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The Pamela Maus Contest in Creative Writing

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Essays uplift in annual writing center contest.

Written By: Judith Hansen

The experience is so satisfying that people who judge the Writing Center’s annual writing contest routinely ask Dr. Mary Lutze to invite them to judge again.

Each year, writing prompts ask students – students in any major, students who use the Writing Center or don’t – to consider and write about their experiences at the University of Arkansas - Fort Smith and the insights they have gained.

“It’s really an uplifting experience all around,” Lutze, Writing Center director, said. “It’s really heartwarming to hear from students how much they value UAFS and how much they value the community they formed here. … For the students, it’s uplifting to think back on their experiences here. It’s definitely uplifting for faculty and staff members who participate in judging to hear … what UAFS has meant to its students.”

The annual competition, now in its fourth year, was the brainchild of UAFS Chancellor Dr. Terisa Riley when the Writing Center opened in October 2020. Riley offered the prompt the first year. Since then, the Writing Center staff, including the student peer tutors, offered the topics.

This year, the panel of judges considered 15 essays written in response to the prompt: Describe the most transformative relationship you’ve made while at UAFS.

The Grand Prize winner is Sophia McLain , a senior rhetoric and writing major when she submitted her essay. Sophia wrote about how a chance meeting with a non-traditional student caused her to rethink her attitude about attending her hometown college. In “UAFS, said like Doofus,” Sophia acknowledges she was a “judgmental idiot” who came to understand that “UAFS itself was an opportunity; it wasn’t a limit.”

As a tutor at the Writing Center, Sophia had the opportunity to talk with many students and learn about the unique challenges each student faces.

“I’d leave these sessions thinking, what a wonderful thing it is to hear a perspective different from your own,” she wrote. “Then I’d pause and think how ironic it is that I’ve learned it from a small regional school in Arkansas, and that really, that is what UAFS is.”

Sophia won $500 for her grand prize-winning essay.

Mitchell Collins , a junior political science major, wrote the second-place essay. Mitchell wrote about his chaotic life as the son of a “soldier father” who moved the family from place to place far too quickly to learn how to develop friendships. Finally, Mitchell, his mother, and his brother landed in Fort Smith “in our 15 th move of the past decade.”

In Fort Smith and especially at UAFS, Mitchell learns to form connections, starting with the Bell Tower, which was under repair, the campus green, and the unchanging bricks of Lion Pride Square. From there, he learned to build human relationships, transforming people from “superficial conveniences to genuine friends.”

“My life has changed forever due to the relationships I’ve had the privilege to grow at UAFS, and these two years have taught me more than all the days that came before,” he wrote. “The mentors, friends, and colleagues I’ve found will remain with me always as I choose to fight ever-onward for both my family and for my new family at the University of Arkansas - Fort Smith.”

Mitchell was awarded $250 for his entry.

A senior English major, Lyla Flint, wrote the third-place essay about her sometimes challenging but ultimately transformative relationship with literature.

Lyla admits that for years, if she didn’t like something or didn’t understand it, she would dismiss it, as she dismissed “Ethan Frome,” a work she “loathed” and considered “a ‘bad book.’” But now, she says, she has “adopted the idea of studying written works as an opportunity for growth, not an educational obligation.”

She talks about learning to value an author’s life, especially the environment in which they lived, how it is transformed into the book’s setting, and how the work’s characters define it.

She has undertaken this sea change because of her experiences as a university student.

“I’ll always be grateful for qualified educators that treat learning as an earned privilege instead of a monotonous burden by providing their students with relevant reading material in place of unwanted pieces that discourage readers from exploring all that the literary world has to offer.”

Lyla received $100 for her essay.

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Re: English Work Examples Directory

"Belonging strengthens identity; it does not challenge it." “No man is an island entire of itself; every man is a piece of the continent.” Renowned poet John Donne’s musing clearly explicates the idea that mankind functions effectively when society works together, not as individuals. Belonging is not only a vital component of society; it essentially strengthens individuals and perceived self-identity through the medium of conformity. When individuals are alienated, they tend to lose their sense of identity because they feel as though they are ‘nothing’; to the world they do not exist. To counteract this, membership to social, political, sporting and religious groups exist to reaffirm individuals of their own identity as represented in their respective group’s social perception. Social parallels enrich our understanding of this idea, as does the film Witness , directed by Peter Weir which evidently recreates this communally rich environment that enshrines upon its members, a strong sense of self. As individuals, we move to reaffirm our identity through our membership to various groups in society.  All individuals reflect on what they perceive to be ‘their’ identity, but as self-discovery is in essence a never ending journey, individuals seek out those in society who tend to share similar views, beliefs and attitudes. It is in these actions that individuals reaffirm their own identity through the security invested in the ideals of conformity. This idea is prolific for adolescence as it is in this stage of human development that mankind first starts to pose the toughest question of them all; who am I? Inevitably, social stereotypes spawn such as ‘jocks’, ‘intellects’ and ‘thespians’ which form to reaffirm confidence in individuals who would have otherwise chosen to keep their individual passions negated from mainstream society. As evidenced in Witness , Rachel Lapp is confronted with the choice of whether to maintain her membership to the Amish community or whether to forgo the only life she has known, in a quest for love. What is witnessed is that Rachel inevitably chooses to maintain her membership to the Amish community because it exists to reaffirm her spiritual, religious and personal beliefs. Her identity is enshrined in Amish life as exemplified in her incessant wearing of the ‘cap’ which identifies her as part of the Amish way of life. Through our membership’s, we are ultimately strengthened in our selfhood. Furthermore, in some instances, a desire for ‘belonging’ acts as a catalyst for self discovery whereby one is aware that they do not fit in, but are unaware of where they do. It is in these instances of purgatory that individuals begin their quest for personal independence. Consider the ever-changing lifestyle of socialite Paris Hilton. Her picture of innocence several years ago has been replaced by a new-look hard rock edge that screams ‘this is me!’ Her quest for self-discovery began as soon as she realised that what the media presented her as was not who she wanted to be. In those angelic years she did not belong, or at least to the social groups that she wished to be affiliated with. Her new ‘good girl gone bad’ image expresses the individual in herself that she feels comfortable with; somewhat to the media’s pleasure. Similarly in Witness , John Book realises that he no longer wants to be associated with a corrupt police force that promotes self-interest at all costs. He refuses to be associated with “a club with [it’s] own rules”; rules which he does not wish to conform to. As an outcast and vigilante in shock from his recent expulsion from the ‘club’ which he dedicated his life to, Book exhibits a strong desire to belong. Ultimately, this leads to his somewhat limited acceptance into the Amish community; a community which chooses to shun modern day technologies and complexities. However, Book realises that some aspects of Amish life, such as romantic love which he neglects in the busy modern world , are a part of who he is and who he wants to be. Moreover, Book’s realisation is evidence that belonging strengthens and discovers aspects of individuality identity which many may not know exist. While in some isolated instances belonging may challenge identity, it is imperative to consider the fact that identity and belonging must co-exist in society. Without belonging there can be no identity and the converse also applies. The premise is that identity is actually formulated through perceptions of individuals and that without social groups for which individuals could apply for membership; identity would be a figment of one’s imagination. In Witness , the identities of individuals in the Amish community such as Eli, Samuel and Daniel are a product of their membership to a small communal society. Their appearance, ideals and way of life which all combine to form their identity is a result of Amish society and its existence. When Eli exclaims to John Book that “it’s not our way”, in reference to Book’s physicality he intends to uses against mainstream Americans, he epitomises the idea; individual’s beliefs are inevitably a product of their collective groups. Therefore, not only does belonging strengthen identity, it actually facilities its existence. There are a multitude of potential factors that could influence identity but social acceptance, regardless of the group, prevails as the most pertinent idea. The rhetoric of many groups which seek members; that your identity is strengthened through conformity is evidently, but to some, somewhat surprisingly true. Individuals are a product of their perceptions; social groups merely facilitate self discovery. As a famous American theologian, Claude Bristol once said, “Undoubtedly, we become what we envisage.”  

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Belonging is a basic need and we all need to belong in some way. The need to belong is an intrinsic motivation in all humans to feel accepted and valued by others through sustained, meaningful connections that validate our role in society. A sense of being anchored in our community is an essential requirement to define both who we are and how we are perceived by others. In order to attain this sense of social integration, we attempt to affiliate ourselves with groups we believe share mutual values and ideologies which reaffirms our own identity and role in society in the process. Yet the desire to belong requires more than just mere participation in social circles, necessitating substantial connections with those within it to attain a sense of true acceptance. If we fail to achieve this fundamental necessity, we feel isolated from a world that we contribute and share nothing with and lose the sense of direction that defined social roles provide. Thus, it is imperative that as humans we seek out meaningful and sustainable relationships with others that transcend mere familiarity or acquaintance, for if this crucial aspect in our lives is neglected, we lose all semblance of our identity and place in society. A sense of acceptance from our peers is a basic human requirement that reaffirms our existence. Regarded by psychologist Abraham Maslow as one of the five essential human requirements, a sense of belonging and love from our peers must be satisfied before we can reach the stage of self-actualization – where we contemplate our own purposes, capabilities and potential. According to Maslow’s renowned ‘Hierarchy of Needs’, after the requirements of survival are fulfilled, such as food, shelter and security, we must then attain a sense of acceptance from either friends, peers or colleagues in order to develop self-esteem and judge our ‘worth’ as an individual. Only when we believe we are an integral part of the society to which we belong can the other basic needs of humanity, such as determining our identity, be addressed. It is thus a crucial need that as individuals we are able to assimilate into society in a harmonious manner. This need to belong is clearly explicated in Peter Weir’s portrayal of the Amish in his acclaimed film ‘Witness’. Weir depicts the Amish as a tight-knit society where each individual is defined by their presence and purpose in the greater community. To the Amish, belonging to their society is the life-thread of an individual’s existence. So crucial is this human requirement that being ostracised from the Amish community through shunning is considered a fate worse than death, where the individual loses all ties with their family, their peers and their God. The reverence the Amish place on a sense of belonging clearly illustrates its importance as a basic human need. Failure to fulfill this necessity leaves us metaphorically ‘dead’ as without any ties to the real world, our existence becomes futile and meaningless. Therefore to avoid becoming both emotionally and spiritually barren, it is imperative that we are able to satisfy this basic need to belong through a sense of acceptance in society. French Poet Arthur Rimbauds famous musing “I Is Another” succinctly explicates the inherent human desire to belong to a greater identity. To satiate this desire, we attempt to affiliate ourselves with groups that not only share our values and beliefs but also value and respect the contribution our presence makes to the group. This sense of acceptance can be as simple as a loving family relationship, a strong sense of belonging to a social clique or stereotype or through strong ties with ones community. The portrayal of the Amish in ‘Witness’ is one such example of how a communal society that acts as a single entity can fulfill the individual requirements for belonging through delegated social roles. The noteworthy barn raising scene clearly illustrates how each member of the Amish community plays a part in the barn’s construction; the men perform  the woodwork and heavy labour, the women prepare the food and the children nail in the covering boards. Every member of society plays a part in the completion of a common goal and thus no one is left feeling isolated or redundant. Belonging to a social group replicates this notion. When we submit ourselves to a group’s collective identity, we implicitly agree to comply with their norms and expected behaviourisms, thus defining our social identity. While this may require compromises to our personal identity, our need to belong is ultimately fulfilled through clearly defined role in society.  It is however, important to recognise that a sense of belonging can only be achieved through meaningful connections with our social group. While there will always be discrepancies between an individual and their group’s identity, complete misalignment between the two will have the same isolating effect as social solitude.  The character of John Book as portrayed in ‘Witness’ demonstrates how assimilation into a group differs from true belonging. While Book is tenuously accepted in the Amish society, the lack of any sustainable connection between his identity and that of the Amish as symbolised in his misfitting clothing invariably leaves his desire to find a place of acceptance unfulfilled. To avoid suffering Book’s predicament, it is crucial that the connections we make are substantial, rather than superficial. Therefore, to feel as though we ‘belong’ requires more than merely being part of a social group but an actual relationship with those around us. If we cannot establish the need for meaningful connections with our peers then we are left feel isolated and alone in a society we cannot relate with. Failure to fulfill the basic human requirement of belonging leaves us isolated, alone and spiritually disoriented. When we lack the distinct social roles that a sense of belonging provides, we feel we contribute nothing to the world and that we cannot relate with others. The adverse effects of failing to ‘belong’ were reaffirmed by studies from psychologists Gotlib and Hammen who identified a clear correlation between a lack of healthy relationships and depression, reaffirming the notion that without a sense of belonging, we enter a state of spiritual and emotional inanition. If we are unable to fulfill Maslow’s requirement for belonging, then we cannot address his defined ‘higher needs’ of esteem self actualization, meaning our ability to contemplate our own identity is stunted.  Holden Caulfield, narrator of J.D Salinger’s famous novel ‘Catcher in the Rye’, is a prime example of someone who is unable to engage with his society, leaving his mind in a state of psychological tumult. Holden’s numerous failed attempts at connecting socially cause him to erratically shift character as he moves in and out of the various identities comprised in his psyche. Without the clearly defined rules and expectations that a sense of belonging provide, Holden’s mind lacks orchestration and cohesion, leaving his identity in a fragmented state. Reality parallels Salinger’s work of fiction. When we fail to fulfill the base human requirement of belonging, we lack the rules and expectations of a defined social role which inhibits our ability to identify who we are in the world. The need to belong is therefore an essential requirement that, if left unsatisfied, renders us socially and spiritually disoriented and alone. As human beings we each require a sense of acceptance and place in society to validate who and what we are.  Belonging is an intrinsic human requirement. It helps us define ourselves through our social roles as well as refine of our ideals and values. If we fail to attain a sense of belonging, we are left emotionally desolate and become isolated from society. Thus, to avoid feeling alone, we rely on the acceptance and recognition of our family, peers and friends to reaffirm our own identity. As the late author, professor and contemporary philosopher Leo Buscaglia once said, “We need others. We need others to love and we need to be loved by them. There is no doubt that without it, we too, like the infant left alone, would cease to grow, cease to develop, choose madness and even death.”   Written Explanation: For my sustained piece, I have chosen to draw on ideas encapsulated within this context study to explore the notion that a sense of belonging is a fundamental necessity for human existence and that without a feeling of acceptance, our lives become directionless. To fully explore this concept in its complexity, I’ve attempted to address the prompt in three main parts; is a sense of belonging a ‘basic need’? What are the ways we feel we belong and what happens if we fail to integrate into society? By addressing each of these key questions throughout my piece, I suggest that belonging is an essential human requirement as it reaffirms our existence in this world. I go on to explain that to fulfill this requirement, we seek out social groups that define our place in the world, however these groups need to accurately reflect our ideals and beliefs for us to truly belong. By looking at exceptional cases, I explore the effects that isolation and a failure to belong have on individuals, such as emotional and spiritual inanition, depression, isolation and confusion surrounding one’s identity. I have drawn many of my ideas from those expressed in Peter Weir’s film ‘Witness’ and J.D Salinger’s novel ‘The Catcher in the Rye’, with particular focus on the benefits of a cohesive society in the former and the effects of social solitude in the latter. To gives my ideas credence, I have utilized the works of renowned psychologists such as Abraham Maslow, whose ‘Hierarchy of Needs’ theory states belonging as one of the five essential requirements for human existence. I have also drawn on the works of psychologists Ian Gotlib and Constance Habben to establish the connection that weak social relationships have with feelings of depression and isolation. I am writing primarily for an educated yet general audience. The ideas explored are applicable to most readers and while a number of references to aforementioned psychological concepts or studies are made, I’ve attempted to explain or integrate them in such a manner that reader inference is not required to deduce the intended message. To reflect my intended audience, I’ve chosen to write in an essay format in the expository form, maintaining a formal tone and authorial voice to add substantiality to my writing. To maintain a formal register in my writing, I have adhered to the conventions of standard essay writing, including clear topic paragraphs that address the prompt in a logical and sequential order. Finally, I have avoided the use of first person pronouns, instead choosing to use collective, inclusive pronouns such as ‘we’ and ‘us’  to emphasise that the ideas explored in my piece apply to humanity as a whole and not just particular individuals.

‘Belonging strengthens identity, rather than challenging it.’    As human beings, it is engrained in our psyche to seek out the acceptance of others because we are aware of its potential benefits, particularly as it allows greater level of self expression. When we are disconnected from others, we tend to view our own ideals and values unfavourably because they are ‘different’ from the rest of society. Conversely, when we feel we belong to a group that shares mutual beliefs and ideals, we feel more confident in expressing ourselves because our views appear ‘normal’. Another benefit of belonging to a group is that it helps to define the expected boundaries of our character through our assigned social role. This helps to strengthen our own sense of self because these social rules outline our liberties and limits in a social context. To gain a sense of acceptance, however, requires compromise. Because there will inevitably be conflict between the views of the individual and that of the group, we must often conceal or renounce elements of our true character that our contradictory to the group’s collective identity. This means belonging will invariably challenge our identity by forcing us to uphold our own values or to conform to the will of the group. Literature such as Salinger’s renowned ‘Catcher in the Rye’ and film such as Peter Weir’s ‘Witness’ depict how a sense of belonging can benefit or hinder our personal development. Clear from social experiments and observation is that these ideas expressed in these texts are not fictitious but instead apply almost universally in society, bar exceptional cases. Evolution has taught us that there is strength in group membership. When the Amish community works together in Witness, they can achieve feats unattainable by individuals.  Like most teams, when the Amish work as a group, they are physically stronger, smarter and more efficient because of the collective power of a number of minds and bodies working in unison. In a similar way, working in a group strengthens us spiritually. The members of the Amish community find their spiritual commitment to God is strengthened when they operate in a tight-knit community where everyone supports one another. Their sense of empowerment reflects that of many groups which encourage expression of mutual beliefs. Like the Amish, we find a strength in conformity and unison that reduces the awkwardness of self-expression. When Amish member Daniel was mocked by a gang of youths, the presence of his community helped him to abide by his religious commitments to a life of pacifism. Daniel’s experience reflects those where individuals find their personal integrity strengthened when they have the support of a group backing them. Like in Amish society, belonging to a group of like-minded individuals helps to instil confidence from group conformity. When others reflect our personal beliefs, we feel less isolated and alone. Consequently, because of the confidence that arises out of conformity and a sense of normality, we may be more comfortable expressing ourselves. A sense of belonging therefore can strengthen our personal identity because the support of others can help us better express our own beliefs. A sense of belonging can also help strengthen identity by assigning us defined social roles. When the Amish community raise the barn, each member of the community is delegated a specific role, from preparing food to managing the woodwork. The specific roles within the Amish community are similar to the roles assigned in any group. These roles may be implicit or explicit, yet both help to strengthen identity by outlining how others expect us to behave.  As a police officer, John Book had the explicit role of someone who upholds the law. His role, like that of others, dictates how he should act under given circumstances. Because of the expectations of his job, Book was more likely to uphold his personal belief in justice. This relationship between social role and identity is reflected in others who adopt social roles that reflect personal beliefs. We are more likely to uphold our own values if we are under some form of obligation to do so. Roles however, do not have to be explicit. In a classroom environment, there will likely only be two explicit roles – the teacher and the student – however amongst students there may be a range of implied roles such as a bully, a class clown and the teacher’s pet. The expectations of these roles are defined by society and what they expect from these types of people. While there are no specific rules or conventions for such roles, we are inclined to behave in a way that is synonymous with our designated ‘identity’ so that we meet other people’s expectations. A class clown for instance would be expected to make frequent jokes and because of their social identity and may even get away with actions that others would be condemned or criticized for. Because these social roles give us an obligation to behave in a certain way, they can be seen to strengthen identity. In order to belong, however, our personal identity may be challenged. When John Book discovered the corruption that plagued police institution, he had to decide whether to compromise his personal beliefs to remain in the group or voice his objections and be excluded. His dilemma is shared by many who feel that belonging undermines personal identity because in order to belong, they must change ourselves to become accepted by our peers. Homogeneity is often essential to the fundamental operation of a group. Consequently most groups will have little tolerance for deviants. This may mean that in order to maintain our position in a group, the will of the group must be put in front of our own values. For instance, the US military introduced a ‘Don’t ask don’t tell’ policy that forbid homosexuals from being open about their sexuality. The decision was designed to promote uniformity amongst soldiers, as it was feared that anyone who was different from the norm would ignite unrest. Many homosexuals were consequently forced to live behind a ‘mask’ if they wished to remain in the army. Those who openly expressed their identity were excluded from the group by being decommissioned. Many people, like Holden, reject this notion that to belong requires uniformity. In Holden’s eyes, and in the eyes of many individuals, people who conform and compromise their identity to maintain a sense of belonging are ‘phonies’ who lack the fortitude to uphold their own beliefs. Many people thus perceive belonging as something that challenges identity because it forces individuals to change who they are for fear of group exclusion. While belonging can strengthen an individual’s sense of self by promoting certain behaviour, it can also challenge a person’s core beliefs when their own views contradictory to the views of their group. Like John Book, many people are defined by their social roles, but when conflict inevitably arises due to difference of opinion, our position in the group becomes challenged. We must then decide whether belonging is more important to us than personal integrity. To some, it is better to uphold personal beliefs. Like Holden these types of people may forgo social groups to preserve individuality. Others however, will derive a considerably amount of their identity from group membership and are willing to contort their identity in order to fit in. A sense of belonging can therefore support or detract from our personal identity.

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VCE English and EAL, English Language, and Literature guide - units 3 & 4

• VCE English & EAL: List 2 - Framework of ideas

Guide to research and literary criticism of current texts used in VCE English and English as an Additional Language (EAL), English Language, and Literature

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Framework of ideas

The Framework of Ideas  replaces List 2 from 2024 onwards. It presents four broad options. Within each of are suggested texts to prompt students responses. The texts include various formats - articles, short stories, Ted Talks, video.  Student responses can be personal, critical or creative.

Under each of the four broad ideas we have included various relevant pieces in a range of formats to promote ideas and discussion.

See also the tab on Writing forms which lists a range of resources to assist with different types of creative writing and personal expression.

Exploration of place and belonging

Explorations of conflict and contest, what it means to protest, the value of protest, the outcomes of protest, personal stories of protest, struggle and war.

Explorations of ‘life’ or biographical explorations – telling our stories, telling others’ stories, the problem of telling stories, appropriation of stories, who tells the stories and our history, missing stories, marginalised and elevated stories

Explorations of experiences and traditions of play and playing in many cultures and through history.

Our Education Unit has also provided questions to stimulate ideas that are specific to Personal Journeys but will be helpful generally and to any part of the Framework of Ideas.

• Unpacking the key ideas: Writing about personal journeys Produced by the Education team at the State Library Victoria

Advice from the Victorian Curriculum and Assessment Authority

The VCAA guide advises that students can use a variety of forms including short stories, speeches or monologues (with transcripts), essays (comment, opinion, reflective, personal), podcasts (with transcripts), poetry/songs, feature articles (including a series of blog or social media postings) and memoirs and biography.

See page 22 of the VCE English and English as an Additional Language Study Design for more guidance.

  Francis, Dorothea. [ Still Life - Jug and Books ] 1931. H2001.175/48

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Creating Texts: Stimulus Materials

Over the past few months we’ve started to see more supporting materials make their way to the VCAA Advice for Teachers pages for the 2024 English and EAL Study Design . One of the key additions has been the “stimulus materials” for Unit 3 Outcome 2: Creating Texts.

The examples on the VCAA website – three stimulus materials for the framework of ideas Writing about Play , offer some insight into how the VCAA sees the assessment of this outcome. In this post, I’ll explore the stimulus materials and make some suggestions for suitable stimuli for other areas, including for Year 11 Unit 1 OC 2 Crafting Texts.

I’m also working on a PDF collection of stimulus materials which will be added to the VCE Hub, along with resources and videos to support Unit 3 and 4. If you’re already a member, these are included in your current membership. If you haven’t signed up yet, it’s a one-off fee with lifetime access to all of the Unit 1-4 materials, and it’s regularly updated.

As the VCAA provides more information about the new Study Design, I’ll keep adding to these posts and resources. For some of the previous posts on this area of study (and the related area Crafting Texts), check out these links:

• Crafting and Creating Texts resources
• Assessing Crafting and Creating Texts
• What Crafting Texts means for the English Curriculum

The Stimulus Materials

Here are the stimulus material examples the VCAA provides for Writing about Play :

Writing about play

Drawing on the writing you have drafted, explored and completed over this unit of work, create a written text that explicitly incorporates one of the items of stimulus (below), for an audience of your peers in a public context. The purpose of the written text is to be determined by you.

“Play is, by definition, a safety space. If a designer or artist can make safe spaces that allow the negotiation of real-world concepts, issues, and ideas, then a game can be successful in facilitating the exploration of innovative solutions for apparently intractable problems.” Mary Flanagan,  Critical Play: Radical Game Design

“According to the pianist and essayist Stephen Nachmanovitch, play is sometimes conceived as a threat to normativity precisely because it wastes time. A game of amateur soccer or netball is measurably productive: it is good for our physical health, it develops teamwork skills. Similarly positive outcomes can be matched to more intellectual games like chess or cryptic crosswords. But if we devote too much time to this kind of play at the expense of family or work duties, we open ourselves up to criticism. I wonder about this, and about the double-edged nature of my radically altered state since play became such a large part of my everyday life. ‘Play is not the way to maintain a tightly controlled society,’ writes Nachmanovitch, ‘or a clear definition of what is good, true or beautiful.’ No, it isn’t. And that’s what makes it so delightful. That’s what makes me want to defend it.” Julienne van Loon, ‘ The play of days’ ,

“I went to great lengths in that environment to hide my sexuality while I was playing footy, I didn’t want any of them to figure it out. And what that looks like to give you an idea was I would second guess everything that I said or did — I wouldn’t get involved in conversations about relationships or what I was doing on the weekend out of fear that they might figure it out. And I even went to the extent of creating a separate Facebook list, so that just my teammates wouldn’t see photos I was tagged in, places I was checked into or what my relationship status was. And it probably limited the kinds of friendships and bonds that I could have developed with my teammates growing up. Cause I was always hiding a big part of my life.”   Jason Ball, ‘ I Played Better ,

Rather than a detailed analysis of each of these, here is a discussion of the similarities between the stimuli to provide some insight into why the VCAA has chosen these particular examples:

• Each stimulus focuses on the concept of play in some form, whether it’s within the context of game design, the role of play in society, or personal experiences of play in a sports setting.
• They all explore the societal or personal implications of play, addressing issues such as the negotiation of real-world concepts, the balance between play and responsibilities, or the personal struggles faced while participating in a team sport.
• The stimuli present diverse perspectives on the concept of play, suggesting that it has multifaceted meanings and impacts on individuals and societies.
• Each stimulus encourages critical thinking about the role and influence of play. They prompt readers to question traditional views and expectations about play.
• They all contain personal insights or experiences, highlighting the unique and individualised nature of play.

These similarities make for reasonable criteria if you’re selecting your own stimuli, perhaps for revision or for Unit 1 OC2, where you choose your own key idea. You’re essentially looking for stimuli which are aligned to the key idea/framework; based in the real world; diverse; encourage critical thinking; personal and individualised.

Applying those criteria, here’s another example which could be used for play :

Play is foundational for bonding relationships and fostering tolerance. It’s where we learn to trust and where we learn about the rules of the game. Play increases creativity and resilience, and it’s all about the generation of diversity—diversity of interactions, diversity of behaviours, diversity of connections. Isabel Behncke – What Can Bonobos Teach Us About Play? Excerpt from podcast transcript

Finding stimulus materials for your key ideas

Whether you’re looking for materials for the key idea in Year 11, or the framework in Year 12, you can use the above criteria to help identify suitable stimuli. However, for Year 11 in particular I’d advise looking for smaller quotes to use as stimulus material. These are both easier to find, and more accessible. For the key idea of Futures , for example, you could use the following quotes:

Life can only be understood backwards; but it must be lived forwards. Søren Kierkegaard

The future belongs to those who believe in the beauty of their dreams. Eleanor Roosevelt

If you want to be happy, do not dwell in the past, do not worry about the future, focus on living fully in the present. Roy T. Bennett – The Light in the Heart​​

Using the stimulus materials

VCAA provides three examples of ways in which these stimulus materials can be used as part of the assessment:

• Teacher provides a set of seen/unseen stimulus materials based on the idea selected from the Framework of Ideas. Students determine the context, the audience and the purpose of their written piece and construct it over two supervised lessons.
• Teacher provides a set of unseen stimulus materials based on the idea selected from the Framework of Ideas and determines the audience and context for which the written text is constructed. Students develop a written text within those parameters but determine their own purpose.
• As a class, students develop set of stimulus materials based on the idea selected from the Framework of Ideas. These stimulus materials are shared with all members of the class. Students select from the stimulus materials and produce a written text incorporating their chosen stimulus, in consideration of an audience, a context and a purpose. Teachers determine an appropriate process of authentication for the submitted text.

If you’ve been around here for a while, you probably know that number 3 would be my choice. Giving students the ability to not only generate their own stimulus materials, but to also have the freedom to write outside of exam conditions, over time, is an important part of the writing process. The SACs are not the exam , and number 3 values that idea.

Will this be on the exam?

Although we don’t know what the examination for 2024 looks like – and we won’t, until after the 2023 exam – we can hazard a guess now that a stimulus or prompt will play a part. Back when this study design first rolled out, I had conversations speculating about the need for some sort of unseen material such as a prompt in the exam. That’s because otherwise students would be able to enter the exam with a totally preprepared response, which unfairly advantages some pupils.

Without a crystal ball, I can predict that Section B of the 2024 examination will have stimulus materials similar to the examples for the VCAA advice for teachers. I’d guess that they may be shorter than the examples on the website, perhaps more like the quotes I listed earlier, or somewhere between. They’ll have to be accessible and not contain any overly complex vocabulary, in-keeping with everything else in the exam.

Come the end of the year when we get a sample examination paper, we’ll be able to confirm these guesses.

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VCE English Unit 3, Area of Study 2: Creating Texts - What Is It?

Luiza Alberti

March 15, 2024

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Here’s how to get ahead of this brand new VCE English Unit. 

What Is ‘Creating Texts’?

If you’re in Year 12 this year, chances are you will begin studying the Creating Texts Area of Study very soon (if you haven’t started already). This new AoS in the 2024 study design has essentially expanded and replaced the previous study design’s approach to creative writing, now placing a greater focus on the process of creating texts and embracing multiple forms of writing.

Here’s what the study design states the outcome of this unit is:

‘On completion of this unit the student should be able to demonstrate effective writing skills by producing their own texts, designed to respond to a specific context and audience to achieve a stated purpose; and to explain their decisions made through writing processes.’ (VCAA English Study Design, 2024-2027)

So, while before VCAA did not place a heavy focus on this unit, now it is heavily emphasised, being one of the three sections of the English exam. Now, more so than before, you are required to write – even if just a little bit – creatively.

Given that Creating Texts is now reflected in the end-of-year exam, it is very important to nail it. And to do that, you first need to know what this Area of Study is all about.

Framework of Ideas

A big part of this AoS is the Framework of Ideas , which provides students and, perhaps most importantly, schools, with thematic guides to encourage discussion and unique writing. The study design states:

‘ The Framework of Ideas presents four broad ideas through which students can engage with writing’. 

Here’s what they are, as directly taken from the study design:

• Writing about country: 'Exploration of place and belonging'

You can also explore ideas of one’s sense of national belonging, the climate crisis, colonisation and decolonisation, and different forms of cultural identities in relation to the land. Aboriginal and Torres Strait Islander perspectives can also be addressed.

• Writing about protest: 'Explorations of conflict and contest, what it means to protest, the value of protest, the outcomes of protest, personal stories of protest, struggle and war'

For this framework, you can dive deep into prominent figures who spearheaded social movements through protests, or you can look at protest more broadly and investigate its role and effectiveness within society, the history of protest and its many facets.

•   Writing about personal journeys: 'Explorations of ‘life’ or biographical explorations'

Ideas surrounding the importance of storytelling and personal change, and invitations for students to create autobiographical written pieces are also outlined in the study design.

•   Writing about play: 'Explorations of experiences and traditions of play and playing in many cultures and through history'

This framework also invites thought into how play intersects with technology, the role of play and make-believe in our daily lives, and even how performance and social media may influence how we view the world today.

NOTE: The study design also offers many other possible ways to explore these ideas, so make sure to check it out and read it carefully. It can be found HERE .

As you can see, the ideas within the frameworks are very broad. This was intentionally done, so that you have ample opportunity to find something within those ideas that engage you. Your school will choose only one of these frameworks, so you are in no way expected to dissect all four – that would be a huge undertaking!

Mentor Texts

There are also four mentor texts for each framework, which range from TED Talks, blog posts, short stories, speeches and argumentative articles, to name a few. Their purpose in the curriculum is to serve as examples of effective writing, as the selected texts show a competent understanding of context, purpose and audience , as well as confident use of textual features such as tone, vocabulary and authorial voice. This is similar to what you might have encountered in Year 11, where you were asked to read and analyse a range of creative texts to then inform your own writing.

When studying your mentor texts, make sure to keep all of this in mind and carefully analyse each text and what is successful about them in relation to your framework. This will make your life much easier when it comes to writing your own.

If you don’t feel very confident in creating texts or think these frameworks are very broad and hard to come up with good ideas for, just remember that you’re not going into this unit completely blind, neither are you expected to write completely from scratch.

Besides your experience last year, your given framework and mentor texts are there to provide a guide to effective writing and introduce you to many different ideas, so make sure to use them to your advantage! Besides, having more freedom in a creative writing task should definitely be viewed as a benefit rather than a hindrance. 

Oh No! Does This Mean I Have To Write a Narrative? 

No, it doesn’t! If the aforementioned formats of the mentor texts were any indication, this AoS encourages you to embrace the variety of different writing styles.

When before you might have been required to write within a narrative format or asked to ‘fill a gap’ in an already existing short story, now you have the freedom to write in whatever way you want, and it does not need to be a narrative, let alone fictional storytelling.

In the context of the Creating Texts AoS, ‘creative writing’ does not only equate to creating fictional characters, worlds and narratives. Instead, it gives way to the many other forms of writing that show off a writer’s creativity, which is not solely dependent on what is written, but also how and why the text has been written. This links back to the context, purpose and audience idea I talked about before.

The study design also heavily focuses on the process of writing and experimentation and not just the final draft. This AoS is your chance to fully immerse yourself in writing, so you should make sure to brainstorm and try new modes of writing you might not have thought of before. You might end up surprising yourself and coming up with great texts!

So, here’s a non-exhaustive list of writing styles you can choose to tackle:

• Your classic narrative or short story
• Argumentative article
• Transcript of a Podcast episode
• Poetry/Song (just remember you are not allowed to write in these formats for the Exam!)
• Reflective essay
• Biographical texts

You may find that, as you work through the unit, some formats may be more effective than others depending on your framework, chosen audience, chosen tone or even just your personal preference. For example, writing in a blog post format post would be more effective in engaging the particular audience of teens and young adults. 

Or, you may choose to convey your ideas with a specific tone in mind. For example, if you want to address your framework in an emotive way you might choose to write a first-person narrative short story. Conversely, if you want to address it in a rational and factual way, you might choose to write an article. 

That’s another reason why experimenting and trying new things is so important -  so that you can find out what, in your opinion, suits you and the framework best.

Check out our blog post on the Skeleton Approach for a suggestion of how you could potentially structure your Creative piece.

What Your SAC Will Look Like

This AoS is worth 60 of the 100 marks allocated for Unit 3, so it is a big deal. However, if you have a look at the study design, those 60 marks are split into three equal parts worth 20 marks each, which means your SAC will consist of three things:

‍ 1) ‘A written text constructed in consideration of audience, purpose and context.’ And, of course, your text will also need to be constructed in relation to your chosen framework.

2) ‘A written text constructed in consideration of audience, purpose and context.’ Yep, that’s right. For this SAC you have to create two distinct writing pieces. The assessment task as it is outlined in the study design does not mention whether they need to have completely different formats or audience/purpose/context from one another, so the specifics might be up to your school to decide.

3)   ‘A commentary reflecting on writing processes.’ This is the same as a Written Explanation , which you likely have come across before. This is where you write a couple of paragraphs outlining and justifying your choices for each written text you produced, especially in relation to your framework and your audience, purpose and context. Having a successful commentary means you clearly describe the authorial intent in your work, so make sure to be specific and self-analytical in your writing!

What the Exam Will Look Like

The 2024 English exam will be the first exam that follows the new 2024-2027 study design, and the biggest change between now and the previous years is that Section B, which used to ask students to write a Comparative Response to a set of texts they would have studied at school during the year, is now all about Creating Texts . So much so that now Section B is called – you guessed it – ‘Creating texts’.

VCAA has been kind enough to release a sample of this new requirement, which outlines very faithfully what this section will look like in the actual exam. The exam paper consists of a page of general instructions which apply to all students, and then four pages with three pieces of stimulus material each, which relate to each of the four frameworks.

The stimuli consist of one statement, an image, and a section of a poem/story, and the exam paper says you must use ‘at least one’ of them in your writing. (Here’s a quick tip: if the examiners are asking for at least one, use two or more.)

There is also a compulsory title given for each framework, which must be the title of your text.

The instructions in the VCAA sample exam also outline that in Section B ‘you must create one written text ( not including song, poetry or verse)’ , and that ’you must include meaningful connections with ideas drawn from one of the Frameworks of Ideas’ as well as the provided title and the stimulus material. You should choose the framework you have studied in depth at school to write about, and you are also able to refer to your mentor texts, although that is not compulsory in the exam.

Another point is that ‘you must develop your text with a clear purpose, incorporating at least one of the following: to explain, to express, to reflect, to argue.’

You may remember these purposes from the Unit 1 Crafting Texts Area of Study in Year 11. They are pretty much self-explanatory, and chances are that any writing you do will already serve one of these purposes without it being your conscious decision. Also, similar to the stimulus material, try to incorporate two purposes within your piece instead of just one, if possible.

And, as previously was the case as well, Section B is worth one-third of your full exam marks.

You can find the 2024 English sample exam and other very helpful resources such as past exams and exam reports by clicking HERE . 

Three Tips to Help You Ace Creating Texts

So, now that we know what Creating Texts is all about, here are three helpful tips to keep in mind as you make your way through this Area of Study:

1) Play to Your Strengths

As you experiment and become familiar with a range of writing styles and formats, you may find that you’ve become really good at writing argumentative essays, or you became more interested in writing short stories, or maybe you remember that in Year 11 you got a high mark for writing a strong reflective essay. Make sure to self-assess and keep in mind what your strengths are in writing, even if they might not be apparent at first glance.

Also remember that, in the exam, you have a very limited amount of time to come up with a unique piece of writing from scratch, so having a text format in mind that you feel really confident and comfortable writing with can provide at least a little bit of guidance and reassurance when you’re writing something new.

2) Choose Formats That Will Help You Show a Deep Understanding of Your Framework

For instance, if you have the ‘writing about play’ framework and you are deeply inspired by an example of how play can help people heal from trauma from one of your mentor texts which happens to be a memoir, you might deem it best to write a short story or a personal fictionalised diary entry which shows you have taken inspiration from that memoir’s central idea, but you are also engaging with the framework’s implications in society.

Of course, this should be judged on a case-by-case basis, but it can be a helpful guide if you feel stuck and unsure of where to start your writing process.

3) Be Flexible

This is especially important for the exam. You don’t want to walk in with a memorised text! Examiners can definitely tell when a student has just route-learned their way into essay writing, and this will undoubtedly be extra noticeable for creative texts, especially when the exam gives you no choice but to integrate their given stimulus material.

This is why becoming used to as many writing formats as possible, alongside consistent planning and brainstorming, are incredibly important skills to develop throughout the year, so that when it comes time to the end-of-year exam you are ready to go regardless of what the examiners throw at you!

The best way to succeed in this Unit, like pretty much all other tasks in English, is to consistently practice your writing and experiment with as many writing styles as you possibly can. Be open to new ways of thinking, not only about the framework you are given, but about the concept of writing itself! Although certainly challenging, the Creating Texts AoS can prove itself to be great fun. So, best of luck in creating texts, and happy writing!

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For a deep dive into the Creative and what it entails, check out our blog post: VCE English Unit 3, Area Of Study 2: Creating Texts - What Is It?

Leo Tolstoy wrote his magnum opus, War and Peace , over the span of six years. It took Harper Lee two and a half years to write To Kill A Mockingbird . Anthony Doerr’s All the Light We Cannot See took ten years to complete.

The incredibly intricate and complex nature of stories means that it often takes time to fit all the elements in harmony. But for those of you studying VCE English Units 1 and 3 , you don’t have the luxury of two or six, let alone ten years to write your Creative. The time constraints you face can mean that it’s harder to put the metaphorical puzzle pieces together. 

Luckily, we can simplify the process for you by breaking down what makes a good story (using Cinderella to demonstrate).

The Skeleton of a Good Story (With Steps!)

In primary school, we were all taught the “beginning-middle-end“ approach to stories. Aside from being kind of vague, this overused approach doesn’t ensure a clear transformation between the “beginning” and the “end“. If nothing changes between the beginning and the end of your story, you have no story.

The skeleton approach is an effective alternative to other forms of story writing because it guarantees that your character has fundamentally changed by the end. Think of the following as criteria when you write your Creative - if you have (even slightly) addressed all of the following aspects, you can be sure you’ve written a story worth telling (and a Creative that’s going to score highly).

1) The Status Quo

Most stories feature a main protagonist, and your Creative piece should too! This is the main character who is in a zone of comfort/familiarity with some obvious shortcoming. This shortcoming can be a character flaw or something in the setting. This is Cinderella: she is used to her ordinary life in her small house, with her shortcoming being that she’s a servant to her evil stepsisters.

2) The Want

Additionally, your character has to want something (or at least, think that they want that thing). Since your time is limited, keep the desire simple. For instance, Cinderella’s main desire is to escape her life of servitude and be supported.

3) The New Situation

After you have established the character’s “want”, your character has to enter an unfamiliar situation that addresses their shortcoming. Continuing the example of Cinderella, this unfamiliar situation is the royal ball, which offers her the chance to marry the prince and live with him instead.  

4) The Plan

After the new situation is presented, the character must carry out a plan to get what they want, be it explicitly or subconsciously. This plan can either succeed or fail in getting them what they want. Cinderella plans to present herself as a viable option for the prince by ensuring she is well-groomed and presentable - a plan she fulfils.

However, the character must pay a very heavy price for it - mentally, physically or emotionally. This is the climax of the story, where the character is challenged and maybe even forced to change. For Cinderella, the clock striking midnight signals a limit on the amount of time she can maintain the princess persona and interact with the prince.

5) The “Eureka” Moment

This part of the story is potentially the most vital: when the character is forced to look within and reflect on who they are, what they actually need and want, and who they must be to achieve these things. Cinderella's initial reluctance to claim ownership of the shoe suggests her acceptance of a life of servitude, implying that she views the "aristocratic dream" as unachievable.

6) The Resolution

Finally, the character either returns to their familiar situation or a new situation is born. In Cinderella , a new situation arises when Cinderella marries the prince and escapes her previous life. This is when the situation has been “resolved ”, not “ended”.  

Experiment!

The other benefit of the skeleton approach is that you have the room to experiment with your Creative piece. For instance, you can do an allegorical text (like Animal Farm ) or maybe even a cyclical structure ( Gone Girl , film). Your Creative piece is inspired by your experiences and no one else’s so have fun with your creative control!

It’s getting closer to the Literature exam and you’re probably starting to get more serious about avoiding dropping too many SAC marks! Depending on which order your school does Literature SACs in, you may be currently facing the often feared ‘Creative Response’. Whether you feel beyond excited to finally bring some creative flair to Literature, or you’re totally scared at the thought of creating something new, I wanted to use this blog post to help you achieve at least ten of the marks in this section. That is through the reflective commentary, which you can totally score full marks on if you put in the effort.

The VCAA Literature Study Design determines that students must submit ‘a reflective commentary establishing connections with the original text’. This aspect of the assessment counts for 10 of the 60 marks available for the Creative Response outcome. The study design further denotes that students must

‘reflect critically upon their own responses as they relate to the text, and discuss the purpose context of their creations’.

This allows your schools and teachers to direct in a relatively broad way on how you should form your reflective commentary, and may mean your friends at other schools write theirs in a very different way. In this blog post I will leave you with a suggestion of how I best believe a reflective commentary could be structured to include all important aspects, as well as tips on how to include all of what the study design asks. As I said, these are ten marks that can easily be snatched with just a little bit of hard work and attention to detail, so why not snatch them?

To induce the things needed to be included in the reflective commentary, we can look to the key knowledge and key skills points outlined in the study design:

Key knowledge:

- the point of view, context and form of the original text,

- the ways the central ideas of the original text are represented,

- the features of the original text including ideas, images characters and situations, and the language in which these are expressed,

- techniques used to create, recreate or adapt a text and how they represent particular concerns or attitudes.

Key skills:

- identify elements of construction, context, point of view and form particular to the text, and apply understanding of these in a creative response

- choose stylistically appropriate features including characterisation, setting, narrative, tone and style

- critically reflect on how language choices and literary features from the original text are used in the adaptation

What you’re really trying to do in your reflective commentary is prove to your teacher that you are hitting all these key knowledge and key skills points. As you write, ensure you are discussing how the author uses point of view, context, form, elements of construction and stylistic features in their text. It is than imperative that you describe how you have similarly used such device in your creative response. Ensure that you also discuss how you are involving the ideas and themes of the text in your creative piece, and how you are discussing them further, or exploring them in greater depth. Obviously only talk about those that are relevant to your creative response!

Sample reflective commentary

Having scored a 10/10 in my own reflective commentary, I will provide a structure that can be used to ensure you are including everything you need. I discussed my own reactions to the original text, and described how I wanted to rouse similar reactions in the reader of my creative response.

In your reflective commentary, it can be easier to put everything under subheadings. These are the ones that I used:

-Characterisation

-Literary features (here I chose 7 particular literary features used in my text and discussed how I emulated them)

Under each of these paragraphs, I analysed how the author used such features to create and convey meaning, and discussed how I, in my own piece, drew on her use of them and expanded on her ideas. Here is an example of my ‘Purpose’ paragraph, which will hopefully give you an idea on how you might write your own commentary! My text was Cate Kennedy’s  Dark Roots , in particular the short story ‘What Thou and I Did, Till we Loved’.

In my piece, I ultimately attempted to lead the reader to a place of discomfort, faced with a situation that they wish never to be faced with. When I first read What Thou and I Did, Till we Loved (Dark Roots, Cate Kennedy), I simply wished never to be in Rebecca’s position, as I was sobered by the sadness of her demise as she watched her lover fade away. I sought to elicit the same response from the reader, as I aimed to convey the deterioration that both lovers suffer, as well as the loss of communication between them. I also attempted to allow the reader to question the humanity in keep people alive by machines and drugs, and whether it is fair to force people to live an unnatural life. I have sought to explore this even further than What Thou and I Did, Till we Loved bringing in the question of euthanasia and whether we have a right to die as Kyle begs of Max to “kill me” at the end of the piece, and Max concedes that “[he] would if [he] could”. The themes of my piece seeks to explore are the ways of coping with grief, guilt at causing the illness of a loved one, a life with a lack of substance, and the loss of communication due to illness.

Hopefully you’re feeling better about how you might go about completing your creative response, and getting that 10/10 on your reflective commentary!

We’ve explored creative writing criteria, literary elements and how to replicate the text over on our The Ultimate Guide to VCE Creative Writing blog post . If you need a quick refresher or you’re new to creative writing, I highly recommend checking it out!

For many students, writing creative pieces can be slightly daunting. For some, it is about unleashing the writer within as the boundaries and thematic constraints that exist in Text Response are lifted. For others, it can be an opportunity to discover new writing styles, branching out from the generic T-E-E-L structure.

Formats of imaginative pieces include:

• short narratives,
• a personal diary entry ,
• chronicling the character's thoughts,
• and monologues.

Writing in an imaginative style allows you to draw from your own morals, views and feelings. You can weave in personal anecdotes, experiences, and metaphorical language which gives one's writing that pizazz and individualist factor!

Moreover, you can showcase how you have perceived and interpreted the characters within the novel/film, the landscapes they inhabit. Alternatively, you can step into different personas. For example, for the topic of conflict, I can write as an injured army medic, a doctor, a foreign correspondent and a war photographer.

However, imaginative writing also has many pitfalls students tumble into (do not despair; you can get out of it!):

1) Don't get too caught up in emotions and flowery language.

Great imaginative pieces are not only graded on how good your story telling skills are. More importantly, your teachers would be grading on the palpable links to the themes of the text and prompt you have been given.

In Year 11, when I wrote an imaginative piece, I went overboard with the flowery metaphorical language. My teacher said ‘Overall, the piece is good however, at some parts it sounded like purple prose.’ When I read it over now, I shudder a little.

2) In Reading and Creative, there is greater emphasis on extrapolating themes and ideas from your studied text.  

So, those radical and out-of-the box ideas and views you have in relation to the text can now be used.

For example, the overarching themes in  Every Man In This Village Is A Liar  encompass the Palestinian-Israeli conflict, inequality (the unequal status of women in Middle East), the effect of war on the physical body and the human psych and, how the media portrays war and violence. The starting point to planning any context piece is to use quotes and ideas within your text. Infer meaning from those quotes and main ideas and ask yourself:

• 'Does it hold a great degree of relevance to issues prevalent today?'
• 'Can I link it to my sac/exam prompt?' 

So, here's an example of planning a creative piece. Two of my favourite quotes from  Life of Galileo  are:

'Science is the rightful, much loved daughter of the church.'

‘Our ignorance is limitless; let us lop off a millimeter off it. Why try to be clever now that we at last have a chance of being less stupid.’

In essence, this conveys the overarching theme of science vs. religion, and how Church and the inquisition exploit the peoples' views through their own ignorance. Their fear of change, pioneering and gaining of new knowledge stems from the prospect of chaos if society's entrenched values are uprooted. I interpreted this as 'ignorance is not bliss' and instead, it breeds fear in people. This is in relevance with the tragic events that has occurred in recent years - acts of terrorism, and/or racially motivated attacks. In the context of our modern society, religion and science still maintain an intriguing and tumultuous relationship. As the advancement of technology and ethics are not at equilibrium, this is where controversy arises. Conversely, we now have to consider whether this relates to the prompt:

A person never knows who they truly are, until tested by conflict.

Possible idea for this example:

"Is it ethical to administer a new drug capable of rewiring and regenerating brain function at a neuronal level to someone who has sustained extensive brain damage? Is it deemed humane to potentially change a person's character? At what personal cost will this have? - Playing god."

Tips to achieve A+ in creative writing

1. ensure it is related to the text..

A lot of students believe that the reading and creating essay is exactly the same as the old context essay. However, there is a significant difference! While a creative context essay does not have to link to the text in any way and only needs to explore a certain idea (e.g. encountering conflict), the reading and creating essay needs to offer a relevant interpretation of the text as well as show understanding of the text’s messages and how the text creates meaning .

The easiest way to write a creative response that links clearly to the text is to write about a scenario that is related to the plot line. You can do this by writing a continuation of the storyline (i.e. what happens after the end?), or by filling in gaps in the plot line which the author did not explicitly outline (what happens behind the scenes that caused the outcome?) In this way, your response will be completely original and still demonstrate an understanding of the world of the text.

2. Write in a way that shows understanding of how the text creates meaning.

When creating your response, be aware of the features present in your text (such as characters, narrative, motifs etc) that you can use in your own essay. For example, if the text is narrated from a first-person perspective, you may also mimic this in your essay. Or, you could tell it in first-person from another character’s point of view to demonstrate another interpretation of the text. You may also include motifs from the text into your own response. But be careful when making decisions about structure, conventions and language. If the text is written in very formal and concise language, it is probably not a good idea to use slang. Similarly, if the text is a play, structuring your response as a script might be a better choice than writing a poem!

3. Explore the explicit and implied ideas and values in the texts.

Lastly, remember that whilst it is a creative response, your purpose is NOT to tell a nice story but to explore the ideas, values and messages left by the author! There will always be various interpretations regarding these values, and you can express your understanding of the text through your portrayal of certain characters, or through the events in your response. For example, if you were studying Measure for Measure and wanted to explore how human nature cannot be restrained or limited by law and punishment, you could write a continuation of the play in which the city of Vienna has reverted to its original state of moral decay.

4. Show, don't tell

Creative essays are great because they offer interesting and unique stories; however, there is one common downfall that occurs in writing. Some students create pieces that are  too  straightforward. Rather than using vocabulary, imagery and symbolism to express a point, they simply write down a statement that sums up what they wish to say. Your aim is to invite the reader to  experience  the story through your words. This can be done through the character’s thoughts, feelings, actions etc. Thus the well-known phrase among writers, ‘ Show, don’t tell’ . Keeping this idea in mind turn you into a much more successful writer – and you’ll see the difference!

Tell: Katie was very happy.

Show: Katie’s face lifted. Little wrinkles appeared around her bright eyes, her dimples made an appearance that dug into her cheeks as a big grin emerged to show her perfect teeth.

Tell: She felt horrible for the weeping children.

Show: Guilt throbbed inside her as she stared at the weeping children. Her heart pounded against her chest, her hands trembling beside her still body, her brain screaming at her to do  something .

Tell: I was scared.

Show: I hear my breathing; heavy, and rapid. I shut my eyes tightly. I can feel goosebumps running up my arms and down my back.

To test whether or not you are ‘telling’ instead of ‘showing’, think about whether or not your sentence leaves room for questions. In Example 1, ‘Katie was very happy’ would leave the reader thinking – what thought or action showed that she was happy? Whereas ‘show’ demonstrated that she was happy without directly stating it.

The key is to go into the finer details of your story!

Finally, have fun and enjoy the process of planning a creative narrative, let your imagination run a little wild and rein it in with your knowledge! Hopefully these tips were helpful and you are now more confident and informed on the Reading and Creating response! 

This blog post was written by Amanda Lau, Rosemary Chen, and Lisa Tran.

2022 Update: Check out our TikTok and YouTube channel for the latest GAT updates and how you can succeed even without study!

If you're not entirely sure what the GAT is, head on over to this blog to find out more about it and why it's important!

‍ [Modified Video Transcription]

What's up?! I got 10/10 on my GAT, so I'm going to tell you how I got perfect marks in Task One of the GAT . I'm also going to share with you my essay so that you know exactly what you need to do when it comes to doing your GAT. 

Why Do I Need To Do Well in the GAT?

Here's a bit of information you need to know going into Task One , which is basically a Creative piece . Now, I've done a GAT video in the past, which I highly recommend you go and watch, because in that video I teach you essentially what you should be doing for the writing tasks and how you should organise your time in order for you to get the best possible marks in the GAT. No, you don't have to study for the GAT, but if you can do well in it, then you might as well because...you don't know….COVID might come back, you might need a derived score...you know what I mean? You just don't know what's going to happen so you might as well try to do your best and if this video helps you out with that, if you're willing to spend a few minutes doing it and yet bump up your marks heaps, it's definitely going to be worth it for you!

GAT Advice From a VCAA Examiner

I learned all of my skills from my tutor at the time, who was a VCAA examiner, so this information comes directly to you from an examiner, so, you know, it's legit! 

A lot of people get really confused when it comes to Task One because they think that it's just a whole bunch of information that's put in front of them and what they're supposed to do is just regurgitate the information that's there and package it into an essay somehow. But, as I've talked about in my previous video , the way that you do this is to write a Creative piece using the information that's in front of you - just trust me on this. 

Approaching the GAT Creatively

I know there's a lot of talk back and forth out there about how you should be doing Task One , but you can see ( in the comment section of my other video ) people who followed through with this Creative method and have done really well. Another reason I like this Creative approach is because it makes things easier for you. In the instructions, it says:

'Develop a piece of writing, presenting the main information in the material. You should not present an argument.’

So really what's left is (if it's not going to be persuasive) it either has to be an Expository, which is just like a normal Text Response essay, or it can be a Creative. A normal Text Response essay is going to be so boring for everyone out there - do a Creative instead! Why?! Because:

‘Your piece will be judged on:

• how well you organise and present your understanding of the material.
• your ability to communicate the information effectively’

So, what this means is if you're going to do a Text Response version of the information that's in front of you, the only way you can really do that is by regurgitating and just wrapping up similar pieces of information in one paragraph together. I don't know how you would do an Expository well, but if you take a Creative approach, it not only tests your organisational skills but also tests your understanding of the material as well. 

What I mean by Creative piece is you can write a letter to the editor, you can write a diary entry, you can write an advertisement, you can write a brochure. There are just so many different types of Creative pieces you could use - the world is your oyster essentially. I'm going to talk you through how I did it for my particular GAT. 

How a Creative Approach Got Me a 10/10 in My Trial GAT

This one here is actually a trial GAT. We had an examiner come in and grade our marks for us so it's not my actual GAT, which I don't think you can get back, but it's the closest thing to it, so, we'll work with that. 

We did a really old GAT. This is the 2004 (which is ages ago) General Achievement Test. Some of you might've been born around this time! That is nuts!! Anyway, the GAT has not changed over the past 10 or so years, or the past 20 years even, so don't feel like this is information that's not going to be helpful, because every single year it's the same type of instructions with a similar type of information that's given. 

Here you can see that I've got an island and there are just bits of information. There's a legend, there's a scale, there are facilities, there is a temperature and a bird's eye view of the island itself.

If you look at this, how are you going to write a Text Response on this? It's going to be boring. So instead, what I did was I said:

'Dear Diary: We arrived in Amaroo Island this afternoon and the view of this place from the plane was amazing!'

When I was in the GAT itself, I would cross out the section (in this case the photo of the island) that I had covered just to see how much information I was able to pack into my piece and know that I wouldn't need to touch it again.

'Magnificent blue water sea, sandy white coast and huge amounts of great green trees! From the airport, we travelled by bus to our hotel where we will be staying for two nights. On the way, we stopped at a historical ruins site. One of the tour guides whom we bumped into told us the ruins have been found to be from 1854! We stayed there for an hour, then caught the bus back again to our hotel. We were extremely excited to explore the hotel and its surroundings, so Dad, Mum, George and I quickly unpacked our luggage and changed for the night. We decided to have dinner at a restaurant which turned out to serve delicious food. After dinner, we explored a shopping centre, galleries and even a museum which is called ‘Maritime Museum’. So many facilities in just one place! That took most of the night and we were all tired from a long day. Tomorrow we will be going swimming and camping outdoors for the night. I'm excited!' 

You can see just in this one paragraph I've tried to pack in as much information as I can, but in a way that makes it interesting and fun. You'll notice that with my vocabulary it's not like I am this 50 study score achiever who’s writing exceptionally beautiful language and, I don't know, making this GAT piece something that it's not. I'm just giving them information, having fun with it, making it creative and as a result, I did well!

Alright, let's keep going. 

'Dear Diary: Our second day began with the sunshine pouring into our rooms.'

That's just a nod to the temperature. It's not an explicit nod, it's more of an indirect nod. 

‘George and I were very eager to go swimming and were pleased to find that the weather for the day was 28°C!'  

There's the explicit inclusion of the information.

'I'm glad we came here in January rather than July when we were initially planning to holiday.'  

Adding more information without just forcing it down the examiner’s throat. 

'Our travel guide booklet states that it’s only a maximum temperature of 15°C! degrees in July! We wouldn't have gone swimming then, that's for sure. Mum and Dad decided that even though there was a safe swimming area near Gali in Gali Bay, we should go to Dolphin Bay and then to Marlin Bay to stay for the night.'

Here I'm just including Gali Bay because I wanted to, but I wanted to also talk about the other bays as well. I'm just trying to be creative in how to include this information. It's all embedded within my storyline so it doesn't feel like I'm spoon feeding my examiner piece after piece of information.

'We caught the bus again to Dolphin Bay and there were many families as there was a caravan park situated right by the bay! How convenient is that! When we were swimming, we could even see the Cape Dolphin lighthouse in the distance. Afterwards, we travelled to Marlin Bay via bus. Marlin Bay is right next to Amaroo National Park, and we've seen some kangaroos and koalas amidst the trees but we're not allowed into the park as it's a marine reserve boundary. Tomorrow we're heading back to Gali Hotel, playing some golf and going riding along the coast!'

I'm pretty much almost done! You see that my essay wasn't actually that long. It was only a page and a half (of handwriting), and yet I still got 10/10. I think it just goes to show how many people out there just don't know how to do a GAT, so you only need to do a fraction better in order for you to do exceptionally well in your GAT scores. To finish off my story:

'Dear Diary: Our final day at Amaroo! We woke up early, had breakfast which Mum cooked up and then headed back home.'  

Here I'm also adding in pieces of information that aren't necessarily on the page that's been given to us. I just thought it'd be a nice touch to say this,  you know, we woke up early, we had breakfast which Mum made - it just adds to the storytelling. 

'We didn't do much during that morning, just had lunch at the Gali restaurant. Afterwards, however, we did lots! We hired bikes from the shopping centre and rode along Gali Bay to Moonlight Bay. It was tiring but the scenery was amazing! We spent most of the afternoon riding but got back to Gali at 4 o'clock and Dad headed out for some golf. George and I decided not to because we were drained from all our exercise already. This is our last night in Gali, I'll be sad to leave Amaroo Island.'

That's it! If you guys want to see how I got 10/10 in my second task. Make sure you leave a comment for me over on Youtube, like the video and I'll get another video/blog out for you guys. Thanks so much for watching (or reading) and I wish you guys all the best for the GAT.

The Full Essay ‍

Dear Diary:

We arrived in Amaroo Island this afternoon and the view of this place from the plane was amazing! Magnificent blue water sea, sandy white coast and huge amounts of great green trees! From the airport, we travelled by bus to our hotel where we will be staying for two nights. On the way, we stopped at a historical ruins site. One of the tour guides whom we bumped into told us the ruins have been found to be from 1854! We stayed there for an hour, then caught the bus back again to our hotel. We were extremely excited to explore the hotel and its surroundings, so Dad, Mum, George and I quickly unpacked our luggage and changed for the night. We decided to have dinner at a restaurant which turned out to serve delicious food. After dinner, we explored a shopping centre, galleries and even a museum which is called ‘Maritime Museum’. So many facilities in just one place! That took most of the night and we were all tired from a long day. Tomorrow we will be going swimming and camping outdoors for the night. I'm excited!

Our second day began with the sunshine pouring into our rooms. George and I were very eager to go swimming and were pleased to find that the weather for the day was 28°C! I'm glad we came here in January rather than July when we were initially planning to holiday. Our travel guide booklet states that it’s only a maximum temperature of 15°C! degrees in July! We wouldn't have gone swimming then, that's for sure. Mum and Dad decided that even though there was a safe swimming area near Gali in Gali Bay, we should go to Dolphin Bay and then to Marlin Bay to stay for the night. We caught the bus again to Dolphin Bay and there were many families as there was a caravan park situated right by the bay! How convenient is that! When we were swimming, we could even see the Cape Dolphin lighthouse in the distance. Afterwards, we travelled to Marlin Bay via bus. Marlin Bay is right next to Amaroo National Park, and we've seen some kangaroos and koalas amidst the trees but we're not allowed into the park as it's a marine reserve boundary. Tomorrow we're heading back to Gali Hotel, playing some golf and going riding along the coast!

Our final day at Amaroo! We woke up early, had breakfast which Mum cooked up and then headed back home. We didn't do much during that morning, just had lunch at the Gali restaurant. Afterwards, however, we did lots! We hired bikes from the shopping centre and rode along Gali Bay to Moonlight Bay. It was tiring but the scenery was amazing! We spent most of the afternoon riding but got back to Gali at 4 o'clock and Dad headed out for some golf. George and I decided not to because we were drained from all our exercise already. This is our last night in Gali, I'll be sad to leave Amaroo Island.

If you'd like more help, check out Why the GAT Matters and How To Use It To Your Advantage . It walks you though what's involved, why the GAT matters, the different tasks you'll need to complete and more!

This month’s blog post will be short but it contains one extremely valuable point you should take away – especially if you’ll be writing imaginary pieces in the next few months. Creative essays are great because they offer interesting and unique stories; however, there is one common downfall that occurs in writing. Some students create pieces that are  too  straightforward. Rather than using vocabulary, imagery and symbolism to express a point, they simply write down a statement that sums up what they wish to say. Your aim is to invite the reader to  experience  the story through your words. This can be done through the character’s thoughts, feelings, actions etc. Thus the well-known phrase among writers, ‘ Show, don’t tell’ . Keeping this idea in mind turn you into a much more successful writer – and you’ll see the difference!

Show: Guilt throbbed inside her as she stared at the weeping children. Her heart pounded against her chest, her hands trembling beside her still body, her brain screaming at her to do  something .

• What is a Written Explanation?
• Creative Response-Based Written Explanations
• Oral Presentation-Based Written Explanations

1. What is a Written Explanation?

Written Explanation (also known as Statement of Intention, SOE, and various other names throughout different schools) is a short introductory piece to your essay. The Written Explanation is intended to explore the reasons behind why you made particular writing decisions. This is done via FLAPC:

F orm,  L anguage,  A udience,  P urpose,  C ontext

2. Creative Response-Based Written Explanations

The following is taken from the VCAA study design for Creative Response-Based Written Explanations:

'a written explanation of creative decisions and how these demonstrate understanding of the text.'

Most assessors are quite lenient with how you want to approach the Written Explanation – there is no rigid structure that you need to abide by. As we will discuss below, this allows you to consider which aspects of form, language, audience, purpose and context you wish to include. Each of the points should establish why you have written your piece. They are considered as part of your SAC and thus, are marked accordingly. They are not  examinable during the English exam. 

There are traditionally three forms of writing accepted in assessments: expository, creative or persuasive essay. 

‘I chose to write in an expository style, employing conventions of format and style of a traditional essay. This allows me to express my ideas in a logical order while adopting a sophisticated tone.’

When writing, you choose particular words and phrases to illustrate your ideas. Think about what type of language have you used and why. Perhaps your piece is formal or informal, sophisticated or simple, or from a first or third person perspective. All these factors are important in shaping your Context piece. Also consider language techniques you may have incorporated such as repetition, rhetorical questions, metaphors, symbolism and more.

‘I have chosen to write from a first person perspective to shed light on the inner workings of Gardiner from  The Lieutenant .'

You must select a targeted audience for your essay. Your choice can be adults to young children, or even to your future self. Make sure your target audience is suitable for your essay – select a group that would realistically be interested in your work.

‘My piece is to be published in an anthology for those who have had difficulty assimilating into a new group or culture. As they have familiarity with the concepts I discuss, I intend for readers to depart with a greater understanding and appreciation of the ideas in my written piece.’

The purpose section is where you discuss the message you would like to send to your audience. Here you discuss your contention or arguments; whether you completely agree, disagree or a bit of both in regards to your prompt.

‘The purpose of this essay is to demonstrate that there can be different outcomes from encountering conflict: firstly, that conflicts can change many people through growth in understanding or a sense of self-development and secondly, that there are times when people remain unaffected by conflict and thus, unchanged.’

Since your essay is based on your studied text, you should provide a brief discussion of the basic ideas behind the Context . You can do this prior to your  Purpose  section since it is a good lead-in.

‘In this essay, I explored the idea that ‘Conflict inevitably changes people’; a concept heavily explored in  The Lieutenant . Every person encounters conflict. It drives individuals to challenge themselves, and deal with new experiences.'

Different schools will set different word limits for Written Explanations. These can range from 300 – 350 words based on the VCAA study design. With such a small word limit, be succinct and choose wisely what you will discuss in order to score the maximum marks allocated to Written Explanations.

3. Oral Presentation-Based Written Explanations

The VCAA study design requests students write:

'a written statement of intention to accompany the student’s own oral presentation, articulating the intention of decisions made in the planning process, and how these demonstrate understanding of argument and persuasive language.'

Using the topic,  'Why we need to stop crying "cultural appropriation" when  cultural exchange  is far more important ', let's see how this can be done with FLAPC with some examples below (if you need help selecting a topic, check out our 2020 Oral Presentation topics to get those brain juices flowing ):

‘I chose to adopt the conventions of a persuasive speech, where I use a structure of presenting my main ideas by rebutting arguments made by the opposition. Throughout my speech, I embed persuasive tactics in an effort to firstly, encourage engagement from the audience and secondly, sway them to readily accept my point of view.

‘Since I am an Asian-Australian, I have purposefully forgone the opportunity to adopt a persona and instead, have chosen to write from a first person perspective as I can uniquely shed light on my own experiences towards cultural exchange and how that has directly impacted me. My speech heavily focuses on delivering tangible examples, such as anecdotes and social media usage, as I aim to heighten the topic’s relevancy and relatability for my audience. Moreover, as my focus is to reinforce positive attitudes towards cultural exchange, I have adopted a light-hearted approach with humour through the first portion of my speech, then moving into an urgent tone towards the end to highlight the importance of this issue.'

'I have opted to target young Australian adults since we are the generation of the future, and have a major role to play in positively shaping the Australian society’s views and attitudes towards cultural exchange.

'I aim to convince my audience that it is too easy to cry 'cultural appropriation' by being overly sensitive, and instead, we need to consider the benefits of cultural exchange. Cultural exchange itself, has shaped the world as we know it today – it has an important role in globalisation, understanding foreign cultures and the development of Australian society.'

'Australia is known to be one of the most multicultural countries in the world. However, recent media has drawn attention to cries of 'cultural appropriation' towards Indigenous Australians and other cultures, claiming that we fail to appreciate and respect cultural values when we take others' culture for our own (whether it be fashion, music, food or otherwise).'

‍ Sample FLAPC compiled and rearranged for flow and fluency:

Australia is known to be one of the most multicultural countries in the world. However, recent media has drawn attention to cries of 'cultural appropriation' towards Indigenous Australians and other cultures, claiming that we fail to appreciate and respect cultural values when we take others' culture for our own (whether it be fashion, music, food or otherwise). I aim to convince my audience that it is too easy to cry 'cultural appropriation' by being overly sensitive, and instead, we need to consider the benefits of cultural exchange. Cultural exchange itself, has shaped the world as we know it today – it has an important role in globalisation, understanding foreign cultures and the development of Australian society. I chose to adopt the conventions of a persuasive speech, where I use a structure of presenting my main ideas by rebutting arguments made by the opposition. Throughout my speech, I embed persuasive tactics in an effort to firstly, encourage engagement from the audience and secondly, sway them to readily accept my point of view. Since I am an Asian-Australian, I have purposefully forgone the opportunity to adopt a persona and instead, have chosen to write from a first person perspective as I can uniquely shed light on my own experiences towards cultural exchange and how that has directly impacted me. This also has an additional persuasive effect as I invite my audience to relate to my opinions through their own similar experiences as young Australian adults. I have opted to target this audience since we are the generation of the future, and have a major role to play in positively shaping the Australian society’s views and attitudes towards cultural exchange. My speech heavily focuses on delivering tangible examples, such as anecdotes and social media usage, as I aim to heighten the topic’s relevance and relatability for my audience. Moreover, as my focus is to reinforce positive attitudes towards cultural exchange, I have adopted a light-hearted approach with humour through the first portion of my speech, then moving into an urgent tone towards the end to highlight the importance of this issue.

Download a PDF version of this blog for printing or offline use

Need more help with your Creative Response? Check out How To Achieve A+ in Creative Writing (Reading and Creating)!

See how Lisa achieved full marks in her SAC in her Advice for A+ Oral Presentations guide.

Hey everyone!

I’m super excited to share with you my  first  ever online tutorial course for VCE English/EAL students on  How to achieve A+ for Language Analysis !!!

I created this course for a few reasons:

Language Analysis is often the  key weakness  for VCE English/EAL students,after my  intensive workshops , students always wish we had spent  even   more  time on Language Analysis,many of you have come to me seeking private tuition however since I am fully booked out, I wanted to still offer you a chance to gain access to my ‘breakthrough’ method of tutoring Language Analysis,I am absolutely confident in my  unique  and  straightforward  way of teaching Language Analysis which has lead to my students securing exceptional A graded SAC and exam scores!

Are you a student who:

struggles to identify language techniques?

finds it difficult to identify which tones are adopted in articles?

has no idea explaining  HOW  the author persuades?

finds it difficult to structure your language analysis essay?

becomes even more unsure when comparing 2 or 3 articles?

feels like your teacher at school never explained language analysis properly?

prefers learning when it’s enjoyable and easy to understand?

wants to stand out from other students across the cohort?

wants to know the secrets of 45+ English high achievers?

wants to know what examiners are looking for?

sees room for improvement whether you’re an average student or a pro?

wants to get a head start and maximise your potential in VCE?

This is what you will accomplish by the end of the course:

Be able to successfully identify language techniques in articles and images

Be able to successfully identify tones adopted in articles and images

Be able to analyse a single article or image

Be able to analyse 2 or more articles and/or images

Be able to apply your new skills coherently and clearly in essay writing

You will be able to accurately describe HOW an author uses language to persuade

You will be able to plan and write a language analysis essay structure (single article/image)

You will be able to plan and write a language analysis essay structure (2 or more articles/images)

You will understand common pitfalls and how to avoid these in language analysis

Be confident when approaching your SACs and exam

Know exactly what examiners are looking for and how to ‘WOW’ them

Know how to distinguish yourself from other students

Have unlimited help in course forum from myself and other VCE students

You will become a better VCE English language analysis student!

To find out more, you can check out the full details of the course   here !

See you in the course!

The idea of VCE English assessments can sometimes be a bit daunting. Always so much you want to write, never as much time as you need and they always seem to come around sooner than you think. But there is never as much cause for alarm as you think and I’m willing to guarantee that almost everyone reading this is so much better than they think at English . 

You’ve already come so far from where you started in your high school English journey. I’d like to challenge anyone reading this to go and find the earliest English essay you’ve got tucked away somewhere. I’ve done this myself and, if yours is anything like mine, you’ll be almost disgusted by what you find. Year-7-me just loved to retell the story, cling to my rigid TEEL formulas and leave my quotes just dangling, write the same basic paragraph three times and call it a complete essay. Not a pretty read and I’m sure a couple of you can relate. But, this exercise does at least prove a very valuable point: you are capable of improving at English .

So let’s start thinking about that essay you’ve got coming up again. You’ve just given yourself a nice confidence booster with that walk down memory lane, reminding yourself that you are a more-than-capable English student these days. But all you now want to do is your very best for this next essay. But how do you keep improving between now and then? After all, if you knew what you had to do to improve your English, you’d already be doing it, right? So what we’re going to do now is to have a look at what taking your essays to that next level really looks like; how you can improve your writing between now and then, whenever that might be. 

So to do this, we’re going to take an already good paragraph and improve it together. Take this one, one that I conveniently prepared earlier to a Station Eleven prompt that has to do with the theme of memory/history.

Part 1: The Good Paragraph

Q: Mandel shows the importance of remembering the past. To what extent is this true?

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating such an enduring legacy for a character who believes in the power of such legacies - 'they’re all immortal to me' - Mandel implies that characters like this are able to achieve meaning and fulfilment by preserving these legacies. Mandel also uses the character of Miranda to highlight the importance of legacies to provide meaning where Miranda lacks it in her day-to-day life. Even though Miranda’s life is left incomplete by her sudden death, the beauty in the scene of her death suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters: 'its extravagant sunsets and its indigo sea'. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the value of creating legacies that allow others to remember the past.

Let’s call this our good paragraph. I’ve modelled this off of an essay I found from my Year 10 self, as happy as Year-10-me would have been with this performance, it’s far from perfect. But, it is a very functional paragraph that does all that a paragraph really needs to do. It introduces an idea, justifies it with evidence, links back at the end and doesn’t waste too much time retelling the story. So now we get to the fun bit: we’re going to take this already good paragraph, and turn it into a better paragraph.

So how do we make a good paragraph better ? 

Well, for a start, we can integrate our quotes so that the paragraph reads better . You’ll see in just a second how much of a difference this can make. This is something I learnt to do between Years 10 and 11. Other improvements that could be made include answering the prompt more directly and using some of the language of the prompt within our answers. So let’s change this and see now what these small differences do to our paragraph.

Part 2: The Better Paragraph

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies that allow others to remember the individuals who came before. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating this symbolic memorial for a character who believes that such legacies can allow individuals such as actors to become 'immortal', Mandel implies that characters like this are able to achieve meaning and fulfilment through their legacies. Furthermore, Mandel also uses the character of Miranda to highlight the importance of creating a legacy through one’s art to provide meaning where Miranda lacks it in her day-to-day life. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the importance of creating legacies that allow others to remember the past.

There we have it. The paragraph has been rewritten based on the ones I wrote in Year 11 and we have the first signs of improvement. The topic sentence now references the ‘remembering the past’ aspect of the prompt. The linking sentence now uses the ‘importance’ part of the prompt. All of the same quotes are used but are now integrated (check out How To Embed Quotes in Your Essay Like a Boss if you need more help with this). 

We’ve made sure not to have more than one sentence starting with Mandel (a small nitpick but still a nice addition). It flows better. It answers the prompt more directly and suddenly we have a better paragraph . Year-11-me has shown improvement and with this comes better scores and more confidence: something that’s very important for success in English. If you’re confident and proud of what you’re writing, then you’ll have higher marks and, even better, more fun!

We haven’t changed much and the paragraph is already better . But it’s not my best paragraph. Between Years 11 and 12, I learnt even more things. I was taught to write about not only the world of the text but also the world around us that we and Mandel live in: you’ll notice that this better paragraph talks more about ‘characters’ that live ‘in the text’ whereas my best paragraph would talk more about the text in the context of the world you and I live in . I learnt to make my topic sentences more abstract and broad so that they relate more to our own world and less to the world of the text and remind whoever’s assessing that my ideas apply to everyone and not just within the texts. I learnt to respond more directly to different types of prompts (Discuss, To what extent is this true?, How does Mandel… and others) and I learnt to be more direct in discussing the views and values of Mandel (what she likes, what she doesn’t like, what she wants to see more of in the world)

So let’s apply some final changes, and see what our paragraph looks after two more years of refining English. This final paragraph is almost exactly the same as one I wrote in timed conditions before my final exam.

The Final Part: The Best Paragraph

A: Mandel explores the importance of legacies, not only as sources of meaning for their creators, but also for their roles in allowing others to remember the roles of those who came before. Such an idea is explored through the naming of Jeevan’s son, securing the legacy of Frank. By affording such a permeating influence to an individual who writes of and appreciates the 'immortal[ity]' of long-dead actors, Mandel implies that an appreciation of the inherent value in a legacy and its ability to influence future events is a key quality in individuals. Furthermore, Mandel uses the character of Miranda to highlight the importance of creating a legacy that outlives oneself to provide meaning. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, Mandel suggests that the meaning in Miranda’s life comes from the legacy that is the art she makes in her 'independent' life that continues to influence events and allow others to remember the past long after her death. Mandel provides contrast through her exploration of Arthur, whose legacy does not influence any events in the post-flu world because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, reinforcing Mandel’s view that individuals who forfeit control of their own legacies, as Arthur does, lead far less completed and fulfilled lives. Therefore, Mandel highlights the immense importance of creating legacies that allow others to remember the past and encourages greater appreciation of the value of legacies in contemporary society.

So, two years later, and we’ve got what is still essentially the same paragraph, just brushed up to an even better, or best , standard. So if we’re using the same evidence, exploring the same characters and introducing the same ideas, why is this paragraph better than the last two?  

Well, if you study the topic and linking sentences, they discuss the concept of a legacy being a means of allowing others to remember the past and the importance of such a thing and everything in-between links this concept to the text. ' Mandel highlights the immense importance' represents a subtle but nice nod to the wording of the prompt by giving an ‘extent’ to which Mandel ‘shows’ or highlights. Every piece of evidence is discussed in reference to what Mandel believes about the world around us and how individuals should act in modern society. 

And there’s something very nice that we can now reflect on. This paragraph has gone from good to much better without having to introduce any new ideas. There are no overly complex interpretations of the text, we’ve just taken the same skeleton of a paragraph and made it look better without changing its real substance. 

And one of the wonderful things about making efforts to improve the quality of your writing is all the confidence that comes with this, whether this be from getting better at discussing views and values , learning to integrate your quotes or any achievement like this. I know that my confidence surged as my English got better and, as I got more confidence in my writing, I got more confidence in what I wrote about. My interpretations of the text became more and more obscure and a bit whacky at times and I had fun writing about these things. If you improve your writing, you’ll improve what you’re writing about which will mean you’ll have more fun writing and the cycle of improvement will just continue.  

So to cap off, I thought it might be nice to have a checklist of sorts that you might be able to put against your own writing.

What’s the next step I could take in improving my English?

• Are all my quotes properly integrated ? (Hint: if the sentence doesn’t make sense without quotation marks, the answer is no)
• Have I got more than a couple of sentences starting the same way or could I vary my sentence structure a bit more?
• Have I explicitly used some parts of the prompt in my own writing so that I can directly answer the question in my essays?
• Am I writing about both the world of the text and the world we live in outside of the text instead of just the characters and relationships within the text?
• Are my topic and linking sentences describing a concept that relates to the prompt with everything in-between relating this concept to the text? (I found this a very useful way of thinking of paragraphs)
• Is all of my evidence being discussed in relation to the views of the author ?
• Does my essay/paragraph explain what the author would like to see more of/less of in modern society based on what is explored in the text?
• Is my essay/paragraph specific to the exact wording and type of prompt?

And these are just some of the improvements that could be made. I’m sure each of you could ask teachers and past students and find many, many more tips on improvement. Just as long as you’re thinking about what the next step in your English might be, then you’re already headed in the right direction. So good luck and happy writing!

Introduction

If you, like me, grew up Asian in Australia, you might think you already know a thing or two about, well, growing up Asian in Australia. Our stories can be pretty similar—just have a scroll through the ‘subtle asian traits’ Facebook group, or have a conversation with literally any Asian Australian about their parents.

At the same time, it’s also important to recognise that everyone’s experiences are diverse, especially given how broad an identity ‘Asian’ can be. Also important is to recognise how broad and intersectional identity can be in general—intersectional meaning that race isn’t the only thing that defines any one of us. Things like gender, socio-economic status, ability, sexual orientation and religion can also be really central, for example. Each of these things can impact the way we navigate the world.

Covering a broad range of these stories is Alice Pung’s anthology, Growing Up Asian In Australia . Some of the contributors in this volume include Sunil Badami , Matt Huynh , Bon-Wai Chou , Diana Nguyen , Michelle and Benjamin Law, and Shaun Tan , and already this cross-section is fairly diverse in nature. You can also click on their names to find out a bit more about each of their work. I think this is worth a few minutes, just to get acquainted with the sheer range of Asian-Australian creatives who are represented in this book, and to locate their work within the themes they write about—in other words, having a think about the ways that cultural heritage, or experiences with family, or economic hardship permeate their work, both in the anthology and in their lives outside it.

The anthology is (perhaps quite helpfully) divided into sections which revolve around key themes, which is also going to inform the structure of this guide. I’ll be using this guide to go through an exercise that I found really helpful when learning the text, which involves:

• taking two stories per section and drawing up some dot-point similarities and differences
• translating two of those points into paragraphs, a bit like a ‘mini-essay’

We’ll go through some an example of what this might look like, and why it’s a helpful exercise to try.

Before we start diving into Growing Up Asian in Australia , I'd highly recommend checking out LSG's Ultimate Guide to VCE Text Response .

Strine (Badami & Tseng)

Strine is what’s called a syncope , a shortened way of pronouncing Australian (a bit like ‘Straya’)—it refers to Australian English as it’s spoken by locals. This section of the book is all about language , and about the difficulties of juggling two languages growing up, and Badami and Tseng’s stories are great examples of this.

1. Similarity: connections to one’s mother tongue fade over time. Tseng recounts how, one by one, she and her sisters stopped learning Chinese as they progressed through their Australian education. Badami on the other hand compromises his name which stood out as too Indian when he “just wanted to fit in.”

2. Similarity: for ‘third-culture kids’, losing knowledge of their language also strains their relationship with their forebears. Badami’s mother is shocked to hear the anglicisation of his name despite the significance it carrie for her (“she spat my unreal new name out like something bitter and stringy”), and Tseng describes the experience of communicating with her father in “Chinglish” so that they can both understand each other.

3. Difference: language can be an internalised, personal experience, or a highly exposed and interpersonal one. While Tseng feels her loss of her language as a “sense of shame, a vague unease”, Badami is almost bullied into changing his name, “Sunil? Like banana peel?”

The Clan (Law & Chau)

This section delves into the complex ties that hold migrant families together. Chau’s poems are starkly different to Law’s story, so it’ll be interesting to compare how these different narrative forms work to explore those ideas.

1. Similarity : it can take at least one generation for migrant families to dig their roots into their new home. While Law’s parents are proud tourists at Queensland theme parks, he and his siblings “groan” at their comportment. Chau’s poem ‘The Firstborn’ traces his ancestry forward until he arrived, “an ABC” and his son “by amniotic sea”, both of them born into Australia.

2 . Similarity: family dynamics are still traditional and therefore gendered. Law notes how his mother’s health suffered when divorcing his father, and Chau notes that the women members of his family were “cast off” the family tree “as if they were never born.

3. Difference: family history and heritage can vary in importance. Chau’s family traces back “twenty-eight generations” of history, whereas Law’s family very much lives in the present, the only tie to older generations being his “Ma-Ma”, or grandma.

4. Difference: families show their love in different ways. Whether it’s dedicating a poem to his son about his life as one of “ten thousand rivers” of Chinese diaspora into the Australian sea, or taking the kids to theme parks on weekends, all sorts of affection can hold families together.

Putting it together

So I’ve tried to choose two sections (and four stories) that are all a bit different to try and mix it up and get some rich comparative discussion out of these. You might be studying this text alone, but even as one text, remember that there’s a lot of diverse experiences being represented in it, so discussing how stories connect, compare and contrast is just as important as discussing the content of individual stories themselves.

If we do a mini-essay, we might as well go about it properly and pick some sort of contention. Without a fixed prompt though, it might be easier to start with those dot points and pick which ones we want to write out and string together. Let’s pick two—connections to mother tongue fading over time (Strine similarity 1) and digging roots into Australia over time (The Clan similarity 1). A contention covering these points might look like:

While second generation migrants may struggle with loss of culture, they also constitute a unique and significant part of the diaspora.

Many migrants lose connections to their heritage over time, and these connections are often in the form of language. Particularly for Asian migrants, there is not as strong a need to preserve their mother tongue in the English-speaking Australia, and as such their knowledge of those languages can be easily lost. Ivy Tseng, for instance, recalls how she was never able to “grasp the significance” of learning Chinese as a child, and eventually she and her sisters would prioritise “study” and other academic pursuits over learning Chinese. Because tertiary study and education as an institution generally carry a lot of weight in migrant cultures, there is often a compromise made at the expense of heritage and language. These compromises can come from other factors as well, particularly the group dynamics of being in white-dominated Australia. Bullying is a frequent culprit, and Badami for example is indeed peer-pressured into resenting—and ultimately anglicising—his name, “Sunil? Like banana peel?” More generally speaking, a sense of shame for one’s difference is a common part of the migrant experience—Law experiences it as well at theme parks, where he and his siblings attempt to “set [them]selves apart” from the faux-pas of their parents. Not always an intentional goal, but a general willingness to compromise connections to heritage underscores many Asian Australian migrant stories, particularly of second-generation migrants.

However, the extent to which migrants feel socially integrated in society shifts generationally and over time as well. Second generation migrants are thus unique in that they have the closest connection to their heritage while also initiating this process of integration. Law and his siblings exemplify this, with their “Australian accents” and “proper grammar and syntax.” While some loss of their native Cantonese takes place, they are also the first in their family to sound Australian, one step closer to being Australian. They constitute part of the distinct, third culture of “ABC”—Australian-born Chinese—to which Chau alludes in his poem, ‘The Firstborn’. Distinct from first-generation migrants, ABCs are a product of diaspora and spend their formative years immersed in the Australian way of life. Chau’s poem goes on to highlight how sizeable this demographic now is—“the sea is awash with the unfathomable Chinese sons.” Thus, we can see how ABCs, or second generation Asian migrants, represent a unique and significant social group exemplified by great compromise, but also great change.

Why is this useful?/How can I apply this?

I like this exercise because it gets you thinking creatively about the key implications of the stories. Within a section or theme, you want to identify similarities in how both stories contribute to our understanding of that theme . You also want to identify differences to explore how stories can be unique and nuanced , which will provide your essay with more depth when you ultimately need it. Then, putting it all together helps you synthesise new connections between themes .

For an analytical study of this text, you’d flesh out those ideas until they become paragraphs, introducing relevant evidence and mixing it up with explanatory sentences as you go. Explanatory sentences keep you analysing rather than story-telling, and they usually don’t have any quotes—an example from above might be “because tertiary study and education as an institution generally carry a lot of weight in migrant cultures, there is often a compromise made at the expense of heritage and language.”

For a creative study, you’d take away those ideas and look at how else you might explore them in other stories. Feel free to challenge yourself for this; I remember falling back on more personal writing when studying this creatively, but don’t neglect other genres or forms! If second generation migrants are in fact more on their way to belonging, write a speculative story about how an apocalypse tests those connections to white Australians. I dunno, but don’t be afraid to really push the boundaries here and test the implications you draw from the stories.

Give it a go

Try it for some of these:

• UnAustralian? (Loewald & Law) and Leaving Home (Diana Nguyen & Paul Nguyen)
• Battlers (Dac & Law/Huynh) and Mates (Phommavanh & Ahmed)
• The Folks (Lazaroo & Tran) and Homecoming (Beeby & Larkin)

Growing Up Asian in Australia Essay Prompt Breakdown

Video Transcription

The essay topic we’ll be looking at today is short and sweet;

To belong is to sacrifice. Discuss. 

The key terms are evidently “to belong” and “to sacrifice”, so these are the words and definitions that we’ll have to interrogate. 

Belonging is a feeling of being accepted by someone or being a member of something, so we’d have to ask who is doing the accepting, and what are the writers seeking to be members of. On the other hand, sacrifice is loss, it’s giving something up—it’s implied that seeking belonging means you may have to navigate compromises to what you have, how you live, or maybe, who you are. Have a think about what sacrifices are made by whom, and why.

With that in mind, let’s brainstorm a contention . We usually want to avoid going fully agree or fully disagree to create a bit more ‘grit’ for the essay—and in this case, the prompt is pretty deterministic or absolute; it’s saying that belonging is all about sacrifice. 

I’d probably argue that belonging is sometimes about sacrifice, and for migrant children they often give up some of their culture or heritage for Western lifestyle or values. That being said, belonging in these cases is probably more about synthesis than sacrifice—it’s about being able to negotiate and bring heritage into increasingly Australian ways of life.

The brainstorming section of writing a killer essay is where my THINK and EXECUTE strategy comes in. If you haven’t heard of it before, essentially, it’s a method of essay writing that emphasises the importance of really thinking about all aspects of a prompt and exploring all the different avenues you can go down. To be able to EXECUTE a well-reasoned, coherent and articulate essay that contains enough nitty-gritty analysis, you have to do enough THINKing to get some meat on the essay’s skeleton, so to speak. To learn more, check out my top selling eBook, How To Write A Killer Text Response .

In paragraphs , we could start by looking at some of the sacrifices people make in order to belong . The poem, ’Be Good, Little Migrants’ has a more of a cynical take on this, suggesting that migrant groups are expected to sacrifice economic mobility and even personal dignity in order to gain favour with locals: “give us your faithful service”, “display your gratitude but don’t be heard, don’t be seen.” 

Economic sacrifices are seen across many stories, from the working class “decent enough income” in ‘Family Life’ to the failing business in ‘ABC Supermarket’. Other forms of sacrifice might be less material—for example Benjamin Law’s sacrifice of his Mariah Carey cassettes in an attempt to fit in at school from the story ‘Towards Manhood’. This example is interesting because it isn’t a cultural sacrifice, but a gendered one—it’s a good reminder that identity is always multi-layered. 

For migrant children though, the sacrifices usually revolve around their race and culture . Diana Nguyen for example notes language as a key sacrifice: she quits Vietnamese school because she didn’t feel like she belonged with the grade ones in her class, and her ultimate “lack of interest in learning [Vietnamese] created a lasting barrier” between her mother and her. In Sunil Badami’s story, ‘Sticks and Stones and Such-Like’, the sacrifice is his name, as he Anglicises it to Neil. When his mother finds out, “she spat my unreal new name out like something bitter and stringy, too difficult to swallow.” The common denominator here is that Asians growing up in Australia often have to navigate sacrificing some of their heritage in order to belong in western society. 

However, the challenges faced by the Asian diaspora growing up abroad are more complex and more nuanced than just sacrifice. More often than not, they’re required to synthesise a ‘third culture’ identity that balances their heritage with western values and lifestyles. 

Diana Nguyen goes on to discuss her career trajectory in becoming a “working actor” in Melbourne’s entertainment industry, carving out a path for herself in spite of her parents’ disapproval, and going on to represent a new generation of Asian Australians in the media. The story ‘Wei-Lei and Me’ also points to this shifting demographic in Australia, as Gouvernel and her best friend stave off a racist primary school bully only to see their home change for the better as they grew up, with new restaurants from their home cuisines opening up. At the same time, they “had become what [they] thought [they] could never be: Australian,” describing a way of life in Canberra that is unmistakably Australian. 

So, belonging isn’t necessarily all about sacrifice—it doesn’t mean you can’t pursue your passions or become ‘Australian’. Sure, sometimes sacrifice is necessary, but ‘third culture kids’ synthesise conflicting identities in order to belong. 

Having arrived at the contention, let’s just have another think about the takeaway message - being able to bring other themes into an essay topic that only really raises one theme. To answer this topic fully, a good essay wouldn’t just discuss belonging and sacrifice, but it would also bring in discussion about family, friends, careers and cultures, just to name a few. Hopefully this is something you can translate into your own future work!

Growing Up Asian In Australia is an anthology with a lot to unpack, but there are plenty of unique stories with plenty of interesting links to be made. However you’re learning this text, being able to draw conclusions from stories and extrapolate them into your writing is a really important skill.

As you go, ask yourself about the implications: ‘so what?’ and ‘why?’. These sorts of questions will help you get richer insights and write about the anthology in a more interesting way.

In your English class, you probably feel like your teacher is making stuff up. Moments where you think, “The author can’t possibly have meant that”. To your English teacher, the smallest details have major implications in interpreting the text.

In fact, you probably agree with jokes like this:

The Book: “The curtains were blue.”

What your teacher says: “The curtains represent the character’s depression.”

What the author meant: “The curtains were blue.”

Or even this one...

The disconnect you feel between yourself and the teacher is not just because your teacher is stretching for something to analyse. Whilst the author may have meant something different to what your teacher thinks, this doesn’t mean your teacher is strictly wrong. Context and the author’s intention are two complicated considerations in English, and a whole range of study is dedicated to it. At the VCE level you must consider the context your text was written in, and the author who wrote it, but this shouldn’t hinder your own unique interpretation of the text.

Before you begin reading, I'd highly recommend that you check out our Ultimate Guide to VCE Text Response .

Your interpretation is more important than the author's intention

In 1968, Roland Barthes proposed a theory that has stuck with critics and academics of literature. “The Death of the Author” claimed that the biography, views, or intentions of the author are not a part of the literary object.

The text you are studying in English does not belong to its author, but to the reader, and what the reader decides to make of that text is valid, as long as it is backed up with evidence (as your teacher will say). Barthes’ original essay is complicated, but at a basic level, “The Death of the Author” says that the curtains are not only representative of the character’s depression but could also represent the character’s love of blue orchids.

When we read, we automatically apply our own experiences, biases, and understanding of the world to the text. As such, each person is likely to interpret a text in different ways. This is a major part of studying English, as the critic (you) is more important than the author’s original intention. The fact that a single text can give rise to multiple interpretations is the reason we study English; to debate these interpretations. When you are given an essay topic you are being asked for your opinion on one of these debates, not the author’s opinion on their own work. If you were reading The Fault in Our Stars and claimed it romanticised cancer, you would be participating in the literary debate, despite going against John Green’s original intentions.

In the modern age of mass media, the author is attempting to revive themselves. These are authors who attempt to dictate interpretations of their works after they have been published. The most famous of these is likely J.K. Rowling, author of the Harry Potter series. Rowling’s twitter page adds many pieces to the Harry Potter canon and Rowling offers her own interpretations of the text. To Rowling, her intentions are the only correct ways to interpret her texts, and as such she shares them frequently.

This is not true, however, for any author. Authors are not the be-all-and-end-all when it comes to the interpretation of their texts. Despite having intentions and opinions on their texts, there is also evidence which counters their interpretations.  

When it comes to the debate surrounding the texts you study, you need to remember that the interpretation of the author is only one part of the debate. It is an opinion equal to everyone else involved in the debate. Imagine the author is on trial. They may have an opinion of the crime (or text), but so does the prosecution. You are the jury and must come up with your own interpretation of the crime. Whether it matches up with the author’s intentions or not does not matter, as long as there is supporting evidence within the text.

Context in VCE English

But what about the circumstances in which something was written? Every time you start a new text you are probably asked to research the time in which it was written, or what major political events may be relevant. Unlike the author, these factors are very important in interpreting a text.

For starters, a text may explicitly reference a certain event, and so understanding that event is key to understanding the text. An episode of the Simpsons may make fun of Donald Trump, and the writers assume we have the contextual knowledge to know who Donald Trump is, why he is important, and why the joke is funny. It is easy for us to understand this context because we live in the context.

If you’re studying texts from 200 years ago it becomes harder to interpret because we’re unfamiliar with the context. While you don’t have to know the context of your text perfectly, understanding the cultural beliefs and major events will help you consider the text objectively.

Researching the context of a text acknowledges that literature is a product of the culture and politics of its time. Its themes may still be relevant in the modern age, but it is difficult to fairly judge, critic, and interpret these texts if we do not consider the context in which it was written. A piece of literature will either follow or criticise the views and opinions of the time, and it is the responsibility of the reader to understand these views and determine where the text sits.

Okay, so the text is a reflection of the time from which it stems, and is separate from the author that wrote it? Not quite. Counter to “The Death of the Author”, the author is also a part of context, and this means certain parts of the author should be considered in interpreting a text.

If there is ambiguity in the meaning of a text, the author’s personal beliefs may clear it up. If a character of a certain race is stereotyped and mocked, the meaning of this may change depending on the race of the author. If an author stereotypes their own race, they might be criticising the way other people see them, whereas making fun of a different culture is most likely upholding racist or discriminatory belief systems.

If you're studying VCE Literature, read The Importance of Context in Literature for some further info!

Deriving Meaning From Texts in VCE English

So, what ARE the curtains?! What do they mean? Well, they're a metaphor, representing more than their literal role as curtains. But also, they’re just blue.

The truth is whilst context and the author are relevant, we should try to gain as much from the text as possible before relying on the context to guide our interpretations. While studying your texts, it is reasonable to apply modern standards to your interpretations.

Shakespeare’s plays are a tad sexist, and we’re able to criticise that, despite Shakespeare writing in a different context. For more on studying Shakespeare in VCE, read How to Approach Studying Shakespeare . But it would also be difficult to appreciate the meaning of texts without the context, especially when the text is a response to a major event. At the same time, we’re allowed to expand on what the author has written. We are not confined to what the author meant to say when we interpret texts. As an English student you have the opportunity to consider what each word may represent for the characters and how it influences your unique interpretation.

So, the curtains mean whatever you want them to mean. You can make reasonable assumptions about a text based on the context it comes from and from the author’s life, but you shouldn’t assume that something means nothing. Trivial things like the colour of curtains may not have been important to the author but allow us as English students to analyse and look deeper into the text, its themes, and the psyche of the characters.

In your SACs and exams looking at these small details and deviating from the author’s intentions is an easy way to stand out. Looking to get to that A+ level? Read How to Turn Text Response Essays from Average to A+ . So, when your teacher says the curtains are a metaphor, consider what else could be a metaphor, and don’t assume the author has all the answers, or that there is only one interpretation.

Before you start diving into Jamie's incredible In Cold Blood study guide, I'd highly recommend that you check out LSG's free Ultimate Guide to VCE Text Response .

Introduction and Narration ‍

• Although its structure and cinematic plot development resemble that of crime fiction, Truman Capote’s In Cold Blood is a ‘nonfiction novel’ detailing the 1959 murders of four members of the Clutter family in Holcomb, Kansas. Put simply, the book was conceived of journalism and born of a novelist. 

• The novel is a product of years of extensive research by Capote and his friend and fellow author Harper Lee, who followed the trails of the Kansas criminals across numerous US states. In Cold Blood revolutionised the American ideals of journalism and literature, blurring the lines between these labels.

• A notable technique Capote employed in order to access classified information was becoming personally acquainted with the criminals of the case. For example, Capote became extremely close to Perry Smith, one of the main murderers in the case, which gave him exclusive information on the personal motives of the killers. 

• In Cold Blood reflects this relationship with the murderer through Capote’s narration of the book as an objective bystander. On page 23, we see the almost endearing way that Capote describes Perry; “his voice was both gentle and prim– a voice that, though soft, manufactured each word exactly, ejected it like a smoke ring issuing from a parson’s mouth.” As such, Capote’s friendship with Perry allows him to present the killer to the audience with a certain humanity and empathy, showcasing a broader picture of criminals than just a merciless murderer.

True facts of the Case

• On the 15th of November, 1959, all four members of the small farming Clutter family were brutally murdered, including Herbert Clutter, his wife Bonnie Clutter and their two teenage children, Nancy and Kenyon.

• The family was discovered bound and shot in the head. Herb’s throat had also been slashed. After ransacking the entire house, the criminals had left without finding any cash, carrying with them no more than fifty dollars, a pair of binoculars and a transistor radio.

• Perry Edward Smith and Richard Eugene ‘Dick’ Hickock were convicted of the crime. The two men had become acquainted during serving time at the Kansas State Penitentiary, and soon confessed to the crime, claiming that that they had heard from another prisoner that Herb Clutter was extremely wealthy, and kept his money in an easy-to-reach safe in his house.

• After the confession, the two murderers were flown from Nevada to Garden City, where they stood trial for their crimes. On 29 March, 1960, they received a guilty verdict, and were sentenced to the death penalty. For the following five years, Smith and Hickock lived on death row in Leavenworth, Kansas and were executed by hanging on the 14th of April, 1965.

Character Analysis

Perry edward smith.

One of the two murderers of the Clutter case, Smith is portrayed as a sensitive and artistic man haunted by his turbulent and lonely childhood. Described by Capote as a man of ‘actorish’ good looks, he disfigured both of his legs due to a motorcycle accident, which gave him chronic pain and an addiction to aspirin. His criminal actions are often directly linked to his childhood, described as ‘no bed of roses but pitiful, an ugly and lonely progress toward one mirage and then another’. Smith’s father was extremely abusive towards his wife, Flo Buckskin, and his four children, and so Buckskin later divorced him, taking the children with her. However, on her own she became an alcoholic and died by choking on her own vomit when Smith was only thirteen years old. He was then transferred to a Catholic orphanage, where he suffered from psychological, sexual and physical abuse from the nuns, one of whom attempted to drown him. Smith’s father and two of his siblings committed suicide during his time on death row. Smith eventually befriended Capote through their extensive interviews, and is believed to have shared personal information with him, believing him to be a true friend.

Richard Eugene ‘Dick’ Hickock

The second murderer of the Clutter case. Having grown up in Kansas, Hickock was a popular football player before turning to a life of crime after realising that he could not afford to go to college. During the course of the Clutter murder investigations, Hickock persistently blamed all of the murders on his partner in crime, Smith, claiming that ‘Perry Smith killed the Clutters…. It was Perry. I couldn’t stop him. He killed them all.’ Capote later states that during the murder, Smith was the one who stopped Hickock from raping the 16-year-old Nancy Clutter, as Hickock harboured pedophilic tendencies.

Herbert Clutter

A well-liked and kind-hearted wheat farmer in Holcomb, Kansas. Proprietor of the large River Valley Farm, Herb is described as a hardworking and valued citizen before his murder, who lead a relatively quiet life other than a troubled marriage with his wife due to her chronic depression.

Bonnie Clutter

Described as an ‘anxious woman’, it is revealed that Bonnie has a history of numerous mental illnesses, one of which is postpartum depression. Capote states that she and Herb had not slept in the same bed for many years.

Nancy Clutter

Described as the ‘darling of the town’ - the class president and future prom queen Nancy was the 16 year old daughter of the Clutters.

Kenyon Clutter

Athletic but introverted, Kenyon was the 15 year old son of Herbert and Bonnie Clutter.

Alvin Dewey

A personal friend of the Clutters, Dewey was the primary investigator in the Clutter murder case and worked for the Kansas Bureau of Investigation.

Themes and Motifs

The american dream.

The novel is Capote’s reflection upon the American Dream, as he portrays both the lives of those who epitomise it and those who are tragically out of its reach. Herb Clutter’s position as an upstanding American citizen with a prosperous farm elicits the reader’s interpretation of his character as the rags-to-riches ideal. In stark contrast with this, the rootless and criminal Dick Hancock and Perry Smith are presented as individuals for whom the Dream is perpetually unattainable. Their attempt to finally become ‘rich’ materialises through their attempt to rob the Clutters’ home, the failure of which ironically results in their brutal murders of the people who successfully represented the American Dream.

In accordance with the American Dream, In Cold Blood also explores the concept of what is considered ‘normal’ in America, and what can be revealed as the darker underbelly of its white picket fence ideal. Dick asserts throughout the novel that he is ‘normal’, but from an external, objective perspective, he is clearly far from such; he has distorted physical features and has committed a terrible, vicious murder. Capote also explores the idea of normal mental health, as Bonnie Clutter seems to have the perfect marriage and life with Herb, and yet suffers from extreme bouts of ‘nervousness’ and chronic depression which result in her hospitalisation.

What is evil is primarily explored through the character of Perry, who has conflicting ideals about what can be considered truly ‘evil’. The more feminine and gentler of the two murderers, Perry possesses conflicting morals, as despite being a ruthless murderer, he does feel remorse and is affected by what he has done. He even thinks to himself that Herb Clutter is a ‘very nice gentleman’ even in the midst of slitting his throat. Capote in the novel reveals that there are numerous facets to the meaning of true ‘evil’, and the blurred borders that exist between each of these.

Masculinity

Symbolising the idea of dominance and power, Dick and Perry, who have a complementary and polarised gender relationship, feed off each other in order to boost their own masculinity. Described as ‘aggressively heterosexual’, Dick is evidently the more stereotypically masculine counterpart, having had numerous relations with women. Perry, on the other hand, is more feminine and submissive, as Dick often calls him names such as ‘sugar’ and ‘honey’. Both men in the novel utilise the other in order to make themselves feel more masculine in their highly restrictive and conservative society — while Dick emphasises Perry’s feminine qualities, Perry admires Dick and craves his words of affirmation that he, too, is masculine.

Essay Writing for In Cold Blood

Below are some possible prompts for In Cold Blood , and possible ideas to begin writing an essay.

Theme-based Essay Prompt

"I think it is a hell of a thing that a life has to be taken in this manner. I say this especially because there's a great deal I could have offered society. I certainly think capital punishment is legally and morally wrong.”

Is In Cold Blood merely a novelistic argument against the death penalty? Discuss.

To learn more about LSG’s Five Types of essay prompts, I’d highly recommend checking out this blog post . It’s a super unique strategy developed by the founder of LSG, Lisa Tran. The Five Types method, outlined in the top-rated How To Write A Killer Text Response eBook , takes the stress of students and gives them easy to follow rules and tips so that they know how to approach every essay topic, every time.

• The best way to approach any essay prompt is to recognise the limiting and/or important words of the essay question. In this thematic prompt these words are: ‘legally and morally’, and ‘merely’.

• Secondly, for prompts which incorporate a quote, it is helpful to understand the context of the quote. In this case, the quote was said by Perry as his last words before his execution by hanging. Consider the importance of this; these words are especially more meaningful as they symbolise the last direct influence he leaves upon society. They are remorseful words of a murderer reproaching the justice system, which begs the question - does Capote position the reader to agree with the murderer’s view?

• Planning this essay can be structured along three arguments...

1. Capote argues against capital punishment through eliciting pathos for the murderers and portraying them as more than mere monsters.

• Evidence for this argument could be based mostly on the descriptive elements of Capote’s writing, or his emotional attachment to the murderers, particularly Perry.

• Capote paints Perry particularly sympathetically, highlighting his sensitivity as well as his broken and abusive childhood. Quotations from the novel make it clear that his character is romanticised to an extent, such as “It was a changeling's face, and mirror-guided experiments had taught him how to ring the changes, how to look now ominous, now impish, now soulful; a tilt of the head, a twist of the lips, and the corrupt gypsy became the gentle romantic.”

2. In Cold Blood supports the anti-death penalty argument through its structure and organisation.

• The epigraph of the novel is a verse of the poem, ‘Ballade des pendus’ by Francois Villon, that he composed whilst on death row in 1463. Villon’s criminal circumstances were strikingly similar with Dick and Perry’s, as he murdered a priest and stole from his strongbox before being arrested and sentenced to death. Despite this, Villon was ultimately charged with a 10 year banishment from Paris, whereas the Clutter family murderers are hanged - a strikingly different outcome. Thus, Capote employs this poetic epigraph to strengthen his argument against the unjust executions of Perry and Dick.

• In addition to this, the structure of the novel is also used to argue against capital punishment. Although Part One focuses on the lives of both the Clutter family members and Dick and Perry preceding the murder, Part Two skips over the actual murders themselves and recounts the aftermath of its events. This allows Capote to further develop Dick and Perry into real, complex people rather than merely cold blooded murderers; people who do not deserve such a cruel fate.  

3. However, Capote does ostensibly condemn the cruelty of the murders and presents the opposing argument that capital punishment is not, in fact, ‘legally and morally wrong’.

• The brutality of the Clutter murders are emphasised through the novel, as Larry Hendricks, who discovers the bodies along with the police, provides the gruesome details of the bodies - ‘each tied up and shot in the head, one with a slit throat’.

• As Perry later admits to the murder in his extended confession, Dewey highlights the fact that the Clutters ‘had suffered’ due to the ‘prolonged terror' inflicted by the murderers, and orders them, as such, to be ‘hanged back to back’.

• The argument for capital punishment in In Cold Blood is also supported by religious beliefs. As a small and predominantly Christian town, Kansas and its residents can be perceived interpreting the words of the Bible literally; at the end Dick and Perry’s trial, the prosecuting attorney Logan Green reads an excerpt from Genesis in the Holy Bible: ‘Whoso sheddeth man's blood, by man shall his blood be shed.’ Rejecting the notion that Christianity preaches forgiveness, Green strives to punish the killers for failing to abide by the laws and prophecies of the Old Testament.

Character essay prompt

Perry Smith, despite Capote’s authorial sympathy towards him, is really a cold and merciless monster. Discuss.

When approaching character-based prompts, you must depart slightly from examining the holistic messages of the author, as you would in a theme-based prompt, but rather analyse how the specific character develops this authorial message. The above essay question could be brainstormed in the following way:

1. Capote’s description of Perry shows that he is far from a ‘monster’, but a human being of great sensitivity and emotion.

• During his confession of the Clutter murders, Perry’s comment, ‘There's got to be something wrong with somebody who'd do a thing like that,’ shows that he, to some extent, understands the gravity of his actions and regrets them.

• Perry is also described by his sister as ‘gentle’, and someone who ‘used to cry because he thought the sunset was so beautiful’. Likewise, even in moments of cruelty, he often shows mercy and a wide moral compass, even stopping Dick from raping Nancy Clutter during their murder spree.

2. Perry is also depicted as someone ‘weakened’ by the tragic events of his past and his own insecurities, rather than an inherently ‘cold and merciless’ person.

• Capote often links Perry’s violent tendencies with his childhood, described as ‘no bed of roses but pitiful, an ugly and lonely progress toward one mirage and then another’, as he was raised ‘with no rule or discipline, or anyone to show [him] right from wrong’.

• In addition to this, Perry can be perceived to be the more insecure and submissive of the two killers, as while Dick often calls him stereotypically feminine names such as ‘sugar’ and honey’, Perry admires his ‘aggressive’ masculinity and craves his words of affirmation in order to feel as masculine and strong as his counterpart.

3. Despite this, Capote does not entirely erase the murderous aspects of Perry’s character.

• Due to the prompt and seemingly nonchalant way in which he kills the clutters, Dick becomes convinced that Perry is that rarity of a person,"a natural killer.”

• Thus, Capote, despite his empathetic portrayal of Perry, never allows the reader to forget the  extent of his criminality, and how easily he was able to fire those ‘four shotgun blasts that, all told, ended six human lives.’

[Video Transcript]

‍ Hey guys. So previously I've done a video where I talked about how to write a thousand word, a thousand, a thousand-worded essay, and one hour. And so that segues into this particular video where I'm talking about writing three essays in three hours. So if you haven't watched that video, then I'll pop it up in the comment. I'll pop it up in the card up above. I would recommend you go watch that first before you watch this, because pretty much all of the concepts that I talk about in that video, uh, I just expected details that you should know for this video. So instead of actually breaking down the essays as I did in the previous video, what I'm going to do this time is talk more so about, you know, how to actually write three essays in three hours and just not get burnt out and not die, basically. ‍ Yeah, it's that serious. So I've got a few tips for you guys, but I'll keep this short. First thing is that yes, you do want to practice at least one time writing three essays in three hours. And the reason why I say that is because inevitably there will come times where one essay will kind of overlap into another hour. And you just want to ensure that you can know how to handle those situations when we're practicing in one hour blocks. I think it's fantastic to make sure that we can do that, but then kind of like three hours and three essays is another ballgame altogether. So I would recommend at least practicing once sitting down somewhere and just smashing out the three hours worth of work, just so that you know exactly what it's going to feel like when you go into the exam. Now, most schools will actually offer a, like a mock exam for you to do so that literally could be your one practice that you just need. But if you were like me, you might want to do it twice. So in your own time, kind of print off your own exam paper and go ahead and just set aside three hours and just do it that way. The second thing is I heavily emphasized doing reading time. So reading time is pretty much your mental thinking game going strong. And this is where a lot of your pre-work will be done before we actually go into the essays themselves. So make sure you practice reading time. It's 15 minutes before the actual exam, but in that 15 minutes, you can plan three of your essays and you can look up in your dictionary, any key words that you might want to define, or you could even look up the dictionary and try to find synonyms for particular keywords. So what I mean by that is when you open up a dictionary and you look up that word inside the dictionary, often the definition for it will have synonyms for it. So that's like my little hack that I had when I was at school. And then the last thing I would say is just make sure you know what to do if you go over time. So, like I mentioned before, there may be situations where, you know, worst case scenario, you don't finish your essay in time. And that could be because of many reasons. But first thing for you to remember is if you're running over time, sacrifice your conclusion first, do not sacrifice your third body paragraph. I think mostly what happens is students will kind of be somewhere in the third body paragraph for that essay, but rather than skipping that and just do it a little bit of a mess to finish it up and then going into the conclusion, finish off your third body paragraph. And then just forget about the conclusion. The reason why I say that is because a conclusion is basically just the summary of what your entire essay is about. It's not really supposed to be, to add in any new information where as your third body paragraph. You're still explaining your ideas. You're still elaborating and discussing the prompt itself. So that is way more important to get you the marks that you need than a conclusion. The next thing I would do if you're running behind is save a proofreading until very last. So in the last video I talked about doing proofreading last five minutes of every essay. But if you do not have time for that later, leave all your proofreading until the very end and, and you might find that you only have five minutes, it's true proofread all of your essays, but at least you kind of have that reassurance was that you made yourself more time to write beforehand. And so if you literally find yourself writing right up until the last minute and you can't perforate fine sacrifice that too. ‍ Now last thing is, let's just say that you have sacrificed your conclusion and you're still writing your third body paragraph right up until the very last minute. You still have at least half a paragraph to go, but you know, the first hour is over and you need to move onto your second essay. I feel like you can either approach this two ways. The first way is just finish it off, but then move on to the next one as quick as possible. And obviously your hope there is that you will finish the second essay in time within that hour. So that by the time you get to your thing, essay, you are on track again. Right? But in the other alternative that you could do, and probably one that I via towards a little bit more is just stop your third paragraph. Okay? You still have maybe five more sentences you still want to write, but just move onto your next one. I think that's kind of important because what happens is once we start running into the next hour, you will find that with your first essay, you'll run maybe five minutes into your second hour, but then you might find that you run 10 minutes into the third hour with your second essay leaving only 15 minutes to finish your third essay. And that might not be like what you want. And you might know that you just won't be able to achieve that because the third essay is maybe the hardest one that you left to last. And that's the one that usually takes you the longest. So yeah, like these are just thoughts and considerations for you guys to take away with whatever you guys do. I think just be strategic. Think about these things beforehand, because they are things that could trip you up when you are in the exam, you're stressed, you're anxious, you're under time pressure and you just need to get things done. It might kind of make you do like bad decisions or you might do something out of the ordinary that you normally wouldn't do. But if you think about these things beforehand and think about, okay, this is what I'm going to do. If this situation occurs, then at least you kind of have some control over what's happening. And that gives you a little bit of reassurance. That is it from me. I wanted to let you guys know that because we are approaching the end of year. And I know that you guys might not need English help from me very shortly, especially when you're in year 12. I wanted to let you guys know that I do have a personal YouTube channel as well. So that's just linked up above for you. And also in the description box below. If you're interested in following me there, then go ahead and subscribe. I would really love to see you guys there and just be able to still have the connection with you guys. You know, it'd be nice to not only just have you guys on board with me for a year, and then you guys kind of disappear and do your own thing, I'd still really love to stay in contact and be able to hear how you guys are going to once you finish school. So I will see you guys next time. Bye!

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English Works

Sample Argument/Persuasive language analysis responses VCAA

Please see dr jennifer minter’s response package to past vcaa exams and tips for section c and for your sacs..

See  VCAA Section  C: Tips and Response Package: (plus useful terminology) – English Works

Section C: Argument and written and visual language

Year 12 VCE Exam Task:  “Write an analysis of the ways in which argument and written and visual language are used in the material … to try to persuade others to share the points of view presented.”

The Year 12 Argument Language Analysis Response Package (18 pages) has been prepared by Dr Jennifer Minter, following the updated English Curriculum specifications by the Victorian Curriculum and Assessment Authority.

It includes:

• sample responses to the 2018, 2017, 2015, 2014, 2012, 2010, and 2009 English exams following the updated prescription (regarding analysis of arguments/written and visual language and points of view);
• sample paragraph plans so that students find an easier way to tackle argument/language analysis and intuitively contextualise the language choices around key arguments;
• simple and effective tips that will ensure students are able to achieve a superior mark;
• some tips on clever use of metalanguage (for argument, written and visual language) so that your response will stand out and avoid a shopping list-style of isolated persuasive word choices; and
• a time management schedule so that students complete their response to time.

Please contact me via email : [email protected] to book a session (either individual or group).

What the textbooks won’t tell you: how to focus on “arguments”

Argument/Persuasive Language Analysis is not about annotating every single word choice in isolation.   It is about knowing which features to zoom in on and which features will lead to depth of analysis.  A pointed analysis is the only way to achieve a polished and sophisticated structure. 

See our updated 2020 Arguments and Persuasive Language : a necessary tool for success.   

• Related links: our product page in order to access our Orange VCE Membership Program.
• Tips for Argument Analysis
• How to follow our 2020 Argument Analysis Workbook

What the textbooks won’t tell you: how to focus on “arguments

• Smart argument strategies so as to intuitively fine-tune viewpoints: Rather than an isolated list of persuasive techniques, this workbook provides clever and smart three methods to analyse “Arguments”. This sets you up for a good discussion. It also ensures that you contextualise the key arguments and persuasive words around the viewpoints – if you do the reverse, you will be generic and you will summarise.
• This workbook helps you set up paragraphs: Finding the right starting point for your paragraph is critical to your ability to delve into purpose and positioning strategies. Use your own words and strategic verbs; don’t rely on a quote to try to convey the author’s viewpoint. (Do not describe or summarise the issue.)   (See sample paragraphs, and responses; note the topic sentence in each paragraph.)
• Structure is the key to “depth of analysis”: This workbook provides you with smart strategies to achieve this. For example, identify a key overarching argument technique that connects the examples, phrases, word choices together.   (This will ensure that your paragraph has a sharp, unified focus and avoids a shopping-list, word-level style analysis that will inevitably lack a focus. This style also limits the “depth of analysis/purpose”.)  (See “argument terminology” and sample paragraphs and responses.)
• Identify the quotes that best support the author’s viewpoint/argument. (Choose three of the best quotes and unpack, analyse the type of language/tone and link to the author’s viewpoint.)  (In other words, contextualise the written language around arguments, not the other way around!)  
• And “take it further’: follow our paragraph for depth of analysis. 
• Use your metalanguage smartly, so as to avoid summarising and to ensure the spotlight is on purpose, taking into account audience segments.  (See Pages for “metalanguage”
• See Tips for Metalanguage for Arguments

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The Ultimate Guide to the VCE English Study Design

English Study Designs are notoriously difficult to understand, let alone read. Following the introduction of the new VCE English Study Design in 2023 , we are going to unpack it in a simple, organised fashion, to help inform you of everything you need to know for VCE English.

We will go through each unit, outlining all the material knowledge, skills and topics that are vital to your VCE English journey. 

VCE English Study Design Structure Key changes from the previous VCE English Study Design Unit 1: Reading and exploring texts + Crafting texts Unit 2: Reading and exploring texts + Exploring argument Unit 3: Reading and respond to texts + Creating texts SACs for Unit 3 Unit 4: Reading and responding to texts + Analysing argument SACs for Unit 4

VCE English Study Design Structure

The 4 Units in VCE English are split up as follows:

Unit 1: Reading and Exploring Texts + Crafting Texts

Unit 2: reading and exploring texts + exploring argument, unit 3: reading and responding to texts + creating texts, unit 4: reading and responding to texts + analysing argument.

It is important to notice the correlation between Units 1 and 3, as well as Units 2 and 4. Although they have different titles, they are fundamentally the same.

Key Changes from the Previous VCE English Study Design

• The ‘Comparative Essay’ component has been completely removed from the Study Design.
• Creative Writing (‘Framework of ideas’) is now a component (‘Section B’) of the external examination for 3/4 English. 
• You will write Argument and Language Analyses on written persuasive texts and persuasive pieces in another form (such as audio or visual) in 3/4 English.

This unit is generally your first introduction to Creative Writing, you will create or add to stories through a provided text or theme. Additionally, you will start writing VCE standard essays, which tends to be a surprise jump in quality expectations for many. 

Area of Study 1: Reading and Exploring Texts (Essay Writing)  

At the beginning of your VCE journey, you’ve likely been writing essays for a couple of years. Every student has at least gone through the process of analysing a text and then answering questions about it.

However, don’t underestimate this section, the study design often introduces students to new expectations and requirements for essay writing that can be difficult to achieve without extensive practice. 

You will have to write an essay for assessment  in this Area of Study. The VCE English Study Design Outcome outlines that you are assessed on:

– Extracted from the VCAA websites on the ‘Planning’ page

From this, we can gather that you are assessed on your ability to execute three skills:

• Context. This relates to how well your essay addresses the question you are responding to. This tends to be where English VCE students lose most of their marks. It is critical to ensure your whole response is catered towards the question. 
• Knowledge. You need to show a deep understanding of the text’s characters, themes and author’s intent. This can be shown through your use of quotes, explanations and ultimate conclusions. 
• Writing and Grammar . This is a skill that must be developed over the course of your schooling journey. I don’t want to sound like a broken record, but reading and writing is the only way to improve in this area. 

Need to write an expert-level feature article for VCE English ? Here’s a few tips to help you ace the criteria sheet…

Area of Study 2: Crafting Texts (Creative Writing)

You will engage with a set of ‘mentor texts’, these are texts that align with a ‘ Framework of Ideas ‘ (overarching theme and ideas) created by your school.  The mentor texts can be a range of different forms, such as short stories, speeches, and poetry. You will use these mentor texts to make a creative text of your own.

According to the outcome, you will be assessed on your ability to:

In summary, the creative writing task is based on your ability to:

• Create a text for a specific purpose.  You must design your piece for a context and audience, and attempt to express, explain, reflect or argue.
• Demonstrate an understanding of the mentor texts. Your writing will need to be clearly influenced and guided by the mentor texts you investigated.
• Justify the decisions you made when writing the text. After writing your piece, you may be asked to create a description that explains why you took the text in the direction you did. 

Unit 1 Assessment Summary

Wondering what you could be assessed on in this unit? Here are the types of assessments you can end up with for each Outcome:

– Extracted from VCAA’s website under the ‘Assessment’ Page

Apart from more essay writing, this unit focuses on ‘Exploring Argument’. This involves analysing an opinionated piece and outlining why it does a good job at persuading the audience to agree with their proposal, also known as a language analysis. Additionally, you will perform an Oral Presentation on a chosen topic recently discussed in the media.

Area of Study 1: Reading and Exploring Texts (Essay writing)

This area of study is the exact same as Area of Study 1 in the previous unit. Don’t believe me? Well here is the outcome for this unit:

Sound familiar? In this Area of Study you will also be assessed on your essay writing . 

Yes, there are slight differences in the key knowledge and skills sections between the two Area of Studies. However, these are simply to ensure teachers introduce you to different styles of texts for essay writing. 

Additionally, these areas of study deliberately cover similar content!  Thanks to the design of the curriculum, there’s nothing new to learn here, you’ll just need to continue to improve on your essay writing skills. 

Area of Study 2: Exploring Argument (Analysis of Argument and Language)

Oral Presentation

The Oral Presentation aims to help you understand the thought process that goes behind making an opinionated piece. In the Oral, you will craft a speech that aims to convince the audience of a specific perspective on an issue. 

You may have to perform an Oral Presentation on a topic that has recently been in the media for assessment . The Oral will assess:

• Public speaking skills. Good body language, clear articulation, and different tones of voice will be required. 
• Argument building. How do you position the audience to eventually agree with your point of view?
• Knowledge of the chosen issue. Are you well versed in both sides of the argument? Do you have evidence to support your argument and refute possible weaknesses in your perspective?

Want help with your Oral Presentation? Have a look at The Comprehensive Guide to Acing your VCE English Oral Presentation.

Exploring Argument (Argument Analysis)

Language analyses are not the same as essays. Do not mix up the two, you must view them separately in order to do them both well. This task requires you to concisely unpack a persuasive piece which can be in written, audio or visual form. 

The assessment will likely require you to write an Argument and Language Analysis on a persuasive piece . This is shown by the Outcome, which states:

Generally, you will be marked on the following:

• Identification and exploration of techniques used to build the argument. How have language techniques, argument techniques, writing techniques and imagery assisted the writer or speaker’s argument?
• Understanding of the audience. How would the readers be influenced by the writer or speaker’s different techniques used in argument?
• Ability to display how the argument is developed. What is the writer or speaker trying to achieve throughout different points of their piece?
• Writing and Grammar. In a ‘language analysis’, you are expected to write extremely clearly and to the point, avoiding all the ‘fluff’ you would have in an essay.

Check out our full guide on How to Write an Argument Analysis for VCE English !

Unit 2 Assessment Summary

Curious about the assessments for this unit? Here are the types of assessments you can end up with for each Outcome:

Area of Study 1: Essay Writing 

Yep. You guessed it, this Area of Study is the exact same as the other two essay writing Areas of Study. This is shown by once again familiar outcome:

Area of Study 2: Creating Texts

In this Area of Study you will be building upon your skills learnt in Unit 1. Your school will select three mentor texts for you to read from a list provided by VCAA. These mentor texts now align with a ‘ Framework of Ideas ‘, you will explore one framework in extreme depth and write about it in a SAC and eventually the exam.

The Frameworks are as follows:

Writing about country Writing about play Writing about protest Writing about personal journey.

You will be assessed on the same skills as in Unit 1. Meaning you have design your piece to a specific context, audience and purpose, as well as explain your decisions made in the writing process.

This is one of your last chances to refine your skills before the English Exam. The text you write will be required to align with one of the four broad ideas which you can engage with in the exam. So, this can provide a strong foundation for your exam preparation!

Unit 3 SACs 

Below is a table extracted from the VCAA VCE English Study Design. It outlines the SACs you will undertake during Unit 3 English. Outcome 1 is your essay writing SAC, Outcome 2 is your creative writing SAC.

This is your final essay writing Area of Study for VCE English. It is important to realise that the standard of writing goes up with each Area of Study. 

These more complex expectations are a main reason why you are expected to practice essay writing in each Area of Study. These expectations take a lot of practice to consistently achieve!

You should also note that the text you use in this Area of Study will very likely be the one you use in Section A (essay writing component) of the English Exam, as it will be the freshest text in your memory during the exam period. 

Area of Study 2: Analysing Argument

Finally, the last area of study, and just like the rest of Units 3 and 4, you’ve already done this before!  This section requires you to do language analyses and an Oral Presentation. 

The Oral Presentation must analyse a form of media that has appeared since the 1st of September the previous year. 

For the Argument Analysis, you will make one on a written text and another in a different form, such as audio or visual. You will be required to use the same skills as in Unit 2, Area of Study 2. Once again keep in mind that you will h ave to do a language analysis in Section C of the English Exam .

Unit 4 SACs

Below is a table extracted from the VCAA VCE English Study Design. It outlines the SACs you will undertake during Unit 4 English. Outcome 1 is another Essay writing SAC. Outcome 2 involves the Argument and Language Analyses SACs.

That’s all! 

Th e VCE English Study Design may seem too detailed, a tad unnecessary or confusing. However, you will slowly realise throughout your VCE journey that it makes a lot more sense than what you originally thought. VCAA deliberately created this study design so that Units 1 and 2 of English prepare and essentially rehearse students for Units 3 and 4.

Therefore, make sure to take your Year 11 studies seriously! I promise that you will be grateful by the end of your English journey, if you take advantage of this well crafted Study Design structure. 

Making the step up to Year 12? Here’s how to ACE it…

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Max Huyton is the VIC Growth Marketer for Art of Smart and a Laws and Commerce student at Monash University. In his other life, Max spends his time reading and writing whenever he gets the chance and cooking extremely mediocre dishes for friends and family.

• Topics: ✏️ English , ✍️ Learn

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