieking," "whined," "scraping"—all convey movement and danger.
- Sensory language under pressure - "smell burning rubber," "sound that made my teeth hurt," "steam of its breath"—shows narrator still processing details despite fear.
- Sophisticated comparison - "antlers that branched out like bare winter trees," "like some ancient thing from a myth nobody remembered properly"—original and atmospheric.
- Sentence variety for effect - Fragment sentences ("Then we stopped. Just... stopped.") create shock. Longer sentences build tension. Mix keeps you engaged.
- Spelling and grammar - Flawless. Dialogue punctuated correctly. Ellipses and dashes used deliberately.
Techniques You Can Use:
- In medias res opening - Start in the middle of action, not at the beginning. "Dad swerved and I screamed" is way more engaging than "We were driving home when..."
- Sensory detail under stress - When your character is panicked, they still notice things. "I could smell burning rubber" and "sound that made my teeth hurt" make the scene visceral.
- Repetition for emphasis - "Should have run. Should have bolted." "Not when we'd nearly hit it. Not when we'd spun out. Not now." This creates rhythm and emphasis without being annoying.
- Short paragraphs for pacing - When tension is high, use shorter paragraphs. They make the reader move faster through the text.
- Dialogue that reveals panic - Fragmented speech ("I can't just—") and one-word responses ("Try!") show emotional state without you having to explain it.
Techniques Both Examples Use (That You Should Too)
1. Specific, mundane details make your writing feel real
Example 1 uses "Tesco meal deal," "Platform 3," "23:47 train." Example 2 uses "November air," "passenger seat," "bonnet of our car." These aren't fancy—they're specific. Specificity = believability. Generic details ("a train," "a car," "cold air") make your writing feel like you're trying too hard. Specific details make it feel like you actually lived it.
2. Sentence variety creates rhythm
Both examples mix short, punchy sentences with longer, flowing ones. "That's when the fox appeared" (short). "I'd missed the 23:47 because of course I had—spent too long arguing with Mum about curfews and whether sixteen was old enough to make my own decisions" (long). This keeps the reader engaged. If all your sentences are the same length, your writing feels flat.
3. Show, don't tell (but actually do it)
Example 1 doesn't say "I was sad." It shows: "I laughed, actually laughed, for the first time that day." Example 2 doesn't say "I was scared." It shows: "My hands were shaking" and "I could feel my heart doing something complicated and painful in my chest." Let your reader infer emotion from action and detail.
4. Dialogue reveals character
In Example 1, "Want this?" and "Rough day?" tell us the narrator is thoughtful and slightly self-aware. In Example 2, "Try!" and "Dad, go. Just go." tell us the narrator is panicked and urgent. You don't need to write "she said anxiously." The dialogue itself shows it.
5. Ambitious vocabulary used naturally
Example 1 uses "russet," "methodically," "calculated." Example 2 uses "silhouetted," "deliberate," "visceral." These aren't random fancy words. They fit the sentence and the voice. If a word feels forced, cut it. Examiners can tell the difference between "ambitious vocabulary" and "thesaurus abuse."
6. Punctuation for effect, not just correctness
Both examples use dashes, ellipses, and fragment sentences deliberately. "Then we stopped. Just... stopped." The ellipsis creates a pause. The fragment emphasizes the moment. Semicolons, dashes, and ellipses aren't just correct—they do something. Use them intentionally.
FAQs About Creative Writing Q5 (AQA Paper 1)
How long should my answer be?
Both examples are around 640 words. That's a good target. You have 45 minutes total for Q5 (including planning time). Aim for 600–700 words. Anything under 500 words will lose marks for content. Anything over 800 words means you're probably waffling and won't finish on time.
Should I write a description or a story?
Both can hit Grade 9. Description is harder because you have to make it interesting without plot. Story is easier because plot naturally creates engagement. If you're not confident with description, write a story. Both examples here are story openings, which is why they work well.
How much time should I spend planning?
10 minutes planning, 35 minutes writing. Spend your planning time on: (1) What's the core idea? (2) What's the emotional arc? (3) What are 3–4 key scenes/moments? (4) How does it end? Don't write a full outline. Just know where you're going.
What if I make a spelling mistake?
One or two spelling mistakes won't tank you. But if you're making lots of them, you'll lose marks in the technical accuracy section. Proofread your work if you have time. Focus on the words you always get wrong.
Can I use dialogue?
Yes. Both examples use it. Dialogue can be really effective if it reveals character or moves the plot forward. But don't use it just to fill space. Make sure it does something.
What if my story is sad/dark/weird?
That's fine. Examiners don't care if your story is happy or sad. They care if it's well-written and shows control. Both examples here have slightly unsettling endings, and that's totally acceptable.
How do I make sure I hit all the marks?
Focus on: (1) A clear, engaging idea (not generic). (2) Authentic voice (sounds like a real person). (3) Structural control (it has a shape, not just a list of events). (4) Ambitious vocabulary used naturally. (5) Sentence variety. (6) Technical accuracy (spelling, grammar, punctuation). If you nail these six things, you'll hit Grade 9.
How to Use These Grade 9 Examples to Improve Your Creative Writing
If you’re aiming for Grade 8 or Grade 9 in AQA GCSE English Language these two GCSE English Language Grade 9 examples should help:
- Annotate these examples for structure: where does the tension rise, where do paragraphs break, where is description slowed down?
- Highlight vocabulary that feels ambitious but natural – avoid “thesaurus dumping”.
- Copy the sentence patterns, not the content: mix short impact sentences with longer, more complex ones.
- Practise your own response to the same question, then compare your work to these model answers and the examiner commentary to identify gaps.
Further Reading:
If you’re also revising AQA GCSE English Literature, see our complete guide to the AQA Power and Conflict poetry anthology. AQA Poetry Anthology – Power and Conflict
Struggling to fit creative writing practice into your revision? Our GCSE time management guide can help you plan efficient practice sessions. Time Management
