discursive essay hsc

How to Write a Band 6 Discursive Writing Piece

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• February 17, 2022

In the most recent version of the syllabus, NESA has added a new form of writing for Module C, and that is discursive writing! Although this new style of writing can appear daunting at first glance, it is a fun addition to the module once you get the hang of it. Today, we will provide you with some helpful tips to achieve a band 6 for your discursive.

So, before we start, what is discursive writing?

Discursive writing is a discussion piece of multiple ideas or points of view, without the intention of trying to persuade the reader. This means that you have to counter-argue yourself and provide an argument both FOR and AGAINST something.

For example, if I was to write a discursive about climate change protests, I would start by talking about why it is important to protest e.g. “In order for governments to take our voices seriously, we need to protest against climate change!”. Then, in my next argument, I would contradict myself by saying that protesting may not be so useful after all e.g. “But then I thought to myself, is protesting such a good idea after all? I mean, the politicians aren’t really listening anyway”.

NOTE: Colloquial language is accepted for discursive writing and other forms of writing in Module C (except reflections) but should NEVER be used in any other modules as essay writing must be formal.

A basic structure employed when planning a discursive essay can include:

• An engaging introduction
• Clear indication of your position in relation to the topic
• Your first argument, with supporting evidence
• Your second argument, with supporting evidence
• A conclusion

Key aspects of discursive writing:

Register of Language: can be a mix of formal and informal language (can include colloquialism) Style and Tone: Educated audience, but open and friendly tone/ subjective Use of Pronouns: First pronouns are acceptable Use of Figurative Devices: should be used throughout Providing Evidence and Examples: Do, but not necessarily in a P.E.E.L or T.E.E.L structure Structure: intro, paragraphing, conclusion. Paragraph lengths can vary and there is no set structure

Tip #1: Always start with a title

Starting with a title is important as it is a key requirement for a complete discursive piece. You can make your title as fun and engaging as you like, as long as it is appropriate and relevant to the topic.

Tip #2: Starting with a personal anecdote (not compulsory)

Although this is not a requirement, starting with a personal anecdote can help you introduce the topic in a creative way before presenting your arguments. This is a good way to meet rubric requirements such as “students use language creatively and imaginatively for a range of purposes”. For example, say I was still writing that discursive about climate change protests, I could start it by saying “I have always had mixed feelings about protests since attending my first one in December last year. On one hand, it felt good to scream “Climate justice matters!” in hopes that someone would listen. On the other hand, I could not help but wonder, are they really effective for creating change?”

Tip #3: Gathering evidence to support your arguments

Even though you are not writing a discursive piece to persuade the reader, you still have to argue two sides (you just have to make sure that you do not state that one side is better than the other). As a result, you need to find evidence to support both your arguments. This could include quotes, statistics etc.

Tip #4: Make sure you base it on the stimulus

Always refer to the stimulus to ensure you are answering the question. This does not mean you have to refer to it in an extremely obvious word-for-word manner e.g. a stimulus with a picture of a boat does not mean you have to write a discursive about a boat. However, you must always incorporate the stimulus in a way that can easily be justified in your reflection statement and is obvious to the marker e.g. if you get a discursive about a boat, you could write about sailing, fishing or how life is rocky like a boat in the ocean.

Tip #5: Use many language techniques and stylistic devices throughout

This is an essential rubric requirement mentioned throughout the syllabus. For example, the rubric states that students must use “various figurative, rhetorical and linguistic devices”. Be sure to use a few different language techniques and devices e.g. metaphor, rhetorical questions, simile, first person etc. throughout your writing (in the introduction, arguments and conclusion).

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• Dec 10, 2019

3 Do's & Don'ts of Discursive Writing All HSC Students Must Know for Module C

Discursive writing is the new kid in town. It's also a bit of a saviour for all who are not confident with creative writing. It's also become all the rage with school assessment tasks. Although it is an "informal" piece of writing, don't be deceived. Keep reading to make sure you know what to watch out for in your discursive writing.

Let's start with a NESA definition (bear with us, your English tutors don't know how else to start their blog posts)

Texts whose primary focus is to explore an idea or variety of topics. These texts involve the discussion of an idea(s) or opinion(s) without the direct intention of persuading the reader, listener or viewer to adopt any single point of view.

THE DON'Ts

DON'T neglect structure

A discursive ultimately will follow the structure required for any "argument". It requires a thesis, context and topic sentences. Although the wording can be casual there is room to jump around your ideas a bit, in the end stick to the essay structure we all know and love.

DON'T neglect good grammar

Being "informal" does not mean "forget how English works". The requirements for good grammar, spelling and punctuation still apply here. Informal simply means you can ask rhetorical questions , perhaps engage in first person language , use metaphors, similes and other figurative language in your work.

None of those have anything to do with neglecting good grammar practices. So stick to your subject - verb complexes!

DON'T be afraid to argue against yourself 🗣

A discursive has requirements similar to a "discuss" or "evaluate" question in science. It's about considering all the perspectives in the equation. Do not be afraid to make a statement to challenge it. Do not be afraid to say something then question it with a hypophora (Is the hypophora an effective technique for discursives? You bet it is.)

Let loose, argue against yourself and see where your thoughts takes you. After all to be discursive means to be tangential in the thought. And if maths has taught us anything it would be the definition of a tangent.

DO get personal 💛

Applying your own point of view and experiences is a great way to spice up a discursive. Drawing examples from your own experiences and our modern world is a crucial part of every Module in the syllabus. Talk about how your texts translates to our everyday lives: where can we still see government control? Racial discrimination? Bullying of people who are "different"?

DO use humour 🤣and other techniques

Not a knock knock joke (although they are excellent with the right execution).

Feel comfortable in using some sarcasm, some irony and inject a bit more spice into your arguments. Use metaphors and similes in your writing! Use imagery and personification. The more you use the more you have in your reflection!

DO have a position by the end of the essay

So NESA says that discursive writing should not have the " direct intention of persuading the reader" (note the awesome quote integration in that sentence  😉).

But it doesn't mean you don't have an opinion. You're just letting that position organic come through with your language. You're effectively finessing your readers to feel a certain way. Definitely write with your own opinion. Just don't act as if it's the only opinion in the world (which is why you present some devil's advocate counter arguments against yourself).

🔎🔎🔎 Below is one of Orwell's essays in a style similar to what NESA describes as discursive. We have made some comments here in red about things worth noting. 🔎🔎🔎

George Orwell - You and the Atomic Bomb

Considering how likely we all are to be blown to pieces by it within the next five years, the atomic bomb has not roused so much discussion as might have been expected. The newspapers have published numerous diagrams, not very helpful to the average man, of protons and neutrons doing their stuff, and there has been much reiteration of the useless statement that the bomb ‘ought to be put under international control.’ [Note how he engages the audience with context and relatable facts] . But curiously little has been said, at any rate in print, about the question that is of most urgent interest to all of us, namely: ‘How difficult are these things to manufacture?’ [His final rhetorical question here is effectively his thesis. He is letting the reader know what the rest of the essay will be about]

Such information as we — that is, the big public — possess on this subject has come to us in a rather indirect way, apropos of President Truman's decision not to hand over certain secrets to the USSR. [This is an informal topic sentence. He is using the rest of the paragraph to support the idea that "there is a lot of misinformation on the topic"] Some months ago, when the bomb was still only a rumour, there was a widespread belief that splitting the atom was merely a problem for the physicists, and that when they had solved it a new and devastating weapon would be within reach of almost everybody. (At any moment, so the rumour went, some lonely lunatic in a laboratory might blow civilisation to smithereens, as easily as touching off a firework.) [Note the use of a simile and a light hearted example to convey the idea. But also, note the impeccable grammar]

Had that been true, the whole trend of history would have been abruptly altered. The distinction between great states and small states would have been wiped out, and the power of the State over the individual would have been greatly weakened. [His new topic sentence shows his position, how exciting] However, it appears from President Truman's remarks, and various comments that have been made on them, that the bomb is fantastically expensive and that its manufacture demands an enormous industrial effort, such as only three or four countries in the world are capable of making. This point is of cardinal importance, because it may mean that the discovery of the atomic bomb, so far from reversing history, will simply intensify the trends which have been apparent for a dozen years past [and here he just argues against his own fact, setting up for the next tangent he is about to go on] .

It is a commonplace that the history of civilisation is largely the history of weapons. In particular, the connection between the discovery of gunpowder and the overthrow of feudalism by the bourgeoisie has been pointed out over and over again. And though I have no doubt exceptions can be brought forward, I think the following rule would be found generally true: that ages in which the dominant weapon is expensive or difficult to make will tend to be ages of despotism, whereas when the dominant weapon is cheap and simple, the common people have a chance. [Note how his previous disagreement/questioning of his own ideas lead to this new point of digression. This is a great way to organise your paragraphs in your own discursive] . Thus, for example, tanks, battleships and bombing planes are inherently tyrannical weapons, while rifles, muskets, long-bows and hand-grenades are inherently democratic weapons. A complex weapon makes the strong stronger, while a simple weapon — so long as there is no answer to it — gives claws to the weak. [an excellent metaphor for what he wants to convey]

The great age of democracy and of national self-determination was the age of the musket and the rifle. After the invention of the flintlock, and before the invention of the percussion cap, the musket was a fairly efficient weapon, and at the same time so simple that it could be produced almost anywhere. [Here we are expanding on the "claws" that was previously mentioned as the new idea. Really take note that this is how the organisation is mostly driven. It sounds casual but collected] . Its combination of qualities made possible the success of the American and French revolutions, and made a popular insurrection a more serious business than it could be in our own day. After the musket came the breech-loading rifle. This was a comparatively complex thing, but it could still be produced in scores of countries, and it was cheap, easily smuggled and economical of ammunition. Even the most backward nation could always get hold of rifles from one source or another, so that Boers, Bulgars, Abyssinians, Moroccans — even Tibetans — could put up a fight for their independence [claws for the weak again] , sometimes with success. But thereafter every development in military technique has favoured the State as against the individual, and the industrialised country as against the backward one. There are fewer and fewer foci of power. Already, in 1939, there were only five states capable of waging war on the grand scale, and now there are only three — ultimately, perhaps, only two. This trend has been obvious for years, and was pointed out by a few observers even before 1914. The one thing that might reverse it is the discovery of a weapon — or, to put it more broadly, of a method of fighting — not dependent on huge concentrations of industrial plant. [Once again, he sets up the idea that there is a trend in war and power for the entire paragraph. Then his final sentence provides an alternative view. Notice the pattern? Guess what he'll be talking about next?]

From various symptoms one can infer that the Russians do not yet possess the secret of making the atomic bomb; on the other hand, the consensus of opinion seems to be that they will possess it within a few years. So we have before us the prospect of two or three monstrous super-states, each possessed of a weapon by which millions of people can be wiped out in a few seconds, dividing the world between them. It has been rather hastily assumed that this means bigger and bloodier wars [this actually tracks back to paragraph 3. He basically provided alternative perspectives for 2 paragraphs in order to return to his original position, this time with more gusto because he has supported it by now] , and perhaps an actual end to the machine civilisation. But suppose — and really this the likeliest development — that the surviving great nations make a tacit agreement never to use the atomic bomb against one another? Suppose they only use it, or the threat of it, against people who are unable to retaliate? In that case we are back where we were before, the only difference being that power is concentrated in still fewer hands and that the outlook for subject peoples and oppressed classes is still more hopeless.

When James Burnham wrote The Managerial Revolution it seemed probable to many Americans that the Germans would win the European end of the war, and it was therefore natural to assume that Germany and not Russia would dominate the Eurasian land mass, while Japan would remain master of East Asia. This was a miscalculation, but it does not affect the main argument. For Burnham's geographical picture of the new world has turned out to be correct. More and more obviously the surface of the earth is being parceled off into three great empires, each self-contained and cut off from contact with the outer world, and each ruled, under one disguise or another, by a self-elected oligarchy. The haggling as to where the frontiers are to be drawn is still going on, and will continue for some years, and the third of the three super-states — East Asia, dominated by China — is still potential rather than actual. But the general drift is unmistakable, and every scientific discovery of recent years has accelerated it.

We were once told that the aeroplane had ‘ abolished frontiers ’; actually it is only since the aeroplane became a serious weapon that frontiers have become definitely impassable. The radio was once expected to promote international understanding and co-operation; it has turned out to be a means of insulating one nation from another. The atomic bomb may complete the process by robbing the exploited classes and peoples of all power to revolt, and at the same time putting the possessors of the bomb on a basis of military equality. Unable to conquer one another, they are likely to continue ruling the world between them, and it is difficult to see how the balance can be upset except by slow and unpredictable demographic changes.

For forty or fifty years past, Mr. H. G. Wells and others have been warning us that man is in danger of destroying himself with his own weapons, leaving the ants or some other gregarious species to take over. Anyone who has seen the ruined cities of Germany will find this notion at least thinkable. Nevertheless, looking at the world as a whole, the drift for many decades has been not towards anarchy but towards the reimposition of slavery. We may be heading not for general breakdown but for an epoch as horribly stable as the slave empires of antiquity. James Burnham's theory has been much discussed, but few people have yet considered its ideological implications — that is, the kind of world-view, the kind of beliefs, and the social structure that would probably prevail in a state which was at once unconquerable and in a permanent state of ‘cold war’ with its neighbors.

Had the atomic bomb turned out to be something as cheap and easily manufactured as a bicycle or an alarm clock, it might well have plunged us back into barbarism, but it might, on the other hand, have meant the end of national sovereignty and of the highly-centralised police state. If, as seems to be the case, it is a rare and costly object as difficult to produce as a battleship, it is likelier to put an end to large-scale wars at the cost of prolonging indefinitely a ‘ peace that is no peace ’. [Here his final position is restated. That the atomic bomb's power on the world is dependant on its production cost. He digressed throughout the essay but never jumped too far from these ideas. Remember: DON'T NEGLECT STRUCTURE]

💪🏼💪🏼💪🏼Take a note out of Orwell's book and smash your next discursive! 💪🏼💪🏼💪🏼

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Unpacking sample questions and discursive writing samples

This resource will support students to respond to and unpack sample HSC questions

Responding to and unpacking sample questions and discursive writing samples.

This resource will support students to respond to and unpack sample questions and then explore writing samples. Students will be provided the opportunity to experiment with their own writing through a series of activities. There is a student resource booklet accompanying this presentation.

To support your learning and teaching of this unit access:

Unpacking sample questions and discursive writing samples transcript (DOCX 76KB)

‍ Unpacking sample questions and discursive writing samples student resource (DOCX 205KB)

The HSC hub was created in 2020 – some resources may contain references to 2020 conditions and dates. Please check NESA HSC key dates and exam timetables and coronavirus advice .

We are working on accessibility for all of our support materials. If you need any assistance, please get in touch with us at [email protected] .

Year 12 HSC Module C : The Craft of Writing Practice Questions

Looking for some HSC Module C questions to help you prepare? We have got you covered with 8 brand new questions!

TutorTime would like to help you prepare for the HSC English Advanced Module C The Craft of Writing (paper 2). 

A great place to start is to understand the rubric – you can find it here straight from NESA:

“In this module, students strengthen and extend their knowledge, skills and confidence as accomplished writers. Students write for a range of audiences and purposes using language to convey ideas and emotions with power and precision. 

Students appreciate, examine and analyse at least two short prescribed texts as well as texts from their own wide reading, as models and stimulus for the development of their own complex ideas and written expression. They evaluate how writers use language creatively and imaginatively for a range of purposes: to express insights, evoke emotion, describe the wonder of the natural world, shape a perspective or to share an aesthetic vision. 

Through the study of enduring, quality texts of the past as well as recognised contemporary works, students appreciate, analyse and evaluate the versatility, power and aesthetics of language. Through considered appraisal and imaginative engagement with texts, students reflect on the complex and recursive processes of writing to further develop their self-expression and apply their knowledge of textual forms and features in their own sustained and cohesive compositions. During the pre-writing stage, students generate and explore various concepts through discussion and speculation. 

Throughout the stages of drafting and revising, students experiment with various figurative, rhetorical and linguistic devices, for example allusion, imagery, narrative voice, characterisation and tone. Students consider purpose, audience and context to deliberately shape meaning. During the editing stages students apply the conventions of syntax, spelling, punctuation and grammar appropriately and effectively for publication. 

Students have opportunities to work independently and collaboratively to reflect, refine and strengthen their own skills in producing highly crafted imaginative, discursive, persuasive and informative texts. Note: Students may revisit prescribed texts from other modules to enhance their experiences of quality writing.”

Read more about the NESA English syllabus here:

https://educationstandards.nsw.edu.au/wps/wcm/connect/f2ef71a2-ea7c-4b96-92f6-398fe141925c/english-stage-6-prescriptions-2019-2023.pdf?MOD=AJPERES&CVID=

Here are some general essay tips:

• Time your essays. You should allow 40 minutes to write the essay and don’t forget to add in the rubric words.
• Hand write your essay, get writing fit, you won’t be able to type your essay in the HSC!
• Don’t forget to answer the question in your introduction.
• Write in clear paragraphs with obvious spacing. 
• Edit your work. 

English Advanced Module C Practice Questions

(1) ‘We are more often frightened than hurt; and we suffer more from imagination than reality”, Seneca.

(a) Use this meditation as a stimulus for a piece of discursive writing that expresses your perspective about a significant concern or idea that you have engaged with in ONE of your prescribed texts from Module A, B or C. (15 marks)

(b) Write a reflective statement that explains how your prescribed texts from Module A, B or C has influenced your writing style. (5 marks) 

(2) “THE PLAY—for which Briony had designed the posters, programs and tickets, constructed the sales booth out of a folding screen tipped on its side, and lined the collection box in red crêpe paper—was written by her in a two-day tempest of composition, causing her to miss a breakfast and a lunch”, Ian McEwan, Atonement . 

(a) Use this extract to inspire a piece of imaginative writing that includes ONE of your characters of your prescribed texts from Module A, B or C. (15 marks) 

(b) Reflect upon the importance of dialogue in your imaginative piece. Has the style of your prescribed texts character’s dialogue impacted your piece? Why or why not? (5 marks) 

(3) ‘Words can inspire. And words can destroy. Choose yours well’.

(a) Use the above stimulus to inspire a piece of persuasive writing that argues either for or against the power of words. In your response, integrate the themes and styles from at least ONE of your prescribed texts from Module A, B or C. (15 marks)

(b) Write a reflective statement that describes the manner in which your prescribed text influenced your persuasive piece. (5 marks) 

(4) ‘Alice was beginning to get very tired of sitting by her sister on the bank. Having nothing to do, she had once or twice peeped into the book her sister was reading; but it had no pictures or conversations in it – ‘and what is the use of a book,’ thought Alice ‘without pictures or conversation?’. 

(a) Use this extract to create a piece of imaginative, persuasive or discursive piece of writing that draws from a key theme from one of your prescribed Module C texts. (10 marks)

(b) How have you have used language to capture the reader’s attention? Does this compare or contrast to the techniques used in the Module C text? NB: the same text referred to in part (a). (10 marks)

(5) “Some say the world will end in fire,

Some say in ice.

From what I’ve tasted of desire

I hold with those who favour fire.

But if it had to perish twice,

I think I know enough of hate

To say that for destruction ice

Is also great

And would suffice.” Robert Frost, Fire and Ice. 

(a) Use the above poem to inspire a piece of imaginative writing that incorporates the powerful literary techniques of foreshadowing and pathetic fallacy. (10 marks)

(b) Compare how you have used language in part (a) to evoke emotion with the way writing has been crafted in at least ONE prescribed text from Module C. (10 marks)

(6) ‘ Falling leaves; falling pages’.

(a) Use the above image as stimulus to create a piece of imaginative, discursive or persuasive writing that explores the power of literature. (10 marks)

(b) Compare how your use of style compares to the writing techniques used in one of your prescribed texts from Module C. (10 marks) 

(7) ‘ To Gaze in Awe’.

(a) Use the above image to inspire a piece of imaginative writing that includes a personal transformation of a character. Incorporate a key theme from ONE of your prescribed texts from Module C. (15 marks). 

(b) How has the writing style of the Module C text, referred to in part (a), influenced your own? Explore character, dialogue, style and literary techniques in your answer. (5 marks).

(8) “Half a century ago, something strange and horrible had happened there, something that the older inhabitants of the village still liked to discuss when topics for gossip were scarce. The story had been picked over so many times, and had been embroidered in so many places, that nobody was quite sure what the truth was anymore.”

(a) Use the above stimulus to create an imaginative, discursive or persuasive piece of writing that explores the subjectivity of truth. Mimic the writing style of ONE prescribed text from Module C. (10 marks) 

(b) How have you used language to emulate the evoking of emotion achieved in the Module C text you use in part (a)? (10 marks)

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Mod C – Discursive Writing – (Nam Le “Love and Honour”)

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Resource Description

“Guard your roving thoughts with a jealous care, for speech is but the dealer of thoughts, and every fool can plainly read in your words what is the hour of your thoughts”

Use this quote as a stimulus for a piece of discursive writing that expresses your perspective about a significant idea that you have engaged within Nam Le “Love and Honour”

Words are not my strong suit. I have always been the kind of person to plan out what I am going to say in a situation before it happens, for fear of being unable to articulate my thoughts correctly. A few months ago, my best friend had be n acting in a way that hurt me. I decided to address the issue with her in a mature manner – so as usual, I took to the Notes app on my phone to draft out a message. Attempting to avoid conflict, I expressed my feelings as neutrally as possible, deliberately exaggerating that I still loved her. I read over and edited it several times to make sure it didn’t” sound accusatory – even adding in a plain declaration, saying that "the last thing I want to do is fight. “Despite this, my words failed to achieve their purpose. We had our first argument in over ten years that day. Naturally, I was left wishing I had never said anything at all, a feeling I am sure most are familiar with. I was hurt, and quite frankly, confused – had I not made my stance explicitly clear? And how could my best friend, who knew me almost as well as I knew myself, assume the worst of my intentions?

Alfred Lord Tennyson’s quote seems to suggest that our words always reflect a mirror image of our thoughts, regardless of any measures we may take to conceal them. I have to disagree. This interaiton with my friend – who, I know, is the farthest thing from a fool – serves as proof that beiause our words are open to interpretation, they will only ever serve as an approximation of what we are truly thinking. We would be fools if we believed otherwise.

In a way, we all live with a course similar to the myth of Sisyphus and his rock. We may get close to pushing the boulder of our words to the impossible summit of our thoughts, but we will never completely get there. At times, our words elude us completely, rolling right back down to the bottom of the hill. Writers dedicate their entire lives to encapsulate their visions with the perfect sequence of words, and still, they are not exempt from misreadings or misunderstandings

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