Reflective and Discursive Writing: On Getting Lost — Answers
Answer sheet with model answers and success criteria for the Year 13 writing writing prompt.
Success TutoringWorksheetsAnswer sheetYear 13 · English · WritingReflective and Discursive Writing: On Getting Lost — Answers
Part A: Read the model opening
Read the model opening, then circle the best answer.
Model opening (approx. 270 words):
The first time I was properly lost, I was nine years old and standing in the middle of a department store, surrounded by coats.
I remember the coats more than anything: a forest of them, hanging at exactly the height of my face, smelling of wool and new plastic. I remember turning in a slow circle, certain that if I turned enough times the world would click back into place and my mother would appear at the end of an aisle. She did, after about four minutes that lasted roughly a year. But something had shifted. I had discovered that the world did not automatically arrange itself around me, and that the ground I stood on could, without warning, become unfamiliar.
I have been thinking about that forest of coats lately, because I realised I cannot remember the last time I was lost. Not truly lost. A blue dot on my phone tells me where I am at every moment, and a calm voice tells me where to turn. I am never more than a few taps from certainty. This is, by any reasonable measure, a good thing; I have no wish to return to standing on street corners turning a paper map upside down. And yet I find myself wondering whether something has gone missing along with the possibility of going missing: whether, in never being lost, we have also stopped being found.
A map can tell you where you are. It cannot tell you why you came. Perhaps that is the question getting lost used to ask us, and the one we have quietly stopped answering.
- A'The first time I was properly lost, I was nine years old'
- B'And yet I find myself wondering whether something has gone missing'
- C'A blue dot on my phone tells me where I am'
- D'I remember the coats more than anything'
Answer: 'And yet I find myself wondering whether something has gone missing'
'And yet' and 'I find myself wondering whether' signal exploration and uncertainty, which is the heart of discursive writing.
- AIt ends the piece
- BIt moves from the personal memory to a wider observation about modern life
- CIt introduces statistics
- DIt tells a second, unrelated story
Answer: It moves from the personal memory to a wider observation about modern life
The writer shifts from the childhood memory to the present, where navigation technology means we are rarely lost, broadening the idea.
- AIt ignores them
- BIt mocks them
- CIt acknowledges them fairly before raising a doubt
- DIt argues they should be banned
Answer: It acknowledges them fairly before raising a doubt
'This is, by any reasonable measure, a good thing' concedes the benefit sincerely, then 'And yet' introduces a complication.
- Aa paradox built on wordplay
- Ba simile
- Ca rhetorical question with an obvious answer
- Donomatopoeia
Answer: a paradox built on wordplay
It plays on 'lost' and 'found', suggesting that the experience of being found (rescued, recognised, rediscovering ourselves) depends on first being lost.
Part B: Voice and craft
Answer in full sentences.
Answer: The 'forest of coats'. It is introduced in the anecdote and returned to ('that forest of coats') when the writer turns to the present, so it could reappear in the conclusion, for example as a place the writer now almost misses, tying the personal memory to the final insight.
Answer: 'four minutes that lasted roughly a year' and the image of 'turning a paper map upside down' are gently self-mocking. Light humour makes the voice warm and honest, which builds trust before the piece turns to more serious questions.
Answer: It prevents the piece from becoming a one-sided complaint about technology. By admitting the benefits, the writer seems balanced and credible, and the later doubt feels considered rather than nostalgic.
Part C: Planning scaffold
Complete each step for your own piece. The answers show one possible plan; yours should be your own.
Answer: Model: Has the end of getting lost cost us the experiences of discovery, attention and self-reliance that being lost once forced on us?
Answer: Model: Missing a stop on a night bus in an unfamiliar city and walking back in the rain, noticing the smell of bread from a bakery that was just opening for the morning.
Answer: Model: (1) Social: navigation apps mean we rarely need to ask strangers for directions, so fewer small conversations happen. (2) Abstract: feeling lost in life (after finishing school, choosing a path) and whether that uncertainty is necessary for growth.
Answer: Model: Getting lost can be frightening or dangerous, and the freedom to wander is a privilege; for many people, a reliable map is a safety net, not a loss.
Answer: Model: The blue dot on a phone map: first as reassurance, later as a small, glowing leash, and finally switched off for an afternoon.
Answer: Model: Perhaps the point is not to be lost more often, but to choose, now and then, not to know exactly where we are going, and to notice what we find there.
Part D: Write
Model answer: Model counterpoint paragraph (from the middle of a piece): Of course, it would be easy to make getting lost sound romantic, and I am wary of doing so. To be lost by choice, wandering an unfamiliar city with a charged phone in your pocket and a bed waiting at the end of the day, is a luxury. To be lost without choice is something else entirely. People who have been genuinely lost, in the wilderness or at sea or in a city where they do not speak the language, know that it is not a gentle teacher. For them, a map is not a cage on the imagination; it is the difference between getting home and not. Perhaps, then, the question is not whether being lost is good or bad, but whether we can still choose it: whether we can switch off the blue dot for an afternoon, not because we must, but because we want to find out what we notice when we do not know exactly where we are going.
Success criteria:
- Explores a central question from several angles (personal, social, abstract) rather than arguing one side
- Uses personal anecdote purposefully to open up ideas
- Takes at least one counterpoint seriously and lets it complicate the thinking
- Distinctive, reflective first-person voice that is thoughtful, honest and controlled
- A recurring image or motif that gives the piece cohesion
- A tentative, resonant conclusion that offers insight without a forced verdict
- Varied, precise sentences; accurate spelling, punctuation and paragraphing
Marking tips
- Give credit for correct method even when the final answer slips — the working shows where the thinking went right.
- For open-ended tasks, use the success criteria as a checklist rather than looking for one "right" answer.
- Celebrate what went well first, then pick one thing to work on next.
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