Listening
4 sections, 40 questions, about 30 minutes. Play each section’s audio once only. Spelling is graded — a misspelt word is marked wrong.
Questions 1–7
Complete the form. Write ONE WORD AND/OR A NUMBER for each answer.
Crestwood Lettings — Rental Enquiry
1 Caller’s surname:
2 Number of bedrooms needed:
3 Preferred area:
4 Maximum monthly rent: £
5 Pet to be kept: one
6 Preferred move-in date: the of June
7 Length of contract: months
Questions 8–10
Choose the correct letter, A, B or C.
Questions 11–16
Complete the notes. Write NO MORE THAN TWO WORDS AND/OR A NUMBER for each answer.
Crestwood Walking Tour — visitor briefing
11 The tour lasts about hours.
12 Group size is limited to people.
13 The tour begins in Square.
14 Total walking distance: about kilometres.
15 Recommended footwear: .
16 Every guest receives a free at the end.
Questions 17–20
Complete the table. Write NO MORE THAN TWO WORDS AND/OR A NUMBER for each answer.
| Stop | Activity | Cost (£) |
|---|---|---|
| Old Bridge | 17 | free |
| City Library | short interior tour | 18 |
| 19 | bread tasting | 5 |
| The Castle | guided entry | 20 |
Questions 21–25
Who expresses each opinion? Type A Sam · B Olivia · C both.
21 The marker’s feedback was generally fair.
22 Chapter two needed more concrete examples.
23 The structure of the dissertation was confusing in places.
24 The conclusion was too short.
25 The most useful comment was about referencing.
Questions 26–30
Choose the correct letter, A, B or C.
Questions 31–36
Complete the lecture notes. Write NO MORE THAN TWO WORDS AND/OR A NUMBER for each answer.
Lecture: why we sleep
31 Adults need on average hours of sleep per night.
32 Sleep is divided into main stages.
33 In stage 1, brain activity .
34 The deepest sleep is also called sleep.
35 REM stands for eye movement.
36 During sleep the body produces growth .
Questions 37–40
Complete the table. Write ONE WORD ONLY for each answer.
| Stage | Main role |
|---|---|
| Stage 1 | brief 37 into sleep |
| Stage 2 | 38 consolidation |
| Stage 3 | 39 repair |
| REM | most vivid 40 |
Full transcript (Sections 1–4)
You will hear a conversation between an agent at Crestwood Lettings and a caller called Mr Beckett, who is looking to rent a flat. First you have some time to look at questions 1 to 7.
Now listen carefully and answer questions 1 to 7.
AGENT: Good morning, Crestwood Lettings, Dana speaking. How can I help you? CALLER: Oh, good morning. I am looking to rent a flat in town, and a colleague of mine recommended your agency, so I thought I would start with you. AGENT: That is always nice to hear. I can certainly help with that. Could I take your surname to start a file? CALLER: Yes, it is Beckett. B-E-C-K-E-T-T. Two Ts at the end. AGENT: Beckett, got it. Now, let me take your requirements one by one, and then I can tell you what we have. First of all, how many bedrooms are you looking for? CALLER: Two, please. And it really does need to be exactly two, because I work from home three days a week, so one room is the bedroom and the other is my office. A one-bedroom with a big lounge would not work for me. AGENT: Understood, two proper bedrooms. And do you have a particular area of town in mind? CALLER: Riverside, if at all possible. I walked around there last weekend and loved it, and it is close to the station for my office days. AGENT: Riverside is very popular, and we usually have several properties there, so that should be fine. Now, the awkward question: what is your maximum monthly budget? CALLER: I have worked it out carefully, and my absolute ceiling is nine hundred and fifty pounds a month. I could not stretch beyond that, even for somewhere lovely. AGENT: Nine hundred and fifty, that is a realistic figure for a two-bedroom in Riverside, so no problem there. Any pets I should know about? Some of our landlords are strict. CALLER: Yes, just one cat. She is elderly and sleeps about twenty hours a day, if that helps my case. AGENT: A cat is usually fine, it is mainly dogs that some landlords restrict, so I will note one cat. And when would you like to move in? CALLER: My current lease finishes at the end of May, so ideally the third of June. That gives me a weekend to clean the old place. AGENT: The third of June, very sensible. And finally, how long a contract would you want? Six months, or longer? CALLER: Twelve months, please. I would rather have the security, and I have no plans to leave the area. AGENT: A twelve-month lease, lovely, landlords always prefer that too.
Before you hear the rest of the conversation, you have some time to look at questions 8 to 10.
Now listen and answer questions 8 to 10.
AGENT: Right, let me have a look at what we have. There is one at Harbour Court that is available immediately, but it is over your budget at a thousand and fifty, so I will set that aside. There is another nice one on Weaver Street, but the current tenants are there until the summer, so that one is only free from August, which sounds too late for you. CALLER: August is definitely too late, yes. AGENT: But here is the good news. A flat at fourteen Mill Road, right in Riverside, fits everything on your list. Two double bedrooms, nine hundred and forty a month, and it is available from June, because the previous tenant leaves at the end of May. The timing could hardly be better for you. CALLER: From June, that is perfect. What is the heating like? My current flat has those old electric storage heaters and the winter bills were terrifying. AGENT: You will be pleased, then. It is not electric, and it is not one of the old oil-fired systems you still see out in the villages either. The flat has gas central heating throughout, and the landlord actually installed a brand-new boiler last year, so it is efficient and under guarantee. CALLER: Gas central heating, wonderful. Honestly, that almost decides it by itself. AGENT: So, how would you like to proceed? You could apply online today through our website, or come in and visit the office tomorrow to see the full details, or of course take a week and call back, though I should warn you Riverside flats do move quickly. CALLER: No, I do not want to lose it. I will apply online today, this afternoon in fact, as soon as I am back at my desk. AGENT: Perfect. I will email you the link and flag your application to the landlord right away.
That is the end of section 1. You now have half a minute to check your answers.
Now turn to section 2.
SECTION 2You will hear a guide giving a briefing to visitors at the start of the Crestwood walking tour. First you have some time to look at questions 11 to 16.
Now listen carefully and answer questions 11 to 16.
GUIDE: Good morning, everybody, and welcome to the Crestwood walking tour. My name is Joe, I have been guiding in this town for eleven years, and I promise that by lunchtime you will know more about Crestwood than most people who have lived here all their lives. Before we set off, a short briefing, so please gather round. First, timings. The tour lasts about two hours, depending a little on our pace and how many questions you ask, and I do encourage questions. We should be finished by half past twelve, in good time for lunch, and I will point out my favourite lunch spots along the way. Second, the group. As you can see, the group is limited to fifteen people, and that is deliberate, it is not just about crowding. Fifteen is the largest number where everybody can actually hear me without me shouting, and where we can cross roads together safely. So if you can see me, you are in the right place. We will start here in Market Square, right where we are standing, which has been the beating heart of Crestwood for about seven hundred years, and we will finish up at the Castle on the hill, which is the oldest building in town. In terms of effort, the total walking distance is about three kilometres, which sounds like nothing, but a lot of it is on cobblestones, and there is one short climb at the end up to the Castle gate. So on footwear, my strong recommendation is trainers, or any comfortable flat shoes. Every year somebody arrives in brand-new dress shoes, and every year they regret it by the second stop. There are public toilets here in the square and again at the Castle, but not in between, so plan accordingly. And one nice thing to look forward to: at the end of the tour, every guest receives a free postcard, a rather lovely one actually, with our whole route hand-drawn on it, as a small souvenir of the morning. People genuinely do frame them.
Before you hear the rest of the talk, you have some time to look at questions 17 to 20.
Now listen and answer questions 17 to 20.
GUIDE: Now, let me tell you about the four stops we make along the way, and what each one costs, so there are no surprises and you can get your change ready. Our first stop is the Old Bridge, about fifteen minutes from here. It is the oldest stone bridge in the county, the view along the river is the best in town, and we pause there for a short photo break. That one is completely free of charge, of course, and I am happy to take group photos, I have steady hands. Then we walk up the hill to the City Library, a beautiful Victorian building with a famous spiral staircase and a painted ceiling that most locals have never even seen. There you can take a short interior tour, run by the library volunteers, and that costs just two pounds per person, which goes straight to the book fund. If you would rather stay outside in the courtyard, that is fine too. Our third stop is a personal favourite. We call in at Henderson's Bakery, that is the famous old bakery on Mill Lane, family-run for four generations, where the owner offers a bread tasting, five or six of their breads with local butter and honey, for five pounds. I will say no more, except do not eat a big breakfast. And finally, we climb to the Castle itself, where the tour ends with a guided entry, that is your ticket plus a walk round the walls with one of the Castle stewards, and that costs eight pounds. On a clear day like today, the view from the walls stretches right across three counties. Right then, that is bridge free, library two, bakery five, castle eight. If everyone is ready, phones charged, and shoelaces tied, let us set off.
That is the end of section 2. You now have half a minute to check your answers.
Now turn to section 3.
SECTION 3You will hear two students, Sam and Olivia, discussing their dissertation feedback with their tutor. First you have some time to look at questions 21 to 25.
Now listen carefully and answer questions 21 to 25.
TUTOR: Come in, sit down, both of you. So, I have gone through the marker's comments alongside your dissertation, all eleven pages of them, and I wanted us to talk it through properly rather than just email. First, the big picture. Overall, how do you both feel about the feedback? SAM: Honestly, once the first sting wore off, I thought it was fair overall. I went through it point by point over the weekend, and there was not much I could actually argue with. OLIVIA: I would say the same, it was fair. Some bits stung, especially about my chapters, but reading it a second time, I could not really disagree with any of it either. TUTOR: Good, that is the mature response, and not everyone manages it. Now, more specifically, which comments landed hardest for each of you? SAM: For me, it was the point about chapter two. I felt we really needed more concrete examples there. The marker said the argument was abstract, and honestly, I had actually said the same thing while we were writing it, so seeing it in the feedback was almost a relief. OLIVIA: Whereas that comment did not bother me much, I thought chapter two held up. For me, the main issue was the structure. In places the whole dissertation was confusing to follow, the marker said readers would lose the thread between chapters three and four, and I have to admit I never quite cracked the ordering, right up to the deadline. SAM: See, I did not feel that way about the structure at all, I thought the order made sense. But I suppose the reader is the judge. TUTOR: And what about the conclusion? The marker had quite a lot to say there. SAM: Yes, and on that one we are united. It was too short. We simply ran out of time in the final week and the conclusion paid the price. OLIVIA: Definitely too short, that one is on both of us equally. Two pages for a twelve-thousand-word dissertation, it looks exactly like what it was, a rush job. TUTOR: At least you know why. Anything in the feedback you found genuinely useful, rather than just painful? SAM: The single most useful comment, in my view, was about referencing. There were small slips all the way through, inconsistent formats, a couple of missing page numbers, and now that it has been pointed out I know exactly what to look for. I have already fixed half of them. OLIVIA: That is fair, though I will admit I did not focus on the referencing comments as much. For me the structural notes were the useful ones.
Before you hear the rest of the conversation, you have some time to look at questions 26 to 30.
Now listen and answer questions 26 to 30.
TUTOR: Right, let us look forward rather than back. Thinking about the whole project, what would you say was the hardest part of the dissertation? SAM: The methodology, by a very long way. Finding sources was fine, the library sessions helped, and even the conclusion, short as it was, was not hard to write, just rushed. But designing the methodology and defending every choice, that took us weeks. OLIVIA: Agreed completely, the methodology. I still wake up thinking about sampling strategies. TUTOR: That is the answer I expected, and for what it is worth, it is the hardest part for almost everyone. Now, the resubmission. What is realistic for you two? OLIVIA: We talked about it on the way here. Two weeks would be too tight with our other module deadlines, and six weeks feels like dragging it out. We were thinking one month. TUTOR: One month works for me, I will put the fourth of next month in the diary. Now, my main recommendation, having read everything. It is not more case studies, you have enough of those, and your literature review is actually fine, it does not need updating. What I would do is include clearer figures. Your data is genuinely good, but charts seven and eight are almost unreadable, tiny labels, similar colours. Redraw the figures properly and the whole results chapter lifts. SAM: Noted, I will take the figures. TUTOR: And when it is finally submitted, what is the plan? Please tell me there is one. OLIVIA: There is. We have promised ourselves a weekend off, a proper one. No laptops, no email, no dissertation talk, on pain of buying the coffees for a month. TUTOR: Very wise. Any final reflections for next time, since you will both face bigger projects after this? OLIVIA: Mine is simple: my big personal lesson is to start earlier. Not the reading, we started that early enough, but the actual writing. I always believe I write well under pressure, and the evidence now says otherwise. SAM: And I am going to hold her to it, because it is the same lesson for me.
That is the end of section 3. You now have half a minute to check your answers.
Now turn to section 4.
SECTION 4You will hear a lecture about why we sleep. First you have some time to look at questions 31 to 40.
Now listen carefully and answer questions 31 to 40.
LECTURER: Good morning, everyone. Today's lecture asks a deceptively simple question: why do we sleep? We spend roughly a third of our lives asleep, which, if you do the arithmetic, means that by the age of seventy-five you will have slept for about twenty-five years. For a behaviour that costly, in time, in vulnerability, in lost opportunity, evolution must have very good reasons, and yet for most of human history what actually happens during sleep was a complete mystery. People thought of it as a small death, or as simply the absence of waking. Modern science has begun to fill that gap, and I want to walk you through what we now know. First, the basics of how much. Adults need on average eight hours of sleep per night to function at their best. There is individual variation, of course, a lucky few genuinely thrive on six, but they are much rarer than the number of people who claim to be them. Children and teenagers need rather more, up to ten or eleven hours, which is worth remembering the next time you judge a teenager for sleeping until noon. Their biology is not lazy, it is scheduled differently. Now, the architecture of sleep itself, because sleep is not one uniform state. Sleep is divided into four main stages, and we cycle through them roughly every ninety minutes, four to six times a night. Let me take you through the stages in order, because your exam notes will thank you. In stage one, which lasts only a few minutes, brain activity slows, the muscles relax, and the heart rate begins to drop. This is the brief transition into sleep, the drifting-off moment, and it is so light that if I woke you from it, you might insist you had never been asleep at all. Stage two is much longer, in fact it makes up about half the total night. The brain produces distinctive bursts of activity called spindles, and this stage appears to be when much of our memory consolidation happens: the brain replays the experiences of the day, strengthens the connections worth keeping, and clears out the trivia. Students, please note the irony: the revision you do means little without the sleep that files it. Stage three is the deepest sleep, sometimes called slow-wave sleep after the long, rolling brain waves we record during it. This is when the body does its heavy maintenance, the tissue repair: muscles are rebuilt, the immune system is serviced, and energy stores are refilled. It is also the stage from which it is hardest to wake someone, and if you have ever been woken from it by an alarm, you know the particular misery it produces. And finally there is REM sleep, R-E-M, which stands for rapid eye movement, because under the closed lids the eyes genuinely dart about as if watching a film. REM makes up roughly twenty per cent of the night, the brain in REM is almost as active as when awake, and it is when most vivid dreaming occurs. Curiously, during REM the body's large muscles are paralysed, which is almost certainly a safety mechanism to stop us acting out those dreams. One more piece of biology before I move on. During deep sleep, the body also produces growth hormone, which is essential for children, it is literally when they grow, but it matters for adults too, driving the repair processes I mentioned. This, incidentally, is why chronic sleep loss shows up in the skin, the immune system and recovery from exercise. So let me give you the summary table your notes deserve. Stage one: the brief transition into sleep. Stage two: memory consolidation. Stage three, slow-wave: tissue repair. And REM: the home of vivid dreaming. Sleep, in other words, is not off-time. It is active, structured, and absolutely indispensable, and the research increasingly suggests that protecting it is one of the cheapest health interventions available to any of us.
That is the end of section 4. You now have half a minute to check your answers.
That is the end of the listening test. In the real exam you would now have ten minutes to transfer your answers to your answer sheet.
Listening answer key (Questions 1–40)
Accepted variants: many number answers accept the word form too (e.g., “two” / “eight” / “third”). Spelling must be correct.
Score guide (out of 40): 36–40 ≈ Band 8.5+ · 30–35 ≈ Band 7–8 · 23–29 ≈ Band 6–6.5 · 16–22 ≈ Band 5–5.5.
Reading
3 passages, 40 questions, 60 minutes.
You should spend about 20 minutes on Questions 1–13.
Why we yawn
Few human behaviours are as universal — or as poorly understood — as the yawn. From newborn babies to the very old, almost every person on earth yawns several times a day. So do many other animals. Yet the function of yawning, and why it appears to spread from one person to another in a room, are questions science has only recently begun to answer.
A yawn lasts on average about six seconds. During it, the jaw stretches widely, the inhalation deepens dramatically, and the eyes typically water for a moment as the muscles around them tense. It is one of the few human behaviours that, once it begins, is almost impossible to stop.
Yawning is not, as was long assumed, unique to humans or even to primates. It has been carefully observed in animals as different as fish, birds, dogs and snakes, suggesting a deep evolutionary origin. Among most of these creatures, however, the social, contagious dimension of yawning seems mostly absent; only in a few highly social species — humans, chimpanzees and a handful of others — does watching another individual yawn reliably trigger a yawn in oneself.
Why we yawn at all is still debated. The oldest popular theory — that yawning brings more oxygen into the body — has not held up well: experiments have found that breathing pure oxygen does not stop people yawning. A more promising current proposal links yawning to a need to cool the brain. The argument is that the deep inhalation of cool air, combined with the stretching of facial muscles, lowers the temperature of blood flowing to the brain by a fraction of a degree, helping it work more efficiently. Studies have found that people yawn more often when the air around them is cool than when it is hot — the opposite of what an oxygen theory would predict.
Then there is the puzzle of contagion. Watching, hearing, or even reading about a yawn makes most people yawn within minutes — an effect easily demonstrated in any classroom. The contagious effect is strongest between people who are emotionally close: between family members and good friends it is dramatic; between strangers it is far weaker. This finding has led several researchers to argue that contagious yawning is a form of empathy — a small, unconscious way of synchronising with another person.
Even when we are alone, yawning increases when we are tired, bored or under-stimulated, and it spreads more easily through groups of people who are tired. This has practical implications: a single yawn during a long meeting really can change the room. Sleep researchers note that frequent unexplained yawning during the day can also be a useful warning sign of poor sleep at night.
Questions 1–6 — TRUE / FALSE / NOT GIVEN
Do the statements agree with the information in the passage?
1 Most adults yawn several times a day.
2 A yawn lasts on average about ten seconds.
3 Yawning has been observed in fish.
4 Breathing pure oxygen completely stops people yawning.
5 Contagious yawning is stronger between strangers than between close friends.
6 Yawning during a meeting is considered impolite in some cultures.
Questions 7–9 — Matching sentence endings
Complete each sentence beginning with the correct ending from the box. Type the correct letter A–F.
A spreads more easily among tired people. · B is linked by some researchers to brain temperature. · C is found only in humans and other primates. · D was once believed to be a sign of disrespect. · E has been observed in animals as different as fish, birds and snakes. · F appears mainly during sleep.
7 Yawning in general
8 Contagious yawning
9 One leading theory of yawning’s function
Questions 10–13 — Sentence completion
Complete the sentences with NO MORE THAN TWO WORDS from the passage.
10 A yawn lasts on average about seconds.
11 During a yawn the jaw stretches and the deepens dramatically.
12 One leading theory links yawning to brain .
13 Contagious yawning is most powerful between people who are emotionally .
You should spend about 20 minutes on Questions 14–27.
The history of the umbrella
Section A The umbrella is older than most people realise. The familiar dome of canvas or nylon on its slender spokes feels like a modern invention, an item that arrived along with the rest of the consumer world, but in fact some form of umbrella has been carried by human beings for at least four thousand years.
Section B The earliest known umbrellas were not designed to keep off rain. They were designed to keep off the sun. In ancient Egypt, Mesopotamia and especially China, parasols were carried over the heads of rulers and high officials by attendants, and the right to be shaded in this way was reserved by law for people of high rank. The umbrella, in other words, began life as a clear symbol of status as much as a piece of practical equipment. Paintings and carvings from the period show kings, queens and nobles under sunshades; ordinary people are bareheaded.
Section C The rain umbrella, paradoxically, is a more recent invention. In Europe the parasol had been carried by women for sun protection since the Renaissance, but using one in the rain — and worse, using one if you were a man — was considered both eccentric and unmasculine. The transformation began in mid-eighteenth-century London, where the writer and philanthropist Jonas Hanway became famous for carrying a rain umbrella in public despite the mockery this attracted. Within a generation his example had become the rule, and by the early nineteenth century every London gentleman carried an umbrella. Hanway was credited with introducing the rain umbrella to Europe.
Section D The umbrella became an everyday object, rather than a luxury, with industrialisation. Nineteenth-century factories began to mass-produce umbrellas, replacing the heavy whalebone spokes of older designs with light steel frames, and adopting tightly woven fabric treated to repel water. The result was an umbrella that was cheaper, lighter and far more reliable. Within a few decades the umbrella appeared in countless paintings and was a frequent prop in the novels of writers such as Dickens, who used it to mark social class — the broken, mended umbrella of the poor against the silk-handled one of the rich.
Section E The modern umbrella has not changed dramatically in basic design since then, and its weakness has not changed either: wind. Estimates suggest that well over a hundred million umbrellas are bought worldwide each year, and a very large share are lost, broken or abandoned in cafes within a few weeks. Several recent attempts to redesign the umbrella — bendable rods, inverted canopies, aerodynamic shapes — have made modest improvements, but a sudden gust on a wet street still defeats most of them. The basic umbrella that Hanway carried through London in 1750 would, surprisingly often, be roughly as useful as the one in your bag today.
Questions 14–18 — Headings
Choose the correct heading for each section and type the heading number (i–vii) in the box.
i An ancient symbol of status, not rainwear · ii How factories made umbrellas cheap · iii The rain umbrella reaches Europe · iv The umbrella in art and literature · v Older than most people realise · vi Why umbrellas still lose to the wind · vii The rise of waterproof fabric
14 Section A:
15 Section B:
16 Section C:
17 Section D:
18 Section E:
Questions 19–23 — Matching information
Which section contains the following information? Type A, B, C, D or E. (You may use any letter more than once.)
19 The Englishman whose example brought the rain umbrella to Europe.
20 A statistic about how many umbrellas are bought worldwide each year.
21 The replacement of heavy older spokes with light steel frames.
22 The use of the umbrella as a sign of social rank.
23 A claim that the umbrella is much older than people assume.
Questions 24–27 — Summary completion
Complete the summary using words from the box below. Type the correct letter A–G.
A status · B factories · C aluminium · D rain · E sun · F wind · G empathy
24 Although today’s umbrellas are designed for ,
25 the earliest umbrellas were used as protection from the ,
26 and they served as a sign of .
27 The umbrella became affordable to ordinary people only once began to mass-produce them in the nineteenth century.
You should spend about 20 minutes on Questions 28–40.
Three theories of how creativity works
Section A Creativity is often spoken of as if it were a mysterious gift — something a person either has or lacks. The picture given by researchers, however, is rather different. Over the past century three influential theories have tried to explain what creativity is, how it operates, and what helps it flourish. They are not competing accounts so much as complementary ones, each shining a light on a different part of the process.
Section B The first approach is associated with the American-Hungarian psychologist Mihaly Csikszentmihalyi, who spent decades interviewing painters, scientists, athletes and chess players about what creative work feels like from the inside. His central finding was that creative people, while working at their best, repeatedly describe a particular state of mind: a complete absorption in the task in which time seems to pass without notice and self-consciousness disappears. He called this state flow. Flow, on his account, is not the source of creative ideas but the optimal condition in which they appear, and his work has had a lasting influence on how educators and managers think about creating the right environment for creative work.
Section C A second, complementary theory comes from the American psychologist Teresa Amabile. While Csikszentmihalyi studied the experience of creativity from the inside, Amabile asked what observable factors actually predict creative output. In her three-component model, creative work depends on the joint presence of three things: skills in the relevant domain, creative-thinking skills (the habits of mind that allow a person to combine ideas in new ways), and what she calls intrinsic motivation — the desire to do the work for its own sake, rather than for reward. Her experiments showed that intrinsic motivation is essential: people working under heavy pressure for external reward consistently produced less creative work than people working out of curiosity.
Section D A third, older theory comes from the British psychologist Graham Wallas, who as long ago as 1926 proposed that creative work moves through four stages. The first stage is preparation, in which a person gathers information and studies the problem. The second is incubation, a period when the conscious mind steps away and ideas develop unconsciously. The third is illumination, the often-sudden moment when a solution appears. And the fourth is verification, in which the solution is tested and refined. Wallas’s model is striking because of its second stage: the suggestion that some of creative work happens precisely when we are not actively trying. Many researchers since have found support for this idea — solutions to difficult problems often appear during a walk, a shower or a night’s sleep, not at the desk.
Section E The three theories obviously emphasise different things. Csikszentmihalyi focuses on the felt experience of creative work; Amabile on the ingredients that make creative output more likely; Wallas on the temporal sequence in which creative work proceeds. They are not in conflict. A person preparing a difficult project (Wallas) may need particular skills and intrinsic motivation (Amabile) and may do their best work in a state of flow (Csikszentmihalyi). The three theories together describe creativity from three angles.
Section F There are practical implications. If Csikszentmihalyi is right, organisations should provide long, uninterrupted blocks of time and reduce distractions. If Amabile is right, they should protect intrinsic motivation by avoiding heavy-handed incentives. If Wallas is right, deadlines should leave room for incubation — for the unconscious work that may not look like work. None of this is mysterious. It is simply the result of taking creativity seriously enough to study how it actually happens.
Questions 28–31 — Multiple choice
Choose the correct letter, A, B, C or D.
Questions 32–36 — Matching features
Match each finding to the researcher who made it. Type A Csikszentmihalyi · B Amabile · C Wallas.
32 Identified an incubation period in which ideas develop unconsciously.
33 Argued that creativity has three essential components, including motivation.
34 Studied the experience of being fully absorbed in a task.
35 Proposed a four-stage model of how creative work proceeds.
36 Showed that intrinsic motivation is essential to creative output.
Questions 37–40 — Summary completion
Complete the summary with NO MORE THAN TWO WORDS from the passage.
37 Csikszentmihalyi described the inner experience of creative work as a state of .
38 Amabile argued that creative output depends partly on motivation.
39 Wallas’s four-stage model begins with ,
40 and ends with .
Reading answer key (Questions 1–40)
Passage 1 — Why we yawn
Passage 2 — The history of the umbrella
Passage 3 — Three theories of how creativity works
Selected notes: 2 FALSE — passage says “about six seconds”. 4 FALSE — pure oxygen does not stop yawning. 6 NOT GIVEN — cultural views on yawning are not discussed. 11 “breath” also accepted.
Reading score guide (out of 40): 37–40 ≈ Band 9 · 33–36 ≈ Band 8 · 30–32 ≈ Band 7.5 · 27–29 ≈ Band 7 · 23–26 ≈ Band 6.5.
Writing
60 minutes. Task 1: at least 150 words in about 20 minutes. Task 2: at least 250 words in about 40 minutes.
The diagram below shows the main stages in the production of chocolate from cocoa beans to finished chocolate bars. Summarise the information by selecting and reporting the main features, and make comparisons where relevant.
Write at least 150 words. Spend about 20 minutes on this task.
Band 9 model answer (Task 1)
Overall, the process is linear and one-directional, and it falls into two clear halves. The first three stages take place outdoors on the farm and involve natural processes, while the final three are industrial steps carried out in a factory.
At the first stage, ripe cocoa beans are harvested from cocoa trees. The harvested beans are then placed in wooden boxes and left to ferment for approximately five days, a step that develops their distinctive flavour. Once fermentation is complete, the beans are spread out and dried in the sun.
The dried beans are then transported to a factory and roasted in industrial ovens, which deepens both the colour and the aroma. After roasting, the beans are crushed and ground into a thick paste known as chocolate liquor. In the final stage, the paste is mixed with sugar and milk, refined and tempered, and finally poured into moulds where it sets into the familiar chocolate bars sold in shops.
The process therefore moves the same raw material through six tightly linked steps, requiring relatively little intervention until the final, industrial stages.
Why this is Band 9: clear overview (linear; natural then industrial halves); accurate sequencing with varied passive structures and sequencers (“once”, “then”, “in the final stage”); approx. 210 words.
More and more people are choosing to live alone. What are the reasons for this trend, and is it a positive or negative development?
Write at least 250 words. Spend about 40 minutes on this task.
Band 9 model answer (Task 2)
Several factors explain the rise. Economically, more people can now afford to live alone: wages in many service economies have risen enough that small flats, particularly in cities, are within reach of single earners in a way that was unthinkable a generation ago. Demographically, populations are ageing, and older widows and widowers increasingly choose, or are obliged, to live by themselves rather than move in with family. Socially, the average age of marriage has risen sharply, and a growing minority of adults choose not to marry at all, so years that earlier generations would have spent in shared households are now spent alone.
The personal advantages are real. Living alone offers privacy, freedom and a degree of control over one’s environment that shared living rarely matches. For people in the middle of their careers, or recovering from a difficult relationship, that independence can be genuinely valuable.
The disadvantages, however, are largely social rather than individual. Researchers consistently note higher rates of loneliness, mental-health difficulties and physical inactivity among long-term solo dwellers, particularly the elderly. At the community level, neighbourhoods of one-person households tend to be quieter but less neighbourly, with fewer of the everyday encounters that build local trust.
On balance, the trend reflects a real expansion of personal choice but also a quiet weakening of the social bonds that traditionally supported daily life. Both sides need to be taken seriously.
Why this is Band 9: both parts of the question fully answered; reasons and evaluation clearly separated; specific reasoning with examples; precise language (“quiet weakening”, “everyday encounters that build local trust”); approx. 305 words.
Check this before you submit
• Did I answer every part of the question?
• Is my position or structure clear from the first paragraph?
• Does each body paragraph develop one clear idea with a reason or example?
• Did I write at least 250 words (Task 2) / 150 words (Task 1)?
• Did I leave 3–4 minutes to check grammar, spelling and punctuation?
Speaking
11–14 minutes in three parts. Record yourself answering, then compare with the models.
Topic: weather and seasons
• Do you prefer hot weather or cold weather?
• Has the weather in your country changed in recent years?
• Do you check the weather forecast often?
• Which is your favourite season, and why?
Sample answer + why it works
Honestly, autumn — without much hesitation. The light is gorgeous in October especially, the streets aren’t as crowded as in summer, and the temperature is just about perfect for walking everywhere, which is how I most like getting around. I also love that everything starts again in autumn — new courses, new books, a sense of fresh beginning — even though I’ve long since left school.
Direct answer, three concrete reasons (light, crowds, temperature), and a small personal observation at the end — natural, not rehearsed.
Cue card
• where this place is
• when you usually go there
• what you do there
and explain why this place relaxes you.
You have 1 minute to prepare and may make notes. Then speak for 1–2 minutes.
Model long turn + planning notes
Planning notes: place = small reading room at a public library · when = a couple of evenings a week · what = read, sometimes write · why relaxing = quiet, anonymous, away from screens.
I usually go a couple of evenings a week, after work but before dinner. I bring a book and sometimes a notebook, and that’s really it. I read for an hour or so, occasionally write a little — just notes, nothing serious — and then walk home.
What makes it so relaxing, I think, is two things. First, it’s genuinely quiet in a way that very few places are any more — no music, no televisions, no conversations. And second, it’s a place where I’m anonymous: nobody expects anything from me there. I’m not a colleague or a son or a friend; I’m just a person reading. That combination of quiet and anonymity is unusual, and it’s become something I look forward to in a way I didn’t expect.
All four bullet points addressed; the notes are used loosely (not read); a small reflective insight at the end — approximately 1 min 55.
Relaxation, nature and modern life
• Why do many people find it difficult to relax these days?
• Are people in big cities more stressed than those in the countryside?
• Should cities have more green spaces?
• How could governments help people to relax more?
How to reach Band 7+ in Part 3
1 Use the pattern opinion → reason → example every time.
2 Show range with phrases like “it largely depends on”, “broadly speaking”, “there’s a strong argument that…”
3 Acknowledge both sides before you conclude.
4 Buy thinking time naturally: “That’s an interesting question — I’d say…”
How this test is scored
Listening and Reading: raw score out of 40 converts to a band (see each section’s guide). Writing and Speaking: four equally weighted criteria each — Task Response / Fluency, Coherence & Cohesion, Lexical Resource, and Grammatical Range & Accuracy. The overall band is the average of the four skills, rounded to the nearest half band.
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Send your Writing answers or book a free 20-minute assessment, and you’ll get a band estimate plus the three things to fix first.