Grammar schools / Sutton SET English (multiple choice) / Mock 6
Sutton Selective Eligibility Test · Stage 1
Sutton SET English Mock Paper 6
Preparation for the Sutton Selective Eligibility Test, sat for admission to Wilson's School, Sutton Grammar School, Wallington County Grammar School, Nonsuch High School for Girls and Wallington High School for Girls. This is an original mock paper written by Revision Library. It is not a past paper and it is not an official specimen.
Print the paper (PDF)Paper and mark scheme (PDF)
- Time allowed
- 50 minutes
- Total marks
- 62
- Questions
- 62
- Level
- Strong candidate
- You have 50 minutes for this paper. There are 62 questions and every question is worth 1 mark.
- The paper has four sections. The recommended times are 5 minutes for Section A, 25 minutes for Section B, 10 minutes for Section C and 10 minutes for Section D. These times are advice printed to help you, not rules. You may spend longer on a section if you need to, and you may go back to earlier questions at any point.
- Every question gives you five options, A to E. Mark your answers on the separate answer sheet in pencil. If you change your mind, rub the old mark out completely so that only one mark is left.
- Most questions have one answer. Some ask you to choose exactly two options, and some ask you to choose all the options that apply. Those questions say so in the wording, so read each one carefully before you mark the sheet.
- There is no negative marking, so a wrong answer costs you nothing. Never leave a question blank: if you are unsure, choose the answer you think is most likely and move on.
Section A: Spelling (about 5 minutes)
In each question, one of the five spellings is correct and the other four are not.
Choose the correct spelling and mark one answer for each question.
- 11 mark
Choose the correct spelling.
Everyone in the year group was asked to fill in a short ____ about the trip.
- 21 mark
Choose the correct spelling.
A total eclipse is a rare ____ in this part of the country.
- 31 mark
Choose the correct spelling.
There is no proof of the creature's ____ beyond one blurred photograph.
- 41 mark
Choose the correct spelling.
The club ____ writes up the minutes after every meeting.
- 51 mark
Choose the correct spelling.
The repair to the vase was barely ____ from across the room.
- 61 mark
Choose the correct spelling.
The judge warned the jury to set aside any ____ before hearing the evidence.
- 71 mark
Choose the correct spelling.
Each group carried out an ____ investigation.
- 81 mark
Choose the correct spelling.
Do not ____ the size of the fish you caught.
- 91 mark
Choose the correct spelling.
Is Thursday a ____ day for you to collect the parcel?
- 101 mark
Choose the correct spelling.
The old ____ stood behind a wall of dark yew trees.
Section B: Text 1 (about 25 minutes)
Read Text 1 carefully, then answer questions 11 to 38.
Most questions have one answer. Where a question asks for exactly two answers, or for all the answers that apply, it says so.
The Shape of Leaving
At three o'clock the removal van swallowed the last tall thing, our bookcase, and pulled away with Lena and the children following in the car. I stayed because the letting agent would come for the keys at eight the next morning. One night, one sleeping bag, one mug and a roll of kitchen paper: that was what remained of eleven years in Flat 31.
The moment the lift doors closed behind my family, the flat raised its voice. My step in the hall came back from the bare boards. The bathroom tap, which had always given a private little cough, now announced itself to the kitchen. Without the fridge humming, I could hear the lift cables worrying at one another inside the wall. I clapped once in the sitting room to test the echo, then wished I had not when a thinner clap appeared to answer me.
Mara rang before the van had reached the ring road. 'I'm not looking for the red horse,' she said. 'But if it turns up, don't let Dad throw it away.' I reminded her that she had declared it babyish two years ago and had given it to the charity bag. 'Exactly,' she said. 'So it can't possibly be behind the radiator.'
It was behind the radiator, wearing a grey mane of dust. Once the furniture had gone, other small things had surrendered too: forty-seven pence beneath the sofa, a green crayon under the washing machine, the queen of spades inside the bookcase's pale footprint, and a wooden button that matched no coat I remembered. On the windowsill I arranged them like evidence. They looked less like rubbish now that they were all the flat had left to say for us.
At six, Mrs Sen from 30 tapped with her thumbnail and came in carrying a flask and two paper cups. 'Your kettle has gone,' she said, before I could ask how she knew. We drank tea on the sitting-room floor. Above us, a chair scraped; two floors down, a baby began its evening complaint. 'I never knew the building was this noisy,' I said. Mrs Sen shook her head. 'You could always hear it. Your own things answered back, that was all.' She had also brought the yellow umbrella we had lent her in April. It had stood behind her door for so long that both of us had begun to call it hers.
In the main bedroom, the wardrobe had left a pale rectangle and four black dents in the carpet. It had also uncovered the pencil marks on the skirting board: Mara, 6; Sami, 4; Mara, 9, leaning because she had refused to remove her slippers. Lena had measured them there until the wardrobe became too heavy to shift. The marks would be under white paint by Tuesday. I took three photographs, though one would have been enough.
Just before midnight, Lena rang from the new house. Behind her voice I heard doors banging and Sami protesting that the stairs groaned. 'Does it sound like us yet?' I asked. 'Not remotely,' she said. Mara took the phone and asked whether I had checked the radiator. I told her the horse had survived the charity bag. There was a pause. 'I knew it would,' she said, with the calm of somebody taking credit for a rescue she had not performed.
I scrubbed the kitchen after the call. Under the space where the fridge had stood was a square of brighter lino and a folded shopping list in my own handwriting. Milk, bread, light bulbs, candles. I remembered writing it on our first evening, when we did not yet know which switches worked and had no idea that the corner shop closed at seven. I put the list with the playing card and the horse.
I slept badly in the sitting room. Whenever the pipes clicked, I mistook them for one of the children turning over in bed. At half past five, blue light reached the opposite wall without curtains to soften it. I made tea from Mrs Sen's flask and cleaned a patch beside the door that was already clean.
The letting agent arrived at eight with a tablet under one arm. She photographed the blue scuff where Sami's scooter had struck the hall wall, tested the taps and counted the keys twice. 'All done,' she said. I gave her the ring, but kept the red horse, the queen of spades and the old list in my coat pocket. When I pulled the front door shut, the click belonged entirely to the flat. I was already on the other side of it.
This passage was written for Revision Library.
- 111 mark
Why does the narrator remain in Flat 31 after the rest of the family leaves?
- 121 mark
In the telephone call near the start, which object does Mara want the narrator to find?
- 131 mark
What does Mrs Sen bring for the narrator to drink tea from?
- 141 mark
What had the wardrobe hidden in the main bedroom?
- 151 mark
Which four items are written on the old shopping list?
- 161 mark
In the paragraph beginning 'The moment the lift doors closed', the narrator says that the flat 'raised its voice'.
Which option most precisely explains why its ordinary sounds seem louder now?
- 171 mark
The narrator claps once in the empty sitting room, then wishes they had not when 'a thinner clap appeared to answer'.
Which option best explains this reaction?
- 181 mark
Mara says, 'I'm not looking for the red horse,' but tells the narrator where it may be and calls again later.
Which option best explains the contradiction?
- 191 mark
After arranging the newly found objects on the windowsill, the narrator says they look 'like evidence'.
Which option best explains what they are evidence of?
- 201 mark
Mrs Sen arrives with hot tea and cups, saying, 'Your kettle has gone,' before the narrator asks how she knew.
Which option best explains what this shows about her?
- 211 mark
Mrs Sen says of the building's noises, 'You could always hear it. Your own things answered back, that was all.'
Which option most precisely explains her meaning?
- 221 mark
The narrator takes three photographs of the children's pencil heights, 'though one would have been enough'.
Which option best explains the three photographs?
- 231 mark
The old list reads, 'Milk, bread, light bulbs, candles.'
Why is this particular list important on the family's final night in the flat?
- 241 mark
Before closing the door, the narrator keeps the red horse, the queen of spades and the old list.
Which option best explains why these three things are taken?
- 251 mark
The removal van 'swallowed the last tall thing, our bookcase'.
Select the TWO words closest to swallowed as it is used here.
Select TWO answers.
- 261 mark
The lift cables are described as 'worrying at one another inside the wall'.
Select the TWO words that best convey the meaning of worrying here.
Select TWO answers.
- 271 mark
Considering both of Mara's telephone calls, select the TWO most accurate words to describe her attitude to the red horse.
Select TWO answers.
- 281 mark
Think about Mrs Sen's visit, including the tea and the returned umbrella.
Select the TWO words that most accurately describe her manner.
Select TWO answers.
- 291 mark
The cleared rooms reveal several overlooked objects. Which item is NOT found in Text 1?
- 301 mark
Four statements accurately describe the narrator's last evening in Flat 31. Which one does NOT?
- 311 mark
During the late telephone call, which statement about the family at the new house is NOT correct?
- 321 mark
At the morning handover, which event does NOT take place?
- 331 mark
Which details specifically help explain why Flat 31 sounds altered after the removal van leaves?
Select ALL that apply.
Select ALL the answers that are correct.
- 341 mark
Mara tries to hide how much the red horse matters to her. Which details expose her concern despite that attempt?
Select ALL that apply.
Select ALL the answers that are correct.
- 351 mark
Once large furniture and appliances have been moved, which traces of earlier family life become newly visible?
Select ALL that apply.
Select ALL the answers that are correct.
- 361 mark
The narrator is reluctant to let the final night end. Which actions suggest that reluctance?
Select ALL that apply.
Select ALL the answers that are correct.
- 371 mark
After the near-midnight call ends, which events occur before the letting agent arrives?
Select ALL that apply.
Select ALL the answers that are correct.
- 381 mark
Mrs Sen's brief visit carries signs of a long neighbourly relationship. Which statements support that reading?
Select ALL that apply.
Select ALL the answers that are correct.
Section C: Text 2 (about 10 minutes)
Read Text 2 carefully, then answer questions 39 to 50.
Text 2 is shorter than Text 1, but the questions expect the same close reading.
Inside Looking In
People call me vacant, as if one impatient word could clear me. I am five rooms and a hallway. Even now I contain the tick of cooling pipes, the lift's buried pull and the soft argument of water travelling between floors. Emptiness is only what humans name a place when it has stopped answering in their voices.
I have held seven families, though I know none of their surnames. I know them by habits. One boy skated from kitchen to bedroom until his wheels drew grey commas at every turn. A couple fixed paper stars above the smallest bed. Later came a baby who slept all day and objected to every night. Names reach me only when they are called aloud or pencilled beside a height.
Furniture teaches me its shape by staying still. Take it away and it continues in reverse: a dark square where sunlight did not reach, four dents, a clean stripe, islands of dust. Rooms are indiscriminate collectors. We keep buttons without coats, coins without pockets and the faint sweetness of an orange long after its peel has gone.
There are things I cannot learn. My windows give me a brick wall, twelve balconies and a narrow helping of sky. Once a van turns the corner, I cannot see where it carries a table. I know rain by wet sleeves in my hallway and summer by warm shoes kicked off at the door. The world arrives in fragments, attached to people.
When the final key turns, the building grows distinct inside me. Other kitchens shut their cupboards. Other children cross their floors. Soon a new key will interrupt, and voices will begin placing themselves against my walls. Until then, I keep the exact shapes of the spaces the last family filled. They believe they have left me behind. I cannot follow them to discover whether that is true.
This passage was written for Revision Library.
- 391 mark
Text 2 begins, 'People call me vacant, as if one impatient word could clear me.'
Which option best explains why the flat calls the word impatient?
- 401 mark
The flat says, 'I have held seven families, though I know none of their surnames. I know them by habits.'
Which option best explains the contrast?
- 411 mark
Furniture taken away 'continues in reverse'.
Which option most accurately explains this expression?
- 421 mark
The flat says, 'The world arrives in fragments, attached to people.'
Which option best explains what this means?
- 431 mark
At the end, the flat says, 'They believe they have left me behind. I cannot follow them to discover whether that is true.'
Which option best explains the uncertainty?
- 441 mark
Text 2 recalls several former occupants. Which statement is NOT correct?
- 451 mark
Which detail is NOT used in Text 2 as a mark left by furniture or possessions?
- 461 mark
The flat describes limits to what it can observe. Which claim about its view is NOT correct?
- 471 mark
Which statements rely on the speaker of Text 2 being a flat rather than a human observer?
Select ALL that apply.
Select ALL the answers that are correct.
- 481 mark
Across its seven families, what kinds of human traces does the flat claim to retain?
Select ALL that apply.
Select ALL the answers that are correct.
- 491 mark
Because it cannot go outdoors, the flat interprets indirect signs. Which examples of that process appear in Text 2?
Select ALL that apply.
Select ALL the answers that are correct.
- 501 mark
Text 2 says, 'Rooms are indiscriminate collectors.'
Select the TWO words closest to indiscriminate in this context.
Select TWO answers.
Section D: Comparing Text 1 and Text 2 (about 10 minutes)
Questions 51 to 62 are about both texts. You may look back at Text 1 and Text 2 as often as you like.
Most of these questions ask you to choose all the answers that apply.
- 511 mark
Both texts challenge the idea that removing people and furniture leaves nothing behind. Which details contribute to that shared idea?
Select ALL that apply.
Select ALL the answers that are correct.
- 521 mark
Put the passages side by side. Which statements accurately connect their treatment of sound after a home is emptied?
Select ALL that apply.
Select ALL the answers that are correct.
- 531 mark
Each narrator has a different way of learning about places beyond the flat. Which comparisons are supported?
Select ALL that apply.
Select ALL the answers that are correct.
- 541 mark
Keys mark the boundary between occupation and emptiness in both passages. Which statements about that motif are correct?
Select ALL that apply.
Select ALL the answers that are correct.
- 551 mark
Children shape the identity of the home in both texts. Which evidence supports that connection?
Select ALL that apply.
Select ALL the answers that are correct.
- 561 mark
The passages view the flat on different timescales. Which statements accurately describe how?
Select ALL that apply.
Select ALL the answers that are correct.
- 571 mark
Text 1 briefly makes the building seem alive, while Text 2 sustains that idea through its narrator. Which examples fit this comparison?
Select ALL that apply.
Select ALL the answers that are correct.
- 581 mark
Which storytelling features belong specifically to the human account in Text 1, rather than to the flat's reflection in Text 2?
Select ALL that apply.
Select ALL the answers that are correct.
- 591 mark
Which option most accurately describes the main difference between the two narrative voices?
- 601 mark
Which option best describes the contrast in the narrators' attitudes towards the next occupants?
- 611 mark
Mrs Sen says in Text 1, 'Your own things answered back.' Read this beside Text 2's description of voices placing themselves against the walls.
Which option best connects the two ideas?
- 621 mark
Why is the flat's own account an effective companion to the father's account of his last night in Flat 31?
Answers, mark scheme and worked explanations
- 11 mark
B
It is the word question with the ending -naire bolted on, and the n doubles where the two halves meet: question-naire.
Questionaire keeps only one n. Questionnair and questionnare lose the final e, and questionniare turns the ia round.
- 21 mark
C
Occurrence doubles twice, the c and the r, and then ends in -ence rather than -ance: oc-cur-rence.
Occurence and ocurrence each undo one of the doubles. Occurance uses the wrong ending, and occurrense swaps the c of -ence for an s.
- 31 mark
B
Exist takes -ence, not -ance. If you can hear the word exist inside it, the rest is just the ending.
Existance and existanse choose the wrong vowel for the ending, existense swaps the c for an s, and exsistence adds an s that is not there.
- 41 mark
C
A secretary is the person who keeps the secret, so the word starts with secret and then adds -ary.
Secretry drops the a altogether, which is exactly how the word is usually said out loud. Secretery uses the wrong vowel in the ending, secratary the wrong one in the middle, and secertary swaps the e and the r.
- 51 mark
B
Most words drop the final e before -able, but notice keeps it. Without that e the c would be a hard k sound, so the e is doing a job.
Noticable is the slip that follows the usual rule and loses it. Noticeble drops the a, notisable replaces the c with an s, and noticiable adds an i.
- 61 mark
C
It is the prefix pre- in front of judice, from the same root as judge: pre-judice, judging before.
Predjudice and predudice both try to spell the j sound with a d. Prejudise swaps the c for an s, and prejudace uses the wrong vowel before it.
- 71 mark
B
Independent ends -dent, like dependent: in-de-pen-dent.
Independant changes the final e to a, indepedent loses an n, independantt adds a t as well as using a, and independantent repeats part of the ending.
- 81 mark
B
Exaggerate has double g, single r and the ending -erate.
Exagerate drops a g, exagerrate doubles the r, exaggeratte doubles the t, and exaggarate changes the e before r to a.
- 91 mark
A
Convenient is con-veni-ent: the i comes after ven and the ending is -ent.
Convienient and conveinient misplace the i, conveniant changes the e in the ending to a, and convenent drops the i.
- 101 mark
B
Cemetery begins with c and has three e letters: cem-e-ter-y.
Cemetary uses a instead of the final e, cemetarye adds a further e, cemetry drops the middle e, and semetery begins with s.
- 111 mark
B
The opening paragraph says directly that the narrator stayed because the letting agent would collect the keys at eight the next morning.
The van has already left, the paintwork and tap are not the narrator's jobs, and Mrs Sen brings the umbrella to the flat rather than asking for it back.
- 121 mark
D
Mara says that she is not looking for the red horse, then gives precise instructions about it. The narrator later finds it behind the radiator.
The other four objects also appear, but none is the object Mara asks about.
- 131 mark
A
The paragraph beginning 'At six' says that Mrs Sen carries in a flask and two paper cups.
She knows the kettle has gone, and the passage mentions neither a teapot, a bottle nor glasses.
- 141 mark
C
Moving the wardrobe uncovers the skirting board where Lena had recorded Mara's and Sami's heights in pencil.
The shopping list is under the fridge, while the blue mark is a scooter scuff in the hall. The other details are not in the passage.
- 151 mark
B
The four-item list is quoted exactly: 'Milk, bread, light bulbs, candles.'
Every other option changes at least one of those items.
- 161 mark
C
C gives the physical cause that links the bare boards, the bathroom sound reaching the kitchen and the echo in the sitting room: the soft and bulky furnishings that absorbed sound have gone.
A, B, D and E all contribute to what the narrator notices, so each is partly true. None explains as fully as C why the sounds themselves travel farther and return as echoes.
- 171 mark
B
B best accounts for the personification of the echo as something that 'appeared to answer'. The response feels separate and eerie, showing that a well-known room has become strange.
A, C, D and E identify real parts of the moment: it is an echo, the building is audible, the narrator is alone and soft furnishings have gone. B most precisely explains the narrator's regret.
- 181 mark
D
D explains both halves of Mara's behaviour. Her repeated, detailed concern shows attachment, while her denial and earlier claim that the horse was babyish show embarrassment about admitting it.
A, C and E are supported by details of the call, and B reflects the disputed charity bag. They describe circumstances around the search, but not the emotional contradiction as precisely as D.
- 191 mark
C
C fits the narrator's claim that the objects are now 'all the flat had left to say for us'. Together, the scraps become a record of this family's everyday history.
A, B and E are literally involved in how the objects appeared, and D becomes partly true when three are kept. They do not capture the larger idea of proof that the family's life occupied the flat.
- 201 mark
C
C draws together the unasked-for tea, the paper cups and the quiet visit. Mrs Sen shows care through something useful, without making a speech about the departure.
A, B, D and E are all reasonable parts of her action: she has observed the move, anticipates a need, knows the household and wants to visit. C most fully explains the restrained way she expresses those feelings.
- 211 mark
B
B best combines the physical and figurative meanings of 'answered back'. The possessions softened other sounds and filled the rooms with the family's own familiar presence.
A, C and D each explain part of the acoustic change. E is partly suggested by sounds passing between homes, but treats the figurative phrase too literally.
- 221 mark
C
C explains the deliberate excess in 'though one would have been enough'. The marks record the children growing and are about to disappear, so the narrator repeats the act of preserving them.
A and B offer practical reasons, D recognises that only an image can be taken, and E fits the narrator's later delaying behaviour. None explains the emotional insistence as fully as C.
- 231 mark
B
B explains why the contents matter now: ordinary food sits beside emergency light, capturing how unfamiliar the flat was on the first evening. The list connects the family's arrival with its departure.
A, D and E are supported details, while C is partly true because the flat is poorly supplied that night. Only B explains the list's place in the narrative.
- 241 mark
C
C links the three objects to what cannot be carried away: the flat itself and the painted-over height marks. Their money value is tiny, but they can hold memories and cross the threshold.
A and D are practical parts of removing them, B is possible for the toy and list but not established for the card, and E is true only in emotional rather than financial terms. C gives that precise emotional meaning.
- 251 mark
A and C
Engulfed and consumed both suggest the bookcase disappearing wholly into the van, which makes the vehicle seem like a large creature.
Digested continues the body image but would mean breaking food down after swallowing. Measured and returned do not convey disappearance inside the van.
- 261 mark
B and D
Here worrying means repeatedly rubbing or grinding against something. It gives the cables' mechanical sound a restless quality.
Fretting and questioning relate to mental anxiety, which the personification hints at but the cables cannot literally feel. Repairing gives the opposite idea.
- 271 mark
A and B
Mara is attached because she calls twice and knows where the horse may be. She is guarded because she hides this concern behind denials and calm remarks.
She is neither indifferent nor forgetful, and although she cares, she never admits to being openly distressed.
- 281 mark
A and B
She is considerate because she anticipates the missing kettle and brings tea. She is understated because the visit and return of the long-borrowed umbrella quietly mark the goodbye without ceremony.
She does not make the visit grand, force herself into private matters or behave carelessly, so C, D and E are less accurate.
- 291 mark
B
No silver earring is found. The passage lists forty-seven pence, a green crayon, the queen of spades and a wooden button together.
The precise list makes A, C, D and E true and leaves B as the only unsupported object.
- 301 mark
C
The family has already gone and the narrator never cooks a meal. The remaining provisions are only a mug, kitchen paper and tea from Mrs Sen's flask.
The floor tea, three photographs, phone call and late cleaning are all stated in the passage.
- 311 mark
E
Nothing is said about a broken bedroom window. A to D all come directly from the call: banging doors, groaning stairs, Lena's 'Not remotely' and Mara's renewed question.
- 321 mark
D
The agent does not mention repainting the skirting board. The narrator already expects the marks to be painted over by Tuesday.
The photograph, tap test, double count and final closing of the door all occur in the last paragraph.
- 331 mark
A and B and C
Bare boards, the absent fridge hum and the new echo all directly concern the changed sound of the flat.
Mrs Sen's flat number does not alter the sound. The missing curtains change the light in the passage, but the writer does not connect them to noise.
- 341 mark
A and B and C and D
The speed of the first call, the warning to Dad, the exact hiding place and the repeated question all reveal sustained concern.
Mara never admits placing the horse there. She claims she gave it away and later takes credit only for believing it would survive.
- 351 mark
A and B and C and D
A to D are all exposed by removing a named object: sofa or washing machine, bookcase, wardrobe and fridge.
No photograph is found behind a mirror. The photographs in the story are taken by the narrator after the marks are uncovered.
- 361 mark
A and B and C and D
The repeated photographs, careful display, needless cleaning and anxious question all stretch or preserve the connection with the old home.
Giving the keys at the agreed time completes the handover; it shows duty, not an attempt to delay.
- 371 mark
A and B and C and E
The list is found during the cleaning, the narrator then sleeps badly, sees blue morning light and drinks from the flask at half past five.
Mrs Sen returned the umbrella during her six o'clock visit, well before the late call.
- 381 mark
A and B and C and D
Her knowledge, shared tea and the months-long, casually blurred ownership of the umbrella all show familiarity and mutual help.
The passage does not say that Mrs Sen helped move the bookcase.
- 391 mark
C
C is most precise because 'impatient' criticises a judgement made too quickly. People notice that the occupants have gone and overlook sounds, traces and memories that remain.
A, D and E identify parts of what the word overlooks. B catches the idea of haste, but the text does not connect that haste specifically to awaiting new occupants, so it is less complete.
- 401 mark
B
B states the central contrast: surnames are human labels, while the flat experiences its occupants through skating, decorating, crying and measuring.
A, C, D and E are all supported consequences of that contrast. B most precisely explains why 'surnames' is set against 'habits'.
- 411 mark
A
A explains the paradox exactly: the object is gone, yet its outline, dents or clean stripe make its shape remain as a negative image.
B and C name evidence for that image, D describes its effect, and E picks up the idea of reversal. A alone defines how the furniture itself seems to 'continue'.
- 421 mark
C
C covers both 'fragments' and 'attached to people': the flat cannot explore, so wet sleeves, warm shoes and carried belongings provide incomplete evidence about outdoors.
A describes the limit, B and D give examples, and E is a consequence when occupants go. They are all partly true, but C expresses the whole idea.
- 431 mark
B
B distinguishes physical departure from emotional departure. The flat knows the people are gone but, because it cannot follow, cannot tell whether they continue to carry it in memory.
A and E explain the flat's limitation, while C and D describe what happens inside after departure. All support the ending, but B identifies the exact question the flat cannot settle.
- 441 mark
D
D reverses the baby's pattern. The baby slept all day and objected to every night.
The number of families, skating marks, paper stars and unknown surnames are all stated directly.
- 451 mark
E
The paragraph about furniture lists a dark square, four dents, a clean stripe and islands of dust. It never mentions a cracked window.
- 461 mark
D
The flat specifically says that it loses sight of a van when it turns the corner, so it cannot watch the journey to its destination.
The wall, twelve balconies, strip of sky and wet sleeves all belong to its limited way of observing the world.
- 471 mark
A and B and C and D
Being made of rooms, holding successive families, receiving voices against walls and remaining fixed are all possible because the narrator is the flat.
A human sharing the home could also notice a baby's night-time protesting, so E does not depend on the unusual narrator.
- 481 mark
A and B and C and D
Text 2 includes grey skate marks, paper stars, called or pencilled names and the lingering sweetness of an orange.
The flat explicitly says it knows none of the surnames, so E cannot be selected.
- 491 mark
A and B and C and D
A and B are explicit clues about weather and season. The final key marks departure, while cupboards and footsteps reveal other occupied homes after the flat falls quiet.
The flat cannot follow the van and never says it can read street signs, so E is not supported.
- 501 mark
A and B
Unselective and undiscerning both mean not choosing carefully. The rooms keep unrelated buttons, coins, dust and smells without deciding what deserves to remain.
Organised and deliberate suggest careful choice, the opposite of the meaning here. Valuable describes worth, not the method of collecting.
- 511 mark
A and B and C and D
A and B are remains discovered in Text 1. C and D are the flat's examples of shapes, scraps and smells that persist in Text 2.
Neither narrator claims every possession has gone. In fact, the overlooked objects make E the opposite of the shared point.
- 521 mark
A and B and C and D
Text 1 exposes cables, pipes and neighbours once the family's possessions and voices go. Text 2 similarly says the building and other homes grow distinct, supporting A to D.
E contradicts both accounts: emptied rooms make overlooked sounds easier to hear.
- 531 mark
A and B and C and D
A and B show the different channels of information. C states the contrast in their limits, and D is true because the phone and carried signs both provide indirect knowledge.
Text 2 loses sight of a van at the corner, and Text 1 never watches it reach the house, so E is unsupported.
- 541 mark
A and B and C and D
The practical purpose of Text 1's night is the key handover, while Text 2 uses the departing and arriving keys to frame changes of occupant. A to D all follow.
No lost key is discovered in either text, so E does not belong to the motif.
- 551 mark
A and B and C and D
The heights, scuff, skate marks, stars and cries are distinctive traces of children living in the space, so A to D connect the texts.
The marks arise through ordinary life. Neither passage accuses the children of intending damage, so E adds an unsupported motive.
- 561 mark
A and B and C and D
Text 1 has a tight overnight frame but opens a memory of arrival. Text 2 ranges across seven families and anticipates the next, making A to D accurate.
E ignores the afternoon and evening in Text 1 and the much broader past and future in Text 2.
- 571 mark
A and B and C and D
A to C are short personifications within the human narrative. D describes the continuous non-human consciousness that tells all of Text 2.
Text 2 stresses that the flat cannot follow, and Text 1 never makes it walk, so E pushes personification beyond either passage.
- 581 mark
A and B and C and D
Only Text 1 follows exact times, names current people, presents quoted conversations and lets its narrator cross the final threshold.
E is true of Text 2 as well: its first-person flat hears pipes, water, cupboards and footsteps.
- 591 mark
A
A captures all three important contrasts: human and non-human speaker, past and present tense, and a single night's sequence against the flat's longer reflection.
B to E misidentify content, knowledge, technique or narrator. Text 1 includes both objects and people, neither speaker knows everything, and Text 2 is the flat itself.
- 601 mark
B
B identifies a meaningful difference in focus. Text 1 stays with a painful personal handover, whereas Text 2 has seen repeated change and treats the next key as expected.
The other options invent anger, refusal, fear or permanent vacancy. The flat anticipates new voices, and the human narrator never judges their future occupants.
- 611 mark
A
A treats 'answered' as figurative and joins the acoustic idea to the emotional one. A family's things and voices change how rooms sound and make the place feel responsive and inhabited.
B is too literal, C and D narrow the idea to neighbours or volume, and E reverses both passages' claim that emptiness exposes building sounds.
- 621 mark
C
C explains the designed contrast. Text 1 can travel to the family's future but feels the loss of the rooms; Text 2 knows the rooms across time but cannot follow anyone outside.
A and E reduce the pair to practical matters, B claims a repeated viewpoint that the texts avoid, and D makes a comparison between families that Text 2 never makes.
Sutton Selective Eligibility Test, Stage 1, English (multiple choice). Written by Revision Library on 2026-08-29, independent check pending.
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