What is the devising log, and how do I write it well?
The devising log: documenting and evaluating the creating, developing and performing of the devised piece across the three required stages.
The devising log for AQA GCSE Drama Component 2, covering how to document and evaluate the creating, developing and performing of the devised piece across the three required stages, and what each section must show.
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What this dot point is asking
The devising log is the written part of Component 2, worth 10% of the GCSE (Component 2 as a whole is 40%, split between the log and the devised performance). It documents and evaluates your devising journey. You need to know its three required stages and how to write each with specific detail and genuine evaluation, not just description. AQA caps the log's length, so every sentence has to earn its place by reflecting and justifying rather than narrating.
The three stages
Treat the three stages as three different jobs. Creating records the start: the stimulus, the ideas, the agreed intention. Developing and refining records the middle: the choices you made and tested in rehearsal and how the piece improved. Analysing and evaluating records the end: how successful the performance was and what you would change. Balancing the three, rather than spending all your words on the story of the project, is what hits the mark scheme.
Write about your own work
Examiners reward "I" sentences with substance: "I chose to deliver this line at a slow pace and low volume because I wanted the audience to feel the character's fear." A log that says "we decided" and "the group did" throughout loses sight of the individual, which is what is actually being marked. Keep yourself at the centre even when describing collaborative work.
Reflect and evaluate
Genuine evaluation is willing to say what did not work. "The transition into the final scene was unclear, so I added a freeze-frame to mark it, which made the change of time obvious to the audience" shows reflection, a choice, and its effect, all in one sentence. That density of reflection, justification and evidence is what raises the band.
It also helps to weave in the correct vocabulary as you reflect, naming the vocal and physical skills, the dramatic devices, the structure and the design elements you used, because accurate terminology shows the examiner you understand the choices, not just that you made them. Where possible, link your reflection to the intended effect on the audience rather than to your own feelings: "I was pleased with the scene" is weaker than "the slow build of pace held the audience in suspense until the reveal landed". Keeping every judgement anchored to a specific moment and to the audience's response is the habit that separates a top-band log from a project diary.
Try this
Q1. What are the three stages the devising log must cover? [3 marks]
- Cue. Creating, developing and refining, and analysing and evaluating the final performance.
Q2. Why is reflection more important than narration in the log? [2 marks]
- Cue. The marks reward explaining and judging your own choices, not retelling what happened.
Exam-style practice questions
Practice questions written in the style of AQA exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
AQA 20194 marksExplain what should be recorded in the creating stage of the devising log and why it matters. (Component 1 knowledge of practical work)Show worked answer →
A 4-mark question wants the content of the creating stage plus its purpose. Marked on AO1 and AO2.
Markers reward: the response to the stimulus, the initial ideas the group generated, and the agreed intention and intended effect on the audience. Why it matters: it shows how the piece began and sets the intention that every later choice is judged against, and it gives the candidate material to reflect on rather than narrate.
A clear account of what goes in the stage and why it matters reaches full marks. Listing activities with no purpose, or describing the group rather than the candidate's own input, stays low.
AQA 20228 marksDiscuss how a candidate should evaluate the final performance in the analysing and evaluating stage of the devising log. (Component 1 knowledge of practical work)Show worked answer →
An 8-mark "discuss" rewards a developed account of strong evaluative writing. Marked on AO1 and AO2.
Method markers reward: (1) judging how successful the final performance and the candidate's own contribution were, with reasons; (2) supporting judgements with specific moments from the performance; (3) using evaluative language (effective, successful, less effective) rather than narration; (4) saying what worked, what did not, and what the candidate would change and why; (5) keeping the focus on the candidate's own choices and development, not a group diary.
Top answers stress reflection and justification over storytelling and keep the candidate at the centre. Describing what happened with no judgement caps the mark.
Related dot points
- The devising process from stimulus to performance: researching and exploring a stimulus, generating and shaping material, and developing it through rehearsal.
The devising process for AQA GCSE Drama Component 2, covering how to explore a stimulus, generate and shape original material, and develop a piece through structured rehearsal from idea to performance.
- Creating original drama: making deliberate choices about structure, style, characters and dramatic devices to communicate a clear intention to an audience.
Creating original drama for AQA GCSE Drama Component 2, covering deliberate choices about structure, style, character and dramatic devices, and how to shape devised material to communicate a clear intention to an audience.
- The vocal, physical and interpretive performance skills assessed in the devised piece and in the texts in practice, and how to realise a role or design for an audience.
The performance and acting skills for AQA GCSE Drama Components 2 and 3, covering the vocal, physical and interpretive skills assessed in the devised piece and texts in practice, and how to realise a role or design for an audience.
- Writing the extended Section C response: structuring an analysis and evaluation of live theatre with precise examples, theatre vocabulary and a clear personal judgement.
Writing the extended Section C response for AQA GCSE Drama Component 1, covering how to structure an analysis and evaluation of a live production with precise examples, theatre vocabulary and a clear personal judgement.
- Evaluating the acting and design of a live production: judging how successful and effective the choices were, with reasons and evidence, and forming a personal critical opinion.
Evaluating acting and design for AQA GCSE Drama Component 1 Section C, covering how to judge the success and effectiveness of performance and design choices with reasons and evidence, and how to form a personal critical opinion.
Sources & how we know this
- AQA GCSE Drama (8261) specification — AQA (2016)