example text response essay

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A comprehensive guide to writing a response essay that will help you ace your academic assignments.

Writing a response essay can be a challenging task, as it requires you to analyze a piece of literature, a movie, an article, or any other work and provide your personal reaction to it. This type of essay allows you to express your thoughts and feelings about the content you’re responding to, and it can help you develop critical thinking and analytical skills.

In order to craft a compelling response essay, you need to carefully read and understand the work you’re responding to, identify key themes and arguments, and formulate a clear and coherent response. This guide will provide you with tips and strategies to help you write an effective response essay that engages your readers and communicates your ideas effectively.

Key Elements of a Response Essay

A response essay typically includes the following key elements:

• Introduction: Begin with a brief summary of the text you are responding to and your main thesis statement.
• Summary: Provide a concise summary of the text, focusing on the key points and arguments.
• Analysis: Analyze and evaluate the text, discussing its strengths, weaknesses, and the effectiveness of its arguments.
• Evidence: Support your analysis with evidence from the text, including quotes and examples.
• Personal Reaction: Share your personal reaction to the text, including your thoughts, feelings, and opinions.
• Conclusion: Sum up your response and reiterate your thesis statement, emphasizing the significance of your analysis.

By incorporating these key elements into your response essay, you can effectively engage with the text and provide a thoughtful and well-supported response.

Understanding the Assignment

Before you start writing your response essay, it is crucial to thoroughly understand the assignment requirements. Read the prompt carefully and identify the main objectives of the assignment. Make sure you understand what the instructor expects from your response, whether it is a critical analysis of a text, a personal reflection, or a synthesis of different sources.

Pay attention to key elements such as:

• The topic or subject matter
• The purpose of the response
• The audience you are addressing
• The specific guidelines or formatting requirements

Clarifying any doubts about the assignment will help you focus your response and ensure that you meet all the necessary criteria for a successful essay.

Analyzing the Prompt

Before you start writing your response essay, it is crucial to thoroughly analyze the prompt provided. Understanding the prompt is essential for crafting a coherent and well-structured response that addresses the key points effectively. Here are some key steps to consider when analyzing the prompt:

• Carefully read the prompt multiple times to fully grasp the main question or topic that needs to be addressed.
• Identify the key words and phrases in the prompt that will guide your response and help you stay focused on the main theme.
• Consider any specific instructions or requirements outlined in the prompt, such as the length of the essay, the format to be used, or the sources to be referenced.
• Break down the prompt into smaller parts or components to ensure that you cover all aspects of the question in your response.
• Clarify any terms or concepts in the prompt that are unclear to you, and make sure you have a solid understanding of what is being asked of you.

By analyzing the prompt carefully and methodically, you can ensure that your response essay is well-structured, focused, and directly addresses the main question or topic at hand.

Developing a Thesis Statement

One of the most critical aspects of writing a response essay is developing a clear and strong thesis statement. A thesis statement is a concise summary of the main point or claim of your essay. It sets the tone for your entire response and helps guide your reader through your arguments.

When developing your thesis statement, consider the following tips:

Remember, your thesis statement should be specific, focused, and debatable. It should also be located at the end of your introduction paragraph to ensure it captures the reader’s attention and sets the stage for the rest of your essay.

Structuring Your Response

When structuring your response essay, it’s essential to follow a clear and logical format. Start with an introduction that provides background information on the topic and presents your thesis statement. Then, organize your body paragraphs around key points or arguments that support your thesis. Make sure each paragraph focuses on a single idea and provides evidence to back it up.

After presenting your arguments, include a conclusion that summarizes your main points and reinforces your thesis. Remember to use transitions between paragraphs to ensure a smooth flow of ideas. Additionally, consider the overall coherence and cohesion of your response to make it engaging and easy to follow for the reader.

Main Body Paragraphs

When writing the main body paragraphs of your response essay, it’s essential to present your arguments clearly and logically. Each paragraph should focus on a separate point or idea related to the topic. Start each paragraph with a topic sentence that introduces the main idea, and then provide supporting evidence or examples to reinforce your argument.

• Make sure to organize your paragraphs in a coherent and sequential manner, so that your essay flows smoothly and is easy for the reader to follow.
• Use transition words and phrases, such as “furthermore,” “in addition,” or “on the other hand,” to connect your ideas and create a cohesive structure.
• Cite sources and provide proper references to strengthen your arguments and demonstrate the credibility of your analysis.

Remember to analyze and evaluate the information you present in each paragraph, rather than simply summarizing it. Engage critically with the texts, articles, or sources you are referencing, and develop your own perspective or interpretation based on the evidence provided.

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How to write a text response

WHAT IS A TEXT RESPONSE?

In this guide, we will cover everything you need to know about writing a text response. Let’s start at the beginning.

A text response is a style of writing in which you are sharing your reaction to something.  It is an opportunity to let the world know how you feel about something.

A text response can also be referred to as a reader response which is accurate, but you may also confuse them with a literacy narrative. This is not an accurate comparison, as a literacy narrative is more an assessment of how you became literate. In contrast, a text response is a specific response to a specific text.

A text response is specifically a response to a book you have read. Still, it can also be a response to a film you have just seen, a game you have been playing, or for more mature students; it could be a response to a decision the government is making that affects you or your community that you have read from a newspaper or website.

When writing a response, it is vital that you get the following points across to your audience.

• How do you feel about what you are reading / saw / heard?
• What do you agree or disagree with?
• Can you identify with the situation?
• What would be the best way to evaluate the story?

Some teachers get confused between a book review and a text response. Whilst they do share common elements, they are unique genres. Be sure to read o ur complete guide to writing a book review for further clarification.

WHAT IS THE PURPOSE OF A TEXT RESPONSE?

Often when we talk about the development of language skills, it is useful to discuss things in terms of four distinct areas. These are commonly grouped into the two active areas of speaking and writing and the two so-called passive areas of listening and reading. Learning to write a text response bridges this gap as it requires our students to not only develop high-level writing skills but also to consider reading as much more than a mere passive activity.

Writing a text response hones the student’s critical thinking skills and ability to express their thoughts in writing. It gives students an opportunity to engage in reading as an active exercise, rather than something that is analogous to watching TV!

A COMPLETE TEXT RESPONSE BUNDLE FOR STUDENTS

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TEXT RESPONSE STRUCTURE

KEEP IT FORMAL This is a calculated and considered response to what you have read or observed.

USE EVIDENCE Frequently refer to the text as evidence when having an opinion. It becomes the reference point for all your insights within your text response.

HAVE AN OPINION This is not a recount. This is your OPINION on what the author or film producer has created. Don’t shy away from that.

TENSE & STYLE Can be written in either past or present tense. Feel free to use your own style and language but remember to keep it formal.

TEXT RESPONSE FEATURES

YES or NO? Essentially you are making a recommendation. Ensure your audience know where you sit.

LET US INSIDE YOUR MIND How did it make you feel? What did you learn from it? Did you engage with the characters?

SHOW SOME BALANCE Even if you passionately loved or hated the text your audience will view you as biased if you solely focus on one angle. A little balance will give you credibility.

GETTING STARTED: THE PREWRITING STAGE OF A TEXT RESPONSE

As with much of the formal school experience, students can greatly benefit from undertaking a methodical approach in their work. The following process outlines step-by-step how students can best approach writing their text responses in the beginning.

The keyword in the phrase writing a text response is not writing but response . The whole thing starts with the reading and how the student considers the text they are engaging with. Whether the text they are being asked to respond to is an unseen piece in an exam situation or a piece of coursework based on something studied over a semester, the structure remains the same. This is true, too, regardless of age and ability level. Younger students should be taught to approach writing a text response using the same concepts but in a simplified and more scaffolded manner.

Read for Understanding:

Students should read the text they are responding to initially for a basic comprehension of what the text is about. They should read to identify common themes and narrative devices that will serve to answer the question. Often, the question will demand that the student consider and explain the author’s use of a specific literary device or how that literary device develops a central idea and the author’s purpose. In preparing our students to write competent text responses they must first be familiar with the literary devices and conventions that they will be asked to discuss.

Students may instinctively know what they like to read, but what is often not instinctive is the expressing of why they like to read it. They may acknowledge that the writing they are reading is of a high quality, or not as the case may be, but they may lack the vocabulary to express why the writing is successful or unsuccessful. Take the opportunity in class when reading, regardless of the genre, to point out literary devices , techniques, and stylistic considerations that will help your students when it comes to writing a text response.

As humans, we are hardwired to understand the world around us in terms of the stories we tell ourselves and others. We do this by employing comparisons and drawing parallels, we play with words in our everyday use of idiom and metaphor, alliteration and rhyme. Encourage students to keep an ear out for these techniques in the music they listen to, the comics they read, and the TV they watch. Even in the advertising they are exposed to.

Be sure too to offer your students opportunities to practice writing their own metaphors, similes, alliterative sentences etc. There is no better way to internalize an understanding of these literary techniques than by having a go at writing them yourself. And, it doesn’t have to be a dry academic exercise, it can be a lot of fun too.

Teaching alliteration? Have the students come up with their own tongue twisters. Want them to grasp simile? Have them produce Not! similes, for example, give them an adjective such as ‘cuddly’. Tell them you want them to write a simile using the simile structure employing ‘as’. Tell them too they must use the word ‘cuddly’ about someone who is not cuddly at all. Offer them the example He is as cuddly as a cactus to get the ball rolling. They can do this for any adjective and they will often achieve hilarious results!

Read Directions Carefully:

It should go without saying to read the directions carefully, but experience teaches us otherwise! Often it is not the best writers among our students who receive the best grades, but those who diligently respond to the directions of the task that has been set. Students should be sure to check that they have read the directions for their text response question closely. Encourage them to underline the keywords and phrases. This will help them structure their responses and can also serve as a checklist for them to refer to when they have completed writing their text responses.

Have students pinpoint exactly what the question is asking them. For older or stronger students, these questions will likely comprise several parts. Have the student separate the question into these component parts and pinpoint exactly what each part is asking them for.

A good practice to ensure a student has adequately understood what a question is looking for is to ask the student to paraphrase that question in their own words. This can be done either orally or as a written exercise. This helpful activity will inform the student’s planning at the prewriting stage and, as mentioned, can provide a checklist when reviewing the answer at the end.

The Process:

• To ensure students fully understand the question, have them underline or highlight keywords in the sentence or question. Distribute thesauruses and have students find synonyms for the keywords that they have highlighted.
• Have them rewrite the question as a series of questions in their own words. This will allow the teacher to assess their understanding of what they are being asked to do. It can also serve as a structured plan for writing their response.
• Allow some time for students to discuss the question together, either in small groups or with talking partners. After the allotted time, students must decide on a yes , no , or maybe response to the central question.
• Their response to Step 3 above will formulate their contention, which will serve as the driving force behind their text response as a whole.
• On their own, students brainstorm at least three arguments or reasons to support their contention.
• For each of the reasons, students should refer to the text and choose the best evidence available in support of their contention.
• Students should not be overly concerned with forming a logical order for their notes gathered so far. This activity aims to let ideas flow freely and capture them on paper.

When completed, it is at this point that they are ready to begin the writing process in earnest.

HOW TO WRITE A TEXT RESPONSE

As with writing in many other genres, it is helpful to think of the text response in terms of a three-part text response essay structure. It is a simple process of learning how to write a response paragraph and then organizing them into the ubiquitous beginning, middle, and end (or intro, body, and conclusion) that we drill into our students will serve us well again. Let’s take a look:

The Introduction:

The first paragraph in our students’ text responses should contain the essential information about the text that will orientate the reader to what is being discussed. Information such as the author, the book’s title or extract, and a general statement or two about the content will provide the reader with some context for the discussion.

The SOAPSTONE acronym is useful when considering which information is essential to include in the intro: Speaker, Occasion, Audience, Purpose, Subject, and TONE. Students should reflect on which aspects should be addressed in the introductory paragraph. The genre of the text will largely determine which of these should be included and which are left out. However, it is important the student does not get too bogged down at this stage; these orientation sentences usually require only three or four sentences in total.

Be sure to check out our own complete guide to writing perfect paragraphs here .

The tone of a text response should be such that it assumes the reader does not understand the text that the writer does. It is useful to tell them here to picture one person in their life they are writing to. Someone that would not be familiar with the text, perhaps a family member that they are explaining what they read. Remind them, though, the language should be formal too.

Once the student has established some context in the reader’s mind, they will need to address the central idea forming the ‘eye of the storm’ of their argument.

When learning how to write a text response body paragraph, one of the most common pitfalls students fall into is engaging in a straightforward retelling of the text. Discussion of the text is the name of the game here. Students must get into the text and express their opinions on what they find there. It is quickly apparent when reading a student’s response when they are merely engaging in a retelling and delivering a thoughtful response. Be sure students are aware of the fact that this fools nobody!

The notes students have made in the prewriting stages will be extremely useful here. Each of the arguments or reasons they have produced to support their contention will form the basis for a body paragraph. The TEEL acronym is useful here:

Topic Sentence : Students should begin each paragraph with a topic sentence. This sentence introduces the point that will serve as the main idea of the paragraph – the central riff, if you like. It will engage directly with an aspect of the question or writing prompt .

Expand / Explain: The purpose of the next few sentences will be to narrow the focus of the topic sentence, often by referring to a specific character or event in the text and offering a further explanation of the central point being developed in the paragraph.

Evidence / Example: At this point in the paragraph, it is essential that the student makes close reference to the text to support the point they have been making. Having an opinion is great, but it must be based, and be shown to be based, on the actual text itself. Evidence will most often take the form of a quotation from the text – so make sure your students are comfortable with the mechanics of weaving quotations into their writing!

Link: The end of each body paragraph should link back to the student’s central contention. It restates the argument or reason outlined in the topic sentence but in the broader context of the central contention which usually is the yes , no , or maybe uncovered at the prewriting stage.

As the student moves through their essay, it is important that they reference the main theme of the text in each and every paragraph. The structure of the essay should illustrate an evolution of the student’s understanding of that theme.

References should be made to how the writer employs various literary techniques to construct meaning in his or her text. However, reference to literary techniques should not be made merely in passing but should be integrated into a discussion of the themes explored in the essay.

Writing a text response conclusion:

Writing the conclusion involves essentially restating the contentions made already, as well as summarizing the main points that were discussed. Though the conclusion will inevitably have much in common with the introduction, and some repetition is unavoidable, make sure students use different wording in their conclusion. The paraphrasing exercise in the prewriting stages may be helpful here.

Encourage students too to link back to their reasons and arguments developed to support their contention in the body paragraphs. The conclusion is no place to introduce new ideas or to ask rhetorical questions. It is the place for gathering up the strands of argument and making a statement about the relevance of the text in relation to the wider world.

TIPS FOR WRITING A GREAT TEXT RESPONSE

●     In essays of this type, students should mostly write in the present tense.

●     Encourage students to vary the length of their sentences to maintain the reader’s interest. But be careful too, students should avoid using overly long sentences as longer sentences can be more difficult to control. A good rule of thumb is that when expressing complex thoughts use several short sentences. Simpler thoughts can be expressed through longer, more complex sentences.

●     Tie everything back to the question. The dissection of the question during the prewriting stage of the text response should remain at the forefront of the student’s mind at all times. If what the student writes doesn’t link back to the original question then it is deadwood and should be discarded.

●     Writing a text response requires the student to analyze the text and responds personally with their own thoughts and opinions. They should not be afraid to make bold statements as long as they can make references to the text to support those statements.

●     The prewriting stage is essential and should not be skipped. But, even with a well thought out prewriting session, where time allows, opportunities should be given for students to draft, redraft, and edit their writing.

We often teach our students that writing is about expressing our thoughts and ideas, but it is also about discovering what we think too.

TEXT RESPONSE TASK FOR STUDENTS

In a response paper, you are writing a formal assessment of what you have read or observed (this could be a film, a work of art, or a book), but you add your own personal reaction and impressions to the report.

The steps for completing a reaction or response paper are:

• Observe or read the piece for an initial understanding
• Record your thoughts and impressions in notes
• Develop a collection of thoughts and insights from
• Write an outline
• Construct your essay

Once you have established an outline for your paper, you’ll need to respond using the basic elements of every strong essay, a strong introductory statement.

In the case of a reaction paper, the first sentence should contain the title of the object to which you are responding and the name of the author/creator/publisher

The last sentence of your introductory paragraph should contain your stance or position on the subject you are writing about.

There’s no need to feel shy about expressing your own opinion in a response, even though it may seem strange to write “I feel” or “I believe” in an essay.

USEFUL STATEMENTS TO INCLUDE IN A TEXT RESPONSE

• I felt that
• In my opinion
• The reader can conclude that
• The author seems to
• I did not like
• The images seemed to
• The author was [was not] successful in making me feel
• I was especially moved by
• I didn’t get the connection between
• It was clear that the artist was trying to
• The sound track seemed too
• My favorite part was…because

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How to Write a Text Response Essay: Structure & Tips 

It is essential for you to know how to write a text response essay that demonstrates your ability to express their opinions and ideas concisely. In text response essays are also  a great skill for you to learn to take with you into the work force and to further develop at university. 

What is a text response essay?

A text response essay is a style of writing where you share your reaction to something. It’s an opportunity to share your opinion with the world! 

A text response essay is specifically a response to a book that you read, but it can also be a response to a film that you watched, or a video game you played.

In order to get an A in English when writing a response, it is important that your essay gets the following points across to your audience: How you feel about what you read/saw/heard, what you agree or disagree with, can you identify with/relate to the situation? And the best way to evaluate the story. 

How do you structure a Text Response Essay?

When writing a text response essay, you start by introducing the text you will be responding to. Then in your body paragraphs you want to tell your audience how you feel about the text you are responding to, if you agree with it or disagree, how you may or may not identify with the text and how you evaluate it. Then in the conclusion , you restate your main point and sum up the main points. 

How to Write a Text Response Introduction

To begin with, you will set up the context. This will include the type of text you are responding to (is it a book? A play? A collection of poetry?), basic historical context (time, subject matter). 

Next explicitly outline your opinion. This must be clearly addressed in all aspects of the topic you are given. It also needs to demonstrate that you can think independently and uniquely. Finally, briefly introduce the topics you will be covering in your body paragraphs. 

Overall, try to keep your introduction to 3 to 4 sentences to keep your introduction clear and to the point, so your audience doesn’t lose interest. 

How to Write a Text Response Body Paragraph

When writing the body of your text response essay you should include 3 to 5 paragraphs. This allows you to be able to discuss your topics and your text in as much detail as possible. When writing your body paragraphs, it could be helpful to remember the acronym ‘TEEL’

T opic Sentence – Each paragraph should begin with this sentence; it serves as an introduction to your argument. It should engage with the topic you’ve been asked to discuss

E xpand/example – After you have introduced your main point, you are going to expand on this and provide examples from the text you are responding to. 

E vidence – At this point you will be using your text to support your examples, essentially to prove what you have interpreted from the text.

L inking Sentence – At the end of each of your body paragraphs you should be linking back to your central theme/topic of your essay. 

Here is an example of a text response body paragraph: 

Early in the novel, London makes reference to Norm White, the resident groundskeeper of The Golden Age Convalescent Home . [Topic Sentence] Norm White hands Frank Gold a cigarette, ‘as if to say a man has the right to smoke in peace’. Here, there is a complete disregard for rule and convention, an idea that London emphasises throughout the text. This feature provides a counter-cultural experience for Frank, pushing him to realise that he is a strong human being rather than a mere victim. [Expand/Example] This is a clear contrast to the “babyishness” of the home and is used as evidence of true humanity in an era where society judged upon the unconventional. Frank yearns for a traditional Australian life after his trauma in Hungary; ‘his own memory…lodged like an attic in the front part of his brain’. Hedwiga and Julia Marai’s caring of him pushed him towards fear and reluctance to trust, yet also pressured him to seek acceptance in a world that ostracises him for his Jewish heritage and polio diagnosis. This here is why Frank desires a mature, adult connection – love that regards him as an equal human being. Frank seeks Elsa’s love and company as she too loathes being reduced to a victim, an object of pity. Frank thereafter uses humour to joke of his wounds; ‘we Jews have to be on the lookout’. Elsa sees ‘a look in his eyes that she recognised’, thus their bond enables both characters to heal. [Evidence] London alludes that Frank requires love and recognition not from the perspective of a sorrowful onlooker, rather he longs to be recognised as a mature adult . [Linking Sentence] 

How to Write a Text Response Essay Conclusion

Your conclusion should be short and sweet! You just need to restate and summarise the points you made in your body paragraphs! Remember to not add any new information to your conclusion. Sometimes as you are summing everything up, you can come across another point that you really want to talk about – and that is amazing! If this happens to you, make a new body paragraph! And then you can talk about it in your conclusion. It can also sometimes be unavoidable for your conclusion to sound very similar to your introduction and be a bit repetitive – this is ok! Just be sure to use different words from what you used in your introduction. 

Text Response Essay Writing Tips

When writing text responses essays, you should:

• Always write in the present tense. 
• Express complex ideas in several short sentences instead of long, this is more likely to control the reader’s interest.
• Express simple ideas in longer, complex sentences. 
• Tie everything back to the question. When preparing to write the essay the question asked should be dissected and at the forefront of your mind. 
• Do not be afraid to make bold statements! 
• Remember to consider how you feel about what you saw/read/heard, and to ask yourself if you agree or disagree with it! 

If you find yourself stuck, our English Tutors are here to help! 

Want to Excel in Your Text Response Essay Writing?

Using resources that are available to you are your greatest ally when it comes to writing your text response essay! There are great resources online such as YouTube Videos explaining how to get started and blog posts.

You also have access to your teacher and peers! Do not be afraid to ask your teacher for help – you are not going to get in trouble or made fun of for not knowing where to start. In fact, your teacher would be very excited to help you! It is why they are there after all! You can also utilise your peers! Set up a small study group with your friends and classmates! You can also get yourself a private tutor if you feel like you could use some extra help.

Need a helping hand writing a text response essay? A Team Tuition is here to help. With our tried and true tutoring methods , we can help you write impressive essays with our at-home and online tutoring. Find a tutor near you today!

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How to Write a Response Paper

• Writing Essays
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• English Grammar
• M.Ed., Education Administration, University of Georgia
• B.A., History, Armstrong State University

Most of the time when you are tasked with an essay about a book or article you've read for a class, you will be expected to write in a professional and impersonal voice. But the regular rules change a bit when you write a response paper.

A response (or reaction) paper differs from the formal review primarily in that it is written in the first person . Unlike in more formal writing, the use of phrases like "I thought" and "I believe" is encouraged in a response paper. 

You'll still have a thesis and will need to back up your opinion with evidence from the work, but this type of paper spotlights your individual reaction as a reader or viewer.

Read and Respond

Grace Fleming

For a response paper, you still need to write a formal assessment of the work you're observing (this could be anything created, such as a film, a work of art, a piece of music, a speech, a marketing campaign, or a written work), but you will also add your own personal reaction and impressions to the report.

The steps for completing a reaction or response paper are:

• Observe or read the piece for an initial understanding.
• Mark interesting pages with a sticky flag or take notes on the piece to capture your first impressions.
• Reread the marked pieces and your notes and stop to reflect often.
• Record your thoughts.
• Develop a thesis.
• Write an outline.
• Construct your essay.

It may be helpful to imagine yourself watching a movie review as you're preparing your outline. You will use the same framework for your response paper: a summary of the work with several of your own thoughts and assessments mixed in.

The First Paragraph

After you have established an outline for your paper, you need to craft the first draft of the essay using all the basic elements found in any strong paper, including a strong introductory sentence .

In the case of a reaction essay, the first sentence should contain both the title of the work to which you are responding and the name of the author.

The last sentence of your introductory paragraph should contain a thesis statement . That statement will make your overall opinion very clear.

Stating Your Opinion

There's no need to feel shy about expressing your own opinion in a position paper, even though it may seem strange to write "I feel" or "I believe" in an essay. 

In the sample here, the writer analyzes and compares the plays but also manages to express personal reactions. There's a balance struck between discussing and critiquing the work (and its successful or unsuccessful execution) and expressing a reaction to it.

Sample Statements

When writing a response essay, you can include statements like the following:

• I felt that
• In my opinion
• The reader can conclude that
• The author seems to
• I did not like
• This aspect didn't work for me because
• The images seemed to
• The author was [was not] successful in making me feel
• I was especially moved by
• I didn't understand the connection between
• It was clear that the artist was trying to
• The soundtrack seemed too
• My favorite part was...because

Tip : A common mistake in personal essays it to resort to insulting comments with no clear explanation or analysis. It's OK to critique the work you are responding to, but you still need to back up your feelings, thoughts, opinions, and reactions with concrete evidence and examples from the work. What prompted the reaction in you, how, and why? What didn't reach you and why?

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How to Write a Response Paper: Outline, Steps & Examples

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Response essays are a frequent assignment in many academic courses. Professors often ask students to share their thoughts and feelings about a variety of materials, such as books, articles, films, songs, or poems. To write an effective response paper, you should follow a specific structure to ensure that your ideas are well-organized and presented in a logical manner.

In this blog post, we will explore how to write a good outline and how it is used to develop a quality reaction essay. You will also come across a response paper example to help you better understand steps involved in writing a response essay.  Continue reading to explore writing tips from professional paper writers that you can use to improve your skills.

What Is a Response Paper?

It is vital to understand the meaning of a response essay before you start writing. Often, learners confuse this type of academic work with reviews of books, articles, events, or movies, which is not correct, although they seem similar.  A response paper gives you a platform to express your point of view, feelings, and understanding of a given subject or idea through writing. Unlike other review works, you are also required to give your idea, vision, and values contained in literal materials. In other words, while a response paper is written in a subjective way, a review paper is written in a more objective manner.  A good reaction paper links the idea in discussion with your personal opinion or experience. Response essays are written to express your deep reflections on materials, what you have understood, and how the author's work has impacted you.

Purpose of a Response Essay

Understanding reasons for writing a reaction paper will help you prepare better work. The purpose of a response essay will be:

• To summarize author's primary ideas and opinions: you need to give a summary of materials and messages the author wants you to understand.
• Providing a reflection on the subject: as a writer, you also need to express how you relate to authors' ideas and positions.
• To express how the subject affects your personal life: when writing a response paper, you are also required to provide your personal outcome and lesson learned from interacting with the material.

Response Essay Outline

You should adhere to a specific response paper outline when working on an essay. Following a recommended format ensures that you have a smooth flow of ideas. A good response paper template will make it easier for a reader to separate your point of view from author's opinion. The essay is often divided into these sections: introduction, body, and conclusion paragraphs.  Below is an example of a response essay outline template:

• Briefly introduce the topic of the response paper
• State your thesis statement or main argument
• Provide a brief summary of the source material you are responding to
• Include key details or arguments from the source
• Analyze the source material and identify strengths and weaknesses
• Evaluate the author's arguments and evidence
• Provide your own perspective on the source material
• Respond to the source material and critique its arguments
• Offer your own ideas and counterarguments
• Support your response with evidence and examples
• Summarize your main points and restate your thesis
• Provide final thoughts on the source material and its implications
• Offer suggestions for further research or inquiry

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Response Paper Introduction

The success of response papers is partly dependent on how well you write the introductory paragraph. As with any academic paper, the introduction paragraph welcomes targeted readers and states the primary idea.  Below is a guideline on how to start a response essay:

• Provide a compelling hook to capture the attention of your target audience.
• Provide background information about the material, including the name and author of the work.
• Provide a brief summary of main points to bring readers who are unfamiliar with the work up to task and enable them to follow up on your subsequent analysis.
• Write a thesis statement at the end of your introductory paragraph to inform readers about the purpose and argument you are trying to relay.

Response Essay Thesis Statement

A thesis statement summarizes a paper's content within a sentence or two. A response essay thesis statement is not any different! The final sentence of the introductory paragraph of a reaction paper should give readers an idea of the message that will be discussed in your paper.  Do you know how to write a thesis statement for a response essay? If you follow the steps below, you should be able to write one:

• Review the material you are responding to, and pinpoint main points expressed by authors.
• Determine points of view or opinions you are going to discuss in the essay.
• Develop your thesis statement. It should express a summary of what will be covered in your reaction. The sentence should also consider logical flow of ideas in your writing.
• Thesis statement should be easy to spot. You should preferably place it at the end of your introductory paragraph.

Response Paper Body Paragraph

In most instances, the body section has between 1 and 3 paragraphs or more. You should first provide a summary of the article, book, or any other literature work you are responding to.  To write a response essay body paragraph that will capture the attention of readers, you must begin by providing key ideas presented in the story from the authors' point of view. In the subsequent paragraph, you should tell your audience whether you agree or disagree with these ideas as presented in the text. In the final section, you should provide an in-depth explanation of your stand and discuss various impacts of the material.

Response Paper Conclusion

In this section of a response paper, you should provide a summary of your ideas. You may provide key takeaways from your thoughts and pinpoint meaningful parts of the response. Like any other academic work, you wind up your response essay writing by giving a summary of what was discussed throughout the paper.  You should avoid introducing new evidence, ideas, or repeat contents that are included in body paragraphs in the conclusion section. After stating your final points, lessons learned, and how the work inspires you, you can wrap it up with your thesis statement.

How to Write a Response Paper?

In this section, we will provide you with tips on how to write a good response paper. To prepare a powerful reaction essay, you need to consider a two-step approach. First, you must read and analyze original sources properly. Subsequently, you also need to organize and plan the essay writing part effectively to be able to produce good reaction work. Various steps are outlined and discussed below to help you better understand how to write a response essay.

1. Pick a Topic for Your Response Essay

Picking a topic for response essay topics can be affected either by the scope of your assignment as provided by your college professor or by your preference. Irrespective of your reason, the guideline below should help you brainstorm topic ideas for your reaction:

• Start from your paper's end goal: consider what outcomes you wish to attain from writing your reaction.
• Prepare a list of all potential ideas that can help you attain your preferred result.
• Sort out topics that interest you from your list.
• Critique your final list and settle on a topic that will be comfortable to work on.

Below are some examples of good topics for response essay to get you started:

• Analyzing ideas in an article about effects of body shaming on mental health .
• Reaction paper on new theories in today's business environment.
• Movies I can watch again and again.
• A response essay on a documentary.
• Did the 9/11 terror attacks contribute to issues of religious intolerance?

2. Plan Your Thoughts and Reactions

To better plan your thoughts and reactions, you need to read the original material thoroughly to understand messages contained therein. You must understand author's line of thinking, beliefs, and values to be able to react to their content. Next, note down ideas and aspects that are important and draw any strong reactions.  Think through these ideas and record potential sequences they will take in your response paper. You should also support your opinions and reactions with quotes and texts from credible sources. This will help you write a response essay for the college level that will stand out.

3. Write a Detailed Response Paper Outline

Preparing a detailed response paper outline will exponentially improve the outcome of your writing. An essay outline will act as a benchmark that will guide you when working on each section of the paper. Sorting your ideas into sections will not only help you attain a better flow of communication in your responsive essay but also simplify your writing process.  You are encouraged to adopt the standard response essay outline provided in the sample above. By splitting your paper into introduction, body, and conclusion paragraphs, you will be able to effectively introduce your readers to ideas that will be discussed and separate your thoughts from authors' messages.

4. Write a Material Summary

For your audience to understand your reaction to certain materials, you should at first provide a brief summary of authors' points of view. This short overview should include author's name and work title.  When writing a response essay, you should dedicate a section to give an informative summary that clearly details primary points and vital supporting arguments. You must thoroughly understand the literature to be able to complete this section.  For important ideas, you can add direct quotes from the original sources in question. Writers may sometimes make a mistake of summarizing general ideas by providing detailed information about every single aspect of the material. Instead of addressing all ideas in detail, focus on key aspects.  Although you rely on your personal opinion and experience to write a response paper, you must remain objective and factual in this section. Your subjective opinion will take center stage in the personal reaction part of the essay.

Example of a Response Summary

Below is a sample summary response essays example to help you better understand how to write one. A Summary of The Adventures of Robin Hood (1938)

The classic film The Adventure of Robin Hood (1938), as directed by Michael Curtis and William Keighley, stars an infamous outlaw, Robin Hood, who "robbed from the rich and gave to the poor''. The charismatic and charming Saxon lord, Robin Hood (Flynn), becomes an outlaw and seeks justice for poor people by fighting Sir Guy of Gisborne (Rathbone), Sheriff of Nottingham (Copper), and Prince John (Rains), who were oppressing people. After assembling an outlaw group, Robin defies the excessive taxes imposed on poor people by stealing from wealthy individuals and redistributing wealth to the destitute in society. Robin Hood is eventually lured into an archery tournament and gets arrested, but survives an execution. He later helps King Richard to regain his lost throne and banish Prince John.

5. Share Your Reaction

After summarizing the original material, the second part of a response paper involves writing your opinion about author’s point of view. After a thorough review of the material, you should be able to express your perspective on the subject.  In this section, you are expected to detail how the material made you feel and how it relates to your personal life, experience, and values. Within the short response essay, you may also be required to state whether you agree or disagree with author's line of thinking. How does the material relate to current issues, or in what way does it impact your understanding of a given subject? Does it change your opinion on the subject in any way? Your reaction should answer these questions.  In addition, you may also be required to outline potential advantages and shortcomings of the material in your reaction. Finally, you should also indicate whether or not you would endorse the literal work to others.

Reaction in Response Body Paragraph Example

Below is a reaction in a response essay body paragraph sample to help you improve your skills in writing the response body paragraph: Reaction Paragraph Example

My main takeaway from watching The Adventure of Robin Hood (1938) is that society should prioritize good and justice over laws if the set rules oppress people. Prince John, Sir Guy, and Sheriff Cooper were cruel and petty and used existing laws to oppress and exploit poor people. In response, Robin Hood employed unorthodox means and tried to help oppressed people in society. I agree with his way of thinking. Laws are made to protect people in society and ensure justice is served. Therefore, when legislation fails to serve its purpose, it becomes redundant. Even in current society, we have seen democratic governments funding coups when presidents start oppressing their people. Such coups are supported despite the fact that presidency is protected by law. Although Robin Hood's actions might encourage unlawfulness if taken out of context, I would still recommend this film because its main message is advocating for justice in the community.

6. Conclude Your Response Essay

Do you know how to write a response paper conclusion? It should be the icing on the cake. Irrespective of how good previous sections were, your reaction essay will not be considered to be exceptional if you fail to provide a sum up of your reaction, ideas, and arguments in the right manner.  When writing a response essay conclusion , you should strive to summarize the outcome of your thoughts. After stating your final point, tell readers what you have learned and how that material inspired or impacted you. You can also explain how your perspective and the author's point of view intertwine with each other.  Never introduce new ideas in the conclusion paragraph. Presenting new points will not only disrupt the flow of ideas in the paper but also confuse your readers because you may be unable to explain them comprehensively.  You are also expected to link up your discussions with the thesis statement. In other words, concluding comments and observations need to incorporate the reaffirmation of the thesis statement.

Example of Response Paper Conclusion

You can use the responsive essay conclusion sample below as a benchmark to guide you in writing your concluding remarks: Conclusion Example

There are a lot of similarities between the film's message and my opinion, values, and beliefs. Based on my personal principles, I believe the actions of the main character, Robin Hood, are justifiable and acceptable. Several people in modern society would also agree with my perspective. The movie has provided me with multiple lessons and inspirations. The main lesson acquired is that laws are not ultimate and that we should analyze how they affect people rather than adhere to them blindly. Unless legislation protects people and serves justices, it should be considered irrelevant. Also, morality outweighs legislation. From the movie, I gathered that morality should be the foundation for all laws, and at any time, morality and greater good should be prioritized above laws. The main inspiration relates to being brave in going against some legislation since the end justifies the means sometimes. My point of view and that of the movie creators intertwine. We both advocate for human decency and justice. The argument discussed supports the idea that good and justice is greater than law.

Proofread Your Response Paper

It is important to proofread your response paper before submitting it for examination. Has your essay met all instructional requirements? Have you corrected every grammatical error in your paper? These are common questions you should be asking yourself.  Proofreading your work will ensure that you have eliminated mistakes made when working on your academic work. Besides, you also get the opportunity to improve your logical flow of ideas in your paper by proofreading.  If you review your work thoroughly before submitting it for marking, you are more likely to score more marks! Use our Paper Rater , it is a tool that can help you pinpoint errors, which makes going through your work even simpler.

Response Essay Examples

If you have never written this type of academic paper before, responsive essay examples should help you grasp the primary concepts better. These response paper samples not only help you to familiarize yourself with paper's features but also help you to get an idea of how you should tackle such an assignment. Review at least one written response essay example from the compilation below to give you the confidence to tackle a reaction paper. Response essay example: Book

Response paper example: Poem

Response paper sample: Movie

Example of a response paper: Article

Sample response essay: Issue

Response Paper Format

It is important to follow a recommended response essay format in order to adhere to academic writing standards needed for your assignment. Formats depend on your institution or the discipline.  A reaction paper can be written in many different academic writing styles, including APA, MLA, and Chicago, with each demanding a slightly different format.  The outlook of the paper and referencing varies from one writing style to another. Despite the format for a response paper, you must include introduction, body, and conclusion paragraphs.

Response Essay Writing Tips

Below are some of the best tips you can use to improve your response papers writing skills:

• Review your assignment instructions and clarify any inquiries before you start a response paper.
• Once you have selected topics for response essay, reviewed your original materials, and came up with your thesis statement, use topic sentences to facilitate logical flow in your paper.
• Always ensure that you format your work as per the standard structure to ensure that you adhere to set academic requirements. Depending on the academic writing style you will be using, ensure that you have done your in-text citation as per the paper format.
• If you have never worked on this kind of academic paper, you should review examples and samples to help you familiarize yourself with this type of work. You should, however, never plagiarize your work.
• You can use a first-person perspective to better stress your opinion or feelings about a subject. This tip is particularly crucial for reaction part of your work.
• Finally, before submitting your work, proofread your work.

Bottom Line on Response Paper Writing

As discussed in this blog post, preparing a response paper follows a two-step approach. To successfully work on these sections, you need to plan properly to ensure a smooth transition from the reading and analyzing the original material to writing your reaction. In addition, you can review previous works to improve your writing skills.  So, what is a response essay that will immediately capture the attention of your instructor? Well, it should have a captivating introduction, evidence backed reaction, and a powerful conclusion. If you follow various tips outlined above and sum up your work with thorough proofreading, there is no chance that you can fail this type of assignment.

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FAQ About Response Paper

1. how long is a short response essay.

The length of a short response essay varies depending on topic and your familiarity with the subject. Depending on how long original sources are and how many responsive points you have, your reaction paper can range from a single paragraph of 150-400 words to multiple paragraphs of 250-500 words.

2. How to start a response body paragraph?

Use an argumentative topic sentence to start your responsive paper paragraph. Failing to begin a paragraph with an elaborate topic sentence will confuse your readers. Topic sentences give readers an idea of what is being discussed in the section. Write a responsive body paragraph for every new idea you add.

3. Is reaction paper similar to a response paper?

Yes. Reaction papers and response essays are used interchangeably. Responsive essays analyze author's point of view and compare them with your personal perspective. This type of academic writing gives you freedom to share your feelings and opinion about an idea. People also discuss how ideas, concepts, and literature material influence them in a response paper.

Daniel Howard is an Essay Writing guru. He helps students create essays that will strike a chord with the readers.

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How to Write a Response Paper: Understanding the Basics

Writing a response paper is an important task for students. It allows them to critically analyze a text, express their thoughts and opinions, and improve their writing skills. In this comprehensive guide, our ‘ write my essay ’ experts will explore the basics of how to write a response paper, pre-writing steps, and crafting a winning introduction, body, and conclusion. So, let's dive in and discover a flawless response paper at the end!

Defining What is a Response Paper

A response paper is a written assignment that requires the student to read a text and respond to it by expressing their views on the topic. It can be a stand-alone assignment or part of a larger project. When writing a response paper, it is important to remember the audience you are writing for. Are you writing for your professor, classmates, or a broader audience? This will help you tailor your writing style and tone accordingly.

Moreover, this kind of academic assignment should not only summarize the text but also provide a critical analysis of its main arguments and ideas. It should demonstrate your understanding of the text and your ability to engage with it in a thoughtful and meaningful way.

Purpose of Crafting a Response Paper

Writing response papers aims to demonstrate your understanding of the text, give your opinions and thoughts, and provide evidence to support your claims. In addition, this type of paper can help you develop critical reading skills and formulate coherent arguments. By engaging with the text, you can identify its strengths and weaknesses, evaluate its claims, and form your own opinions about the topic.

Furthermore, crafting response paper examples can be a valuable exercise in self-reflection. It allows you to articulate your thoughts and feelings about a particular topic and can help you better understand your values and beliefs.

Types of Response Papers

There are various types of response papers, each with its own unique characteristics and requirements. These include:

• Personal response : Here, you express your personal opinions, thoughts, and emotions about the text. This type of paper allows you to engage with the text more personally and explore your reactions to it.
• Critical response : Involves analyzing, evaluating, and interpreting the text to provide a critique. This type of paper requires you to engage with the text more objectively and analytically, focusing on its strengths and weaknesses and providing evidence to support your claims.
• Research-based response : Research-based response paper examples involve using external sources to support your claims. This type of paper requires you to engage with the text and supplement your analysis with evidence from other sources, such as scholarly articles, books, or interviews.

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How to Write a Response Paper: Pre-Writing Steps

Before diving into the writing process, laying a strong foundation through effective pre-writing steps is crucial. These initial stages not only provide clarity and structure but also enhance the overall quality of your response. And if you aren’t sure how to write a reaction paper , these steps can also be employed for your assignment.

Carefully Read and Analyze the Text

The first step in response paper creation is to carefully read and analyze the text. This involves more than just reading the words on the page; it requires critical thinking and analysis. As you read, pay attention to the author's tone, style, and use of language. Highlight important points, take notes, and identify the author's main argument and themes. Consider the context in which the text was written and how it relates to contemporary issues.

For example, if you are reading a historical document, think about how it reflects the social and political climate of the time. If you are reading a work of fiction, consider how the characters and plot relate to larger themes and ideas. By carefully analyzing the text, you will be better equipped to write a thoughtful and insightful response.

Take Notes and Highlight Key Points

Another important step is to take notes while reading, as it helps you organize your thoughts and ideas. As you read through the text, jot down your reactions, questions, and observations. Highlight key points, evidence, and quotes that support the author's argument. This will make it easier to refer back to specific parts of the text when you are writing your response.

Additionally, taking notes can help you identify patterns and connections between different parts of the text. This can be especially helpful when you are trying to develop your thesis statement and outline.

Develop a Thesis Statement

A thesis statement is a central argument that you will be making in your paper. It should be clear and concise and provide direction for your essay. Your thesis statement should be based on your analysis of the text and should reflect your own perspective.

When developing your thesis statement, consider the main argument of the text and how you agree or disagree with it. Think about the evidence and examples that the author uses to support their argument and how you might use those same examples to support your own argument. Your thesis statement should be specific and focused and should guide the rest of your essay.

Create an Outline

If you want to unlock the most important tip on how to ace a response paper perfection, it lies in creating a well-organized outline. Identify key points, evidence, and arguments that you want to discuss and organize them into a well-written paper format. Your outline should include an introduction, body paragraphs, and a conclusion.

Start by introducing the text and your thesis statement. In the body paragraphs, discuss your main points and provide evidence from the text to support your argument. Use quotes and examples to illustrate your points. In conclusion, summarize your main points and restate your thesis statement. In the following paragraphs, we'll delve deeper into writing each section with more details.

Actual Writing Process with a Response Paper Format

Now that you have completed the essential pre-writing steps, it's time to delve into the actual writing process of your paper. In this section of our comprehensive guide, we will explore how to start a response paper along with developing insightful body paragraphs and culminating in a powerful conclusion.

Engage the Reader In Your Introduction

The introduction is the first impression that your reader will have of your paper. It is important to make a good first impression, so you want to engage them right from the start. There are several ways to do this, such as providing context, using a hook, or starting with a rhetorical question.

For example, if you are writing a paper about the effects of social media on mental health, you might start with a hook like:

'Did you know that the average person spends over two hours a day on social media? That's more time than they spend exercising or socializing in person.' 

When working with your paper, this hook immediately grabs the reader's attention and makes them interested in learning more about your topic.

Provide Context and Background Information

Once you have engaged the reader, it's important to provide context for the text you are analyzing. This includes information like the author's name, the title of the work, and the publication date. This information helps the reader understand the context of the text and why it is important.

For example, if you are analyzing a poem by Maya Angelou, you would want to provide some background information about her life and work. You might mention that she was a civil rights activist and a prolific writer and that the poem you are analyzing was written in 1969, during a time of great social and political upheaval in the United States.

Present Your Thesis Statement

Finally, it's important to present your thesis statement in the introduction. The thesis statement is the main argument of your paper, and it should be presented clearly and concisely so that the reader knows exactly what your paper is about.

For instance, if you are crafting a response paper example about the effects of social media on mental health, your thesis statement might be something like:

'This paper argues that excessive use of social media can have negative effects on mental health, including increased anxiety, depression, and feelings of isolation.'

By presenting your thesis statement in the introduction, you are setting up the rest of your paper and giving the reader a roadmap for what to expect. This helps them stay focused and engaged throughout your paper.

Meanwhile, you can find out more about how to write an essay format and set the right referencing style for your assignment!

Crafting the Body

One key aspect of ensuring a well-structured and articulate paper is to utilize your typical response paper outline as a reliable roadmap. By following it, you can maintain focus, coherence, and logical flow throughout your response. Moreover, keep the following points in mind as you proceed with crafting the body of your response paper:

• Use evidence and examples from the text:
• Incorporate relevant quotes, statistics, or other evidence that supports your opinions and arguments.
• By using evidence from the text, you can strengthen your argument and demonstrate a deep understanding of the material.
• Analyze and interpret the text:
• Demonstrate your critical thinking skills by thoroughly analyzing and interpreting the text.
• Explain how the text relates to your thesis statement and overall argument.
• Provide a clear and concise response that showcases your knowledge and understanding of the material.
• Address counterarguments and alternative perspectives:
• Acknowledge and address opposing viewpoints to demonstrate your ability to consider different perspectives.
• Explain why your argument is stronger than the opposing viewpoint.
• Provide evidence to support your claim and solidify your stance.

Concluding Your Paper

In the conclusion of your response paper example, it is essential to consolidate your reactions, ideas, and arguments regarding the text. Summarize the key points discussed throughout your paper, drawing inferences whenever applicable. 

When uncertain about ​​ how to write a conclusion for a research paper , the first important rule is to refrain from introducing new ideas or reiterating information already presented in the introduction of your paper. Instead, provide a concise and coherent summary that encapsulates the essence of your response, leaving a lasting impression on the reader.

Response Paper Example

To show you how to write a response paper effectively, our essay writer has provided an amazing example below. It will inspire you and help you on your own learning journey. Get ready to explore new ideas and expand your knowledge with our response paper sample.

As we conclude this comprehensive guide on how to write a response paper, you have acquired the essential tools and knowledge to embark on your writing journey with confidence. With a firm grasp of pre-writing strategies, the art of crafting an engaging introduction, organizing a well-structured body, and understanding the significance of supporting arguments and addressing counter arguments with a good response paper example, you are poised to leave a lasting impression.

And if you ever find yourself struggling to find inspiration or facing challenges with any aspect of your essays, order essay online and take advantage of the opportunity to seek assistance from our professional writing service team. By trusting us with your college essays and ordering a response paper, you can confidently navigate your academic journey!

Take the Stress Out of Writing Response Essays!

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Daniel Parker

is a seasoned educational writer focusing on scholarship guidance, research papers, and various forms of academic essays including reflective and narrative essays. His expertise also extends to detailed case studies. A scholar with a background in English Literature and Education, Daniel’s work on EssayPro blog aims to support students in achieving academic excellence and securing scholarships. His hobbies include reading classic literature and participating in academic forums.

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12.9: Essay Type - Literary Response

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• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

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The Response Essay

The response essay is likely the most informal type of literary analysis essay students will encounter in a literature course. This essay simply asks the student to read the assigned text(s) and respond to said text(s). There are several purposes in writing such an essay. This kind of essay:

• helps students better understand the reading through informal analysis
• enables students to practice close-reading in a low-stakes, informal, and more comfortable way
• prepares students for writing a more formal essay by recording their initial impressions of a text

"Fernando Pessoa" by Jennifer Fred Merchán , 2006. CC BY-SA 2.0

Usually, the requirements for such an essay are more open-ended than what is expected on more formal essay assignments. For example, students are often allowed to use first-person "I" and colloquial (that is, spoken rather than academic) language. A thesis statement and formal organization are also usually not required.

What is always required is a willingness to ask questions and engage with the text. The following are some questions students might respond to when writing a response essay:

• First impressions: When reading the title and first lines, what impression did you get from the text? How did this impression change as you read the rest of the story or poem? What might the title indicate about the story or poem?
• Characters: What kind of character is the main character of the story or poem? Are they likable? Trustworthy? Why? Which character do you like or relate to the most, and why? Which character do you dislike the most, and why? What kinds of characters ( dynamic, round, flat, static ) are featured in this story?
• Tone: How would you describe the tone of the story? What words, phrases, images, or snippets of dialogue indicate this tone?
• Figurative language: What figurative language or literary devices do you notice? Why do you think certain images appear? What kinds of patterns of language do you notice, and what significance might these patterns or literary devices have on the story or poem?

In addition to these basic literary analysis questions, some helpful tips for writing this kind of essay:

• Take notes as you read. Use highlighters to mark quotations or passages that jump out at you, along with post-it notes or page clips to mark those pages so you can find them again when writing the essay. Don't be afraid to write notes in the margins of the book. If you must sell back the book to the bookstore, or don't want to mark the book for other reasons, you can use post-it notes to write your responses. Essentially, effective note-taking is like having a conversation with the text.
• Keep a document or journal open to record your ideas as you read. For example, refer to the image at the top of this page. This way, you can begin responding to the text as you read it, making efficient use of your time. You can then simply develop your reading notes in the essay.
• Cite passages to support your analyses. Like in an argumentative or persuasive essay, be ready to drop quotations or paraphrase into the essay to support your analysis and show those reading your essay examples of what you are talking about. Be ready to provide page or line numbers to cite the source. For example, if you say Hamlet (the main character of Hamlet by William Shakespeare) comes across as whiny and egotistical, be prepared to quote or paraphrase the play and point readers to the act, scene, and line numbers which show your point.

Example Student Response Essay Prompt

By the end of this assignment, students will be able to engage with a work of literature through analysis and response. They will be able to define and locate examples of at least three basic literary devices within a single literary text.

Audience: instructor & classmates

Purpose: practice analyzing literature in a less formal environment

Content: literary analysis & response, practice for the upcoming literary analysis essay

Students will choose one work of literature to analyze (that is, pick apart, zooming in, and looking closely at the literary devices and narrative elements of the story). Students may choose any of the stories we have read so far in class. As you read the story, respond to anything interesting in the text you notice.

• Focus on one story
• Identify & analyze at least three literary devices such as character, plot, setting, metaphor, and so forth
• Use either objective third-person or first-person “I”
• Present tense verbs, informal tone
• Quote & paraphrase the text using MLA Works Cited + In-Text citation
• Do not to bring in any secondary sources yet: this should be your personal observations and analysis of the text. Avoid using Shmoop, Cliffnotes, or any other plot summary websites. These will tarnish your reading process. I am interested in YOUR thoughts, not Shmoop’s
• Avoid plot summary, unless used briefly to contextualize analysis. I know what happens in the stories. This is NOT a “summarize the story in your own words” exercise, but a “what patterns or interesting devices did you notice? What stuck out to you? Why do you think the author made the choices they did? In what ways does the story’s form reflect its content?” exercise.

Introduction

Goals and Goal Setting

Goals Common to All RST Writers

Other Goals to Consider

Defining My Own Goals

Advice about Assignments

Getting Started: Listing Topics to Write about in the Tutorial

Narrative One: Personal Piece on a Significant Experience

Narrative Two: Academic Piece on a Significant Experience

Summary/Response One

Summary/Response Two

Tutorial Evaluation Postscript

On Using the Resources for Writers

Generating and Developing Ideas

Finding/Expressing Main Ideas

Showing v. Telling Sentences

Focusing Topic Sentences

Thesis Statements

Reading Strategies

Assessing Your Reading Strategies

Summarizing

Writing Effective Summary and Response Essays

Discourse Analysis Worksheet

Trade Magazines

Selecting Readings

A summary is a concise paraphrase of all the main ideas in an essay. It cites the author and the title (usually in the first sentence); it contains the essay's thesis and supporting ideas; it may use direct quotation of forceful or concise statements of the author's ideas; it will NOT usually cite the author's examples or supporting details unless they are central to the main idea. Most summaries present the major points in the order that the author made them and continually refer back to the article being summarized (i.e. "Damon argues that ..." or "Goodman also points out that ... "). The summary should take up no more than one-third the length of the work being summarized.

The Response:

A response is a critique or evaluation of the author's essay. Unlike the summary, it is composed of YOUR opinions in relation to the article being summarized. It examines ideas that you agree or disagree with and identifies the essay's strengths and weaknesses in reasoning and logic, in quality of supporting examples, and in organization and style. A good response is persuasive; therefore, it should cite facts, examples, and personal experience that either refutes or supports the article you're responding to, depending on your stance.

Two Typical Organizational Formats for Summary/Response Essays:

1. Present the summary in a block of paragraphs, followed by the response in a block:

Intro/thesis Summary (two to three paragraphs) Agreement (or disagreement) Disagreement (or agreement) Conclusion

Note: Some essays will incorporate both agreement and disagreement in a response, but this is not mandatory.

2. Introduce the essay with a short paragraph that includes your thesis. Then, each body paragraph summarizes one point and responds to it, and a conclusion wraps the essay up.

Intro/thesis Summary point one; agree/disagree Summary point two; agree/disagree Summary point three; agree/disagree Conclusion

How to Write a Critical Response Essay With Examples and Tips

• Icon Calendar 18 May 2024
• Icon Page 4395 words
• Icon Clock 20 min read

A critical response essay is an important type of academic essay, which instructors employ to gauge the students’ ability to read critically and express their opinions. Firstly, this guide begins with a detailed definition of a critical essay and an extensive walkthrough of source analysis. Next, the manual on how to write a critical response essay breaks down the writing process into the pre-writing, writing, and post-writing stages and discusses each stage in extensive detail. Finally, the manual provides practical examples of an outline and a critical response essay, which implement the writing strategies and guidelines of critical response writing. After the examples, there is a brief overview of documentation styles. Hence, students need to learn how to write a perfect critical response essay to follow its criteria.

Definition of a Critical Response Essay

A critical response essay presents a reader’s reaction to the content of an article or any other piece of writing and the author’s strategy for achieving his or her intended purpose. Basically, a critical response to a piece of text demands an analysis, interpretation, and synthesis of a reading. Moreover, these operations allow readers to develop a position concerning the extent to which an author of a text creates a desired effect on the audience that an author establishes implicitly or explicitly at the beginning of a text. Mostly, students assume that a critical response revolves around the identification of flaws, but this aspect only represents one dimension of a critical response. In turn, a critical response essay should identify both the strengths and weaknesses of a text and present them without exaggeration of their significance in a text.

Source Analysis

1. Questions That Guide Source Analysis

Writers engage in textual analysis through critical reading. Hence, students undertake critical reading to answer three primary questions:

• What does the author say or show unequivocally?
• What does the author not say or show outright but implies intentionally or unintentionally in the text?
• What do I think about responses to the previous two questions?

Readers should strive to comprehensively answer these questions with the context and scope of a critical response essay. Basically, the need for objectivity is necessary to ensure that the student’s analysis does not contain any biases through unwarranted or incorrect comparisons. Nonetheless, the author’s pre-existing knowledge concerning the topic of a critical response essay is crucial in facilitating the process of critical reading. In turn, the generation of answers to three guiding questions occurs concurrently throughout the close reading of an assigned text or other essay topics.

2. Techniques of Critical Reading

Previewing, reading, and summarizing are the main methods of critical reading. Basically, previewing a text allows readers to develop some familiarity with the content of a critical response essay, which they gain through exposure to content cues, publication facts, important statements, and authors’ backgrounds. In this case, readers may take notes of questions that emerge in their minds and possible biases related to prior knowledge. Then, reading has two distinct stages: first reading and rereading and annotating. Also, students read an assigned text at an appropriate speed for the first time with minimal notetaking. After that, learners reread a text to identify core and supporting ideas, key terms, and connections or implied links between ideas while making detailed notes. Lastly, writers summarize their readings into the main points by using their own words to extract the meaning and deconstruct critical response essays into meaningful parts.

3. Creating a Critical Response

Up to this point, source analysis is a blanket term that represents the entire process of developing a critical response. Mainly, the creation of a critical response essay involves analysis, interpretation, and synthesis, which occur as distinct activities. In this case, students analyze their readings by breaking down texts into elements with distilled meanings and obvious links to a thesis statement. During analysis, writers may develop minor guiding questions under first and second guiding questions, which are discipline-specific. Then, learners focus on interpretations of elements to determine their significance to an assigned text as a whole, possible meanings, and assumptions under which they may exist. Finally, authors of critical response essays create connections through the lens of relevant pre-existing knowledge, which represents a version of the element’s interconnection that they perceive to be an accurate depiction of a text.

Writing Steps of a Critical Response Essay

Step 1: pre-writing, a. analysis of writing situation.

Purpose. Before a student begins writing a critical response essay, he or she must identify the main reason for communication to the audience by using a formal essay format. Basically, the primary purposes of writing a critical response essay are explanation and persuasion. In this case, it is not uncommon for two purposes to overlap while writing a critical response essay. However, one of the purposes is usually dominant, which implies that it plays a dominant role in the wording, evidence selection, and perspective on a topic. In turn, students should establish their purposes in the early stages of the writing process because the purpose has a significant effect on the essay writing approach.

Audience. Students should establish a good understanding of the audience’s expectations, characteristics, attitudes, and knowledge in anticipation of the writing process. Basically, learning the audience’s expectations enables authors to meet the organizational demands, ‘burden of proof,’ and styling requirements. In college writing, it is the norm for all essays to attain academic writing standards. Then, the interaction between characteristics and attitudes forces authors to identify a suitable voice, which is appreciative of the beliefs and values of the audience. Lastly, writers must consider the level of knowledge of the audience while writing a critical response essay because it has a direct impact on the context, clarity, and readability of a paper. Consequently, a critical response essay for classmates is quite different from a paper that an author presents to a multi-disciplinary audience.

Define a topic. Topic selection is a critical aspect of the prewriting stage. Ideally, assignment instructions play a crucial role in topic selection, especially in higher education institutions. For example, when writing a critical response essay, instructors may choose to provide students with a specific article or general instructions to guide learners in the selection of relevant reading sources. Also, students may not have opportunities for independent topic selection in former circumstances. However, by considering the latter assignment conditions, learners may need to identify a narrow topic to use in article selection. Moreover, students should take adequate time to do preliminary research, which gives them a ‘feel’ of the topic, for example, 19th-century literature. Next, writers narrow down the scope of the topic based on their knowledge and interests, for example, short stories by black female writers from the 19 th century.

B. Research and Documentation

Find sources. Once a student has a topic, he or she can start the process of identifying an appropriate article. Basically, choosing a good source for writing a critical response essay is much easier when aided with search tools on the web or university repository. In this case, learners select keywords or other unique qualities of an article and develop a search filter. Moreover, authors review abstracts or forewords of credible sources to determine their suitability based on their content. Besides content, other factors constrain the article selection process: the word count for a critical response essay and a turnaround time. In turn, if an assignment has a fixed length of 500 words and a turnaround time of one week, it is not practical to select a 200-page source despite content suitability.

Content selection. The process of selecting appropriate content from academic sources relies heavily on the purpose of a critical response essay. Basically, students must select evidence that they will include in a paper to support their claims in each paragraph. However, writers tend to let a source speak through the use of extensive quotations or summaries, which dilutes a synthesis aspect of a critical response essay. Instead, learners should take a significant portion of time to identify evidence from reliable sources, which are relevant to the purpose of an essay. Also, a student who is writing a critical analysis essay to disagree with one or more arguments will select different pieces of evidence as compared to a person who is writing to analyze the overall effectiveness of the work.

Annotated bibliography. An annotated bibliography is vital to the development of a critical response essay because it enables authors to document useful information that they encounter during research. During research and documentation stages for a critical response essay, annotated bibliographies contain the main sources for a critical analysis essay and other sources that contribute to the knowledge base of an author, even though these sources will not appear in reference lists. Mostly, a critical response essay has only one source. However, an annotated bibliography contains summaries of other sources, which may inform the author’s critical response through the development of a deep understanding of a topic. In turn, an annotated bibliography is quite useful when an individual is writing a critical response to an article on an unfamiliar topic.

Step 2: Writing a Critical Response Essay

A. organization..

Thesis . A thesis statement sentence is a crucial component of a critical response essay because it presents the student’s purpose, argument, and the conclusion that he or she draws from the textual evidence. Also, the thesis statement is the response to the thesis question, which an author creates from assignment instructions. After completing the research stage, students can develop a tentative thesis statement to act as a starting point for the writing stage. Usually, tentative thesis statements undergo numerous revisions during the writing stage, which is a consequence of the refinement of the main idea during the drafting.

Weigh the evidence. Based on the tentative thesis, an author evaluates the relative importance of collected pieces of textual evidence to the central idea. Basically, students should distinguish between general and specific ideas to ascertain that there exists a logical sequence of presentation, which the audience can readily grasp. Firstly, for writing a critical response essay, learners should identify general ideas and establish specific connections that exist between each general idea and specific details, which support a central claim. Secondly, writers should consider some implications of ideas as they conduct a sorting process and remove evidence that does not fit. Moreover, students fill ‘holes’ that are present due to the lack of adequate supporting evidence to conclude this stage.

Create an outline. An essay outline is a final product of weighing the significance of the evidence in the context of the working thesis statement. In particular, a formal outline is a preferred form of essay structure for a critical response essay because it allows for detailed documentation of ideas while maintaining a clear map of connections. During the formation of an outline, students use a systematic scheme of indentation and labeling all the parts of an outline structure. In turn, this arrangement ensures that elements that play the same role are readily discernible at a glance, for example, primary essay divisions, secondary divisions, principle supporting points, and specific details.

Drafting. The drafting step involves the conversion of the one-sentence ideas in an outline format into complete paragraphs and, eventually, a critical response essay. In this case, there is no fixed approach to writing the first draft. Moreover, students should follow a technique that they find effective in overcoming the challenge of starting to write a critical response essay. Nonetheless, it is good practice to start writing paragraphs that authors believe are more straightforward to include regardless of specific positions that they hold on an outline. In turn, learners should strive to write freely and be open to new ideas despite the use of an outline. During drafting, the conveyance of meaning is much more important than the correctness of the draft.

Step 3: Post-Writing

Individual revision. An individual revision process focuses on the rethinking and rewriting of a critical response essay to improve the meaning and structure of a paper. Essentially, students try to review their papers from a perspective of readers to ensure that the level of detail, relationship and arrangement of paragraphs, and the contribution of the minor ideas to the thesis statement attain the desired effect. In this case, the use of a checklist improves the effectiveness of individual revision. Moreover, a checklist contains 12 main evaluation categories: assignment, purpose, audience and voice, genre, thesis, organization, development, unity, coherence, title, introduction, and conclusion.

Collaborative revision. Collaborative revision is a revision strategy that covers subconscious oversight that occurs during individual revision. During an individual revision of a critical response essay, authors rely on self-criticism, which is rarely 100% effective because writers hold a bias that their works are of high quality. Therefore, subjecting an individual’s work to peer review allows students to collect critique from an actual reader who may notice problems that an author may easily overlook. In turn, learners may provide peer reviewers with a checklist to simplify the revision process.

Editing . The editing step requires authors to examine the style, clarity, and correctness of a critical response essay. In particular, students review their papers to ascertain their conformance with the guidelines of formal essay writing and the English language. Moreover, sentence fragments, subject-verb agreement, dangling modifiers, incorrect use of punctuation, vague pronoun references, and parallelism are common grammar issues that learners eliminate during editing. Then, writers confirm that their critical response essays adhere to referencing style guidelines for citation and formatting, such as the inclusion of a title page, appropriate in-text citation, and proper styling of bibliographic information in the reference list. In turn, students must proofread a critical response essay repeatedly until they find all errors because such mistakes may divert the audience’s attention from the content of a paper.

Sample Outline Template for a Critical Response Essay

I. Introduction

A. Summary of an article. B. Thesis statement.

A. First body paragraph

• The idea for the first paragraph.
• Evidence for the first point from an article.
• Interpretation of the evidence.

B. Second body paragraph

• The idea for the second paragraph.
• Evidence for the second point from an article.

C. Third body paragraph

• The idea for the third paragraph.
• Evidence for the third point from an article.

III. Conclusion

A. Summary of three points that form a body section. B. Closing remarks.

Uniqueness of a Critical Response Essay Outline

The presence of a summary in the introduction and an interpretation for each piece of evidence are defining features of a critical response essay. Typically, the introduction, being one of 5 parts of an essay, does not contain a succinct summary of a source that an author uses in body paragraphs. In this case, the incorporation of a summary in the introduction paragraph provides the audience with specific information concerning the target article of a critical response. Specifically, a critical response essay differs from other response papers because it emphasizes the provision of reasonable judgments of a text rather than the testing and defense of one’s judgments. In turn, authors of a critical response essay do not provide evaluation for their judgments, which implies that critical responses may be different but correct if a specific interpretation is reasonable to the audience.

Expanding an Outline Format Into a Critical Response Essay

1. introduction.

The introductory paragraph in a critical response essay consists of two primary sections: a summary of an article and a thesis statement. Firstly, a summary of an article consists of the text’s central argument and the purpose of the presentation of the argument. Basically, students should strive to distill the main idea and purpose of the text into a few sentences because the length of the introduction is approximately 10% of the essay’s word count. Then, a summary provides the audience with adequate background information concerning an article, which forms a foundation for announcing the student’s primary idea. In this case, writers may include an additional sentence between a summary and a thesis statement to establish a smooth flow in the opening paragraph. However, learners should not quote thesis and purpose statements because it results in a fragmented introduction, which is unappealing to readers and ineffective.

• All body paragraphs have in a critical response essay four main elements: the writer’s idea, meaningful evidence from a reading text, interpretation of the evidence, and a concluding statement.

A. Writer’s Idea

The writer’s idea for a paragraph appears in the first sentence of a paragraph, which is a topic sentence. For example, if students know how to write a topic sentence, they present readers with a complete and distinct idea that proves or supports a thesis statement. In this case, authors should carefully word their topic sentences to ensure that there is no unnecessary generalization or spillovers of ideas from other paragraphs. Notably, all the topic sentences in the body of a critical response essay share a logical relationship that allows the audience to easily follow the development of the central idea of a paper.

B. Evidence

Students should provide evidence that supports the idea that they propose in the topic sentence. Basically, the evidence for all body paragraphs is the product of critical reading of an article, which allows writers to identify meaningful portions of a text. During the presentation of evidence, learners should ascertain that the contextual meaning of paraphrases or quotations is not lost because such a strategy will harm interpretations that follow after it. In turn, critical response essays must not contain lengthy or numerous quotations unless the meaning or intended effect of a quotation is not replicable upon paraphrasing.

C. Interpretation

Interpretation segments of paragraphs allow authors to explain the significance of the evidence to the topic sentence. In a critical response essay, the interpretation is the equivalent of an author revealing the possible assumptions behind a text paraphrase and commenting on whether or not he or she finds them reasonable. Moreover, students make inferences concerning their meaning in the context of the entire narrative and its relation to the paragraph’s idea. In turn, learners should refrain from reading too much into a piece of evidence because it may result in false or unreasonable inferences.

D. Concluding Sentence

The concluding statement is the final sentence of any paragraph. In this case, the primary role of the concluding sentence is to emphasize the link between the topic sentence, evidence, interpretation, and the essay’s central idea. Also, the concluding statement should not contain an in-text citation because it does not introduce new evidence to support the topic sentence. Therefore, authors use concluding sentences to maintain the unity between body paragraphs and a critical response essay in its entirety.

3. Conclusion

The conclusion comprises three core elements: a restatement of a thesis statement, a summary of the main points that authors present in body paragraphs, and closing remarks. In particular, the first statement of the conclusion draws the attention of the audience to the central idea, which an author proposes in a thesis statement. Then, students review the main points of a critical response essay to demonstrate that written arguments in body paragraphs adequately support a thesis statement. Moreover, writers should summarize the main points of a paper in the same order that they appear in the main part to guarantee that logical patterns in the body are readily discernible in summary. Finally, learners make their closing remarks, which creates a sense of wholesomeness in a critical response essay or ties a paper to a larger relevant discourse.

Example of Writing a Critical Response Essay

Topic: American Capitalism: The New Face of Slavery

I. Sample Introduction of a Critical Response Essay

Capitalism is a dominant characteristic of the American economy. In this case, Matthew Desmond’s article “In Order to Understand the Brutality of American Capitalism, You Have to Start on the Plantation” discusses the role of slavery in shaping contemporary business practices. Specifically, the author attempts to convince the audience that the brutality of American capitalism originates from slavery. In turn, Desmond lays a strong but simple foundation for his argument, which ensures that the audience can conceptualize the link between plantation slavery and contemporary American capitalistic practices.

II. Example of a Body in a Critical Response Essay

A. example of the first body paragraph: american capitalism.

Early in the article, Desmond informs readers of the high variability in the manifestation of capitalism in societies, which creates the impression that American capitalism is a choice. For example, Desmond (2019) argues that the brutality of American capitalism is simply one of the possible outcomes of a society built on capitalistic principles because other societies implement the same principles in a manner that is liberating, protective, and democratic. Moreover, Desmond begins his argument by eliminating a popular presumption that exploitation and oppression are unavoidable outcomes of capitalism. In turn, this strategic move to establish this fact is in the introductory section of the article because it invites the audience to rethink the meaning of capitalism. Furthermore, its plants doubt regarding the ‘true’ meaning of capitalism outside the context of American society.

B. Example of the Second Body Paragraph: American Capitalism: Slavery and American’s Economic Growth

After establishing that the perception of capitalism through the lens of American society has some bias, Desmond proceeds to provide detailed evidence to explain the attempt to camouflage the obvious link between slavery and America’s economic growth. For instance, Desmond (2019) notes the role of Alfred Chandler’s book, The Visible Hand, and Caitlin Rosenthal’s book, Accounting for Slavery, in breaking the link between management practices in plantations and modern corporations by suggesting that the current business practices are a consequence of the 19th-century railroad industry. In this case, Desmond uses this evidence to make a logical appeal to the audience, which makes his argument more convincing because he explains the reason behind the exclusion of slavery in the discourse on modern industry. As a result, Desmond dismisses one of the main counterarguments against his central argument, which increases his persuasive power.

C. Example of the Third Body Paragraph: Input vs. Output Dynamic

Desmond emphasizes the link between slavery and American capitalism to readers by using the simple input vs. output dynamic throughout the article. For example, Desmond (2019) compares the Plantation Record and Account Book to the heavy digital surveillance techniques in modern workplaces because they collect data, which the employers use to maximize productivity while minimizing inputs. In particular, the comparison reveals that employers did not stop the practice of reducing laborers into units of production with fixed productivity thresholds. Moreover, the constant repetition of the theme of low input and high output dominates the body paragraphs, which makes it nearly impossible for readers to lose sight of the link between slavery and business practices under American capitalism. In turn, the simplification of the underlying logic in Desmond’s argument ensures its clarity to the audience.

III. Sample Conclusion of a Critical Response Essay

Desmond carefully plans the presentation of his argument to the audience, which allows readers to follow the ideas easily. In particular, the author starts with a call for readers to set aside any presumptions concerning capitalism and its origin. Then, Desmond provides the audience with an alternative narrative with support from seminal texts in slavery and economics. On the whole, Desmond manages to convince the audience that the American capitalistic society is merely a replica rather than an aberration of slavery.

Citing Sources in a Critical Response Essay

A critical response essay contains specific thoughts of the article’s author and direct words of the text’s author. In this case, students must conduct proper documentation to ensure that readers of critical response essays can distinguish between these two types of ‘voices.’ Moreover, documentation prevents incidents of plagiarism. Usually, instructors mention a referencing technique that students should use in writing a critical response essay. However, if assignment instructions do not identify a specific documentation style, writers should use a referencing technique that is acceptable for scholarly writing in their disciplines.

In-text citation:

• Parenthetical: (Desmond, 2019).
• Narrative: Desmond (2019).
• Desmond, M. (2019, August 12). In order to understand the brutality of American capitalism, you have to start on the plantation . New York Times. https://www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html
• Parenthetical: (Desmond par. 1).
• Narrative: Desmond argues . . . (par. 1).

Works Cited:

• Desmond, Matthew. “In Order to Understand the Brutality of American Capitalism, You Have to Start on the Plantation.” New York Times , 14 Aug. 2019, www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html.

3. Harvard Referencing

• Parenthetical: (Desmond 2019).

Reference List:

• Desmond, M 2019, In order to understand the brutality of American capitalism, you have to start on the plantation . Available from: <https://www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html>. [27 August 2020].

4. Chicago/Turabian

In-text citation (footnote):

• 1. Matthew Desmond, “In Order to Understand the Brutality of American Capitalism, You Have to Start on the Plantation,” New York Times, August 14, 2019, https://www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html.

Bibliography:

• Desmond, Matthew. “In Order to Understand the Brutality of American Capitalism, You Have to Start on the Plantation.” New York Times. August 14, 2019. https://www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html.

Final Provisions on a Critical Response Essay

• Critical reading is a precursor for writing an effective critical response essay.
• Students must conduct adequate research on a topic to develop a proper understanding of a theme, even if only one article appears on the reference list.
• Notetaking or annotation is a good practice that aids students in extracting meaning from an article.
• Writers should plan for all activities in the writing process to ascertain that they have adequate time to move through all the stages.
• An outline is an organizational tool, which learners must use to establish the sequence of ideas in a critical response essay.
• The purpose of a critical response essay has a significant impact on the selection of evidence and the arrangement of body paragraphs.
• Students should prioritize revision and editing, which represent opportunities to refine the content of an essay and remove mechanical issues.
• Collaborative and individual revision are equally important because they play different roles in the writing of a critical response essay.
• Evidence selection is dependent on the purpose and thesis statement of a critical response essay.

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Year 12: How to turn Text Response essays from Average to A+

April 23, 2015

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We’ve all been doing Text Response essays from as young as Year 7. At this point in VCE, we should be feeling relatively comfortable with tackling themes and characters in our essays. However, the danger with just discussing themes and characters is that we often fall into the trap of simply paraphrasing the novel, or retelling the story. So how do we elevate our essays to become more sophisticated and complex analyses that offer insight?

Before reading on, make sure you've read our Ultimate Guide to VCE Text Response .

An important distinction to be aware of is that the expectation of Year 11 English was geared more toward themes and characters. However in Year 12, teachers and examiners expect students to focus on the author’s construction of the text . By keeping in mind that the text is a DELIBERATE CONSTRUCTION, this can help eliminate retelling. A good guideline to follow is to include the author’s name at least once every paragraph.

Some examples are:

- (author) elicits

- (author) endorses or condemns

- (author) conveys

Move beyond talking about character and relationships. How are those characters used to explore ideas? How are they used to show readers what the author values?

To explore the text BEYOND characters, themes and ideas, tackle the following criteria:

Social, cultural and historical values embodied in text

In other words, this means the context in which the text was written. Think about how that influenced the author, and how those views and values are reflected in the text. How does the author create social commentary on humanity?

For a more in-depth look into this issue and how to get it right in your essays, read Context and Authorial Intention in VCE English .

Linguistic structures and features

These involve the author’s use of symbols, metaphors, subtext, or genres. Consider why the author chose those particular words, images or symbols? What effect did it evoke within the reader? What themes or characters are embodied within these literary devices? Metalanguage is essential in VCE essays, so ensure you are confident in this field.

If the text is a film, it’s important to include why the director chose certain cinematography techniques . Comment on the mise-en-scene, camera angles, overview shots, close ups, flashbacks, soundtrack, to name a few. Or if it’s a play, examine the stage directions. These contain great detail of the author’s intentions.

How text is open to different interpretations

“While some may perceive… others may believe…” is a good guideline to follow in order to explore different angles and complexities of the text.

Skilful weaving in of appropriate quotes

This is how to create a well-substantiated essay. To weave in textual evidence, don’t simply ‘plonk’ in sentence long quotes. Instead, use worded quotes within your sentences so the transition is seamless.

Do you know how to embed quotes like a boss? Test yourself with our blog post here .

Strong turn of phrase

Ensure your essay is always linked to the prompt; don’t go off on an unrelated tangent. Linking words such as “conversely” or “furthermore” increase coherence within your essay. Begin each paragraph with a strong topic sentence, and finish each paragraph with a broader perception that links back to the topic and the next paragraph. To see what this looks like in practice, check out What Does Improving Your English Really Look Like? for multiple sample paragraphs.

This is also where having a wide range of vocabulary is crucial to presenting your ideas in a sophisticated manner. Create a word bank from assessor’s reports, sample essays, or teacher’s notes, and by the end of the year you’ll have an extensive list to choose from. Also, referring to literary devices contributes to a great vocabulary, exhibiting a strong turn of phrase!

Consider the topic

What does it imply? Find the underlying message and the implications behind the prompt. There is always tension within the topic that needs to be resolved by the conclusion of your essay. A must-know technique to ensure you actually answer the prompt is by knowing the 5 types of different essay topics, and how your essay structure changes as a result. The How To Write A Killer Text Response ebook is a great way to learn how to identify the type of essay topic you have in front of you immediately, and start writing an A+ essay.

Finally, simply enjoy writing about your text! It will help you write with a sense of personal voice and a personal engagement with the text, which the teachers and assessors will always enjoy.

Get our FREE VCE English Text Response mini-guide

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We’ve explored historical context, themes, essay planning and essay topics over on our Like a House on Fire by Cate Kennedy blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

[Video Transcription]

Hey guys, welcome back to Lisa's Study Guides. So this week I have another essay topic breakdown for you. So eventually I'm going to get through all of the VCAA texts that are on the study design, but we're slowly going to get there and are just want to say yet again, even though this one is like a house on fire, I am really glad if you've clicked on this video and you're not necessarily studying it because as always with all my videos, I try to give you an overall message for you to take away that can be applied to any single text. So that is the same for this particular text today. And so even though the takeaway message for this video is quite specific to short stories, it's still an important consideration for any text that you're studying. Ideally, you want to use a diverse range of evidence for any text, but in particular, for short stories, you don't just want to rely on a small handful, but to try and make links between the different short stories. So let's see what that means on the other side of this quick overview of the text. Like a House on Fire is a collection of short stories by the author, Cate Kennedy, and unlike a lot of other texts on the study design, this book portrays a lot of very domestic situations, which seems fairly boring compared to some of the other texts that other students might be doing. However, I'm really excited about this text because the short stories are great. Not because they have groundbreaking premises, which they don't, but because of how effortlessly and deeply emotive they are. So the domestic scenarios actually help us relate to the characters in the stories and empathize with the complexity of their experiences. The essay topic we'll be looking at today is in Like a House on Fire, Kennedy finds strength in ordinary people. Discuss. Here, the term which you really have to think about is strength. We already know that she depicts the story of ordinary people, of people like you or me, or even just people we may know, but does she find strength in them? It could be physical strength, but more often than not, it might be other types of strength. For instance, the mental strength it takes to cope with intense pressure or the emotional strength it takes to make a difficult choice or action. It's important to think about how they might actually apply throughout the book. In this sense, our essay will have essentially two halves. The first two body paragraphs we'll look at scenarios of intense pressure, be it through the loss of control in one's life or a domestic situation which has become emotionally tense. The last two body paragraphs will then consider the types of strength that Kennedy evinces in these stories. And we'll contend that she does find strength in the characters who face a difficult decision, but that she also finds a lot more strength in the characters who managed to cope with their situation and grapple with the tensions in their lives.

Paragraph one

In many of her stories, Kennedy portrays characters who experience powerlessness. This loss of power can come a number of ways. For instance, both Flexion and Like a House on Fire tell the story of men who have injured their previously reliable bodies and have thus been rendered immobile. But they also tell the story of their respective wives who have lost some control over their lives now that they have to care for their husbands. On the other hand, there are the kids in Whirlpool whose mother insists that they dress a certain way for a Christmas photo. Her hand on your shoulders, exerting pressure that pushes you down. Kennedy's use of second person really makes you feel this pressure that keeps you from going out to the pool you so desperately desire to be in. Evidently powerlessness is an experience that comes in many shapes and forms in several stories.

Paragraph two

In addition to this, Kennedy explores other emotional tensions across the collection, subverting the idea that the home is necessarily a safe sanctuary. This is where she really goes beyond just the idea of powerlessness, but actually jumps into scenarios that are much more emotionally complex. In Ashes for instance, we see the homosexual protagonist struggle with feeling useless and tongue tied, embarrassed by the floundering pause between his mother and himself. There is a significant emotional hurdle there, which is particularly poignant given that mothers are usually considered a source of safety and comfort for their children. Kennedy's story of domesticity actually subvert or question what we might think of the domestic space shared by family members. If you have the Scribe edition of the book, the artwork on the cover would depict a vase of wilting flowers, an empty picture frame, and a spilt cup of coffee. These are all visual symbols of an imperfect domestic life. A similar rift exists between husband and wife in both Five Dollar Family and Waiting, the women find themselves unable to emotionally depend on their partners. While Michelle in Five Dollar Family despises her husbands startled, faintly incredulous expression, an inability to care for their child, the protagonist in Waiting struggles to talk about her miscarriages with her husband who is already worn down as it is. Kennedy takes these household roles of mother, son, husband, wife, and really dives into the complex shades of emotion that lies within these relationships. We realize through her stories that a mother can't always provide comfort to a child and that a husband isn't always the dependable partner that he's supposed to be.

Paragraph three

However, Kennedy does find strength in some characters who do take a bold or courageous leap in some way. These are really important moments in which she is able to show us the strength that it takes to make these decisions. And she triumphs however small or insignificant that can be achieved. A moment that really stands out to me is the ending of Laminex and Mirrors, where the protagonist rebelliously smuggles a hospital patient out for a smoke only to have to take him back into his ward through the main entrance and therefore get them both caught. She recounts this experience as the one I remember most clearly from the year I turned 18. The two of us content, just for this perfect moment. And their success resonates with the audience, even though the protagonist would have lost her job and therefore the income she needed for her trip to London, Kennedy demonstrates her strength in choosing compassion for an elderly patient. Even the sister in Whirlpool, who wasn't exactly kind to the protagonist in the beginning, forms an unlikely alliance with her against their mother, sharing a reckless moment and cutting their photo shoot short. Bold leaps such as these are ones that take strength and therefore deserve admiration.

Paragraph four

However, more often than not, Kennedy's stories are more about the strength needed to simply cope with life, one day at a time. She explores the minutiae of her characters lives in a way that conveys the day to day struggles, but also hints at the underlying fortitude needed to deal with these things on a daily basis. In Tender, the wife feels as if everything at home is on the verge of coming apart since her husband is only able to cook tuna and pasta casserole for their kids. However, when she must get a possibly malignant tumor removed, her concern of whether there'll be tuna and pasta in the pantry just in case, demonstrates her selfless nature. Kennedy thus creates a character who is strong for others, even when her own life at home is disorderly and her health may be in jeopardy. The strength of gritting one's teeth and getting on with things in spite of emotional tension is a central idea across this collection, and many other examples are there for you to consider as well. And so we come to the end of our essay. Hopefully going through this gives you an idea of how to cover more bases with your evidence. Remember that you don't have to recount lots and lots of events, but it's more important to engage with what the events are actually telling us about people. This is particularly important for prompts like this one, where it heavily focuses on the people involved. That is it for me this week, please give this video a thumbs up. If you wanted to say thanks to Mark, who has been helping me write these scripts up for a lot of the text response essay, topic breakdowns. If you enjoyed this, then you might also be interested in the live stream coming up next week, which will be on Friday the 25th of May at 5:00 PM. I'll be covering the topic of analyzing argument for the second time, just because there's so much to get through. I'll also be announcing some special things during that particular live stream. So make sure you're there so you're the first to hear it. I will see you guys next week. Bye.

Like a House on Fire by Cate Kennedy

How To Get An A+ On Your Like A House On Fire Essay

Close Analysis Of 'Cake' From Like A House On Fire

Sunset Boulevard is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Introduction

Sunset Boulevard is perhaps the most famous film about film . A darkly funny yet disturbing noir, it follows washed-up screenwriter Joe Gillis being pulled into the murky world of even-more-washed-up former silent film star Norma Desmond, disingenuously helping with her screenplay. Critical commentary on the film industry is obviously included here, but Billy Wilder’s 1950 film digs deeper to explore the blurred line between fantasy and reality, as well as power, authenticity and self-delusion. Crucially, these themes are often shown in the film’s construction , via the cinematic techniques implemented by Wilder in each scene. This blog will explore the most important examples of these cinematic techniques. Remember, VCE examiners are on the lookout for students who can offer a close reading of the text they are discussing, giving specific examples of how its creator has constructed it to support their arguments. Just look at the difference between an essay that says:

' Through the final shot of the film, Wilder shows Norma completely succumbing to her fantasy.’ 

Compared to one that argues:

‍ ‘Through his utilisation of an increasingly glossy and distorted filter in the ominous final shot, Wilder depicts Norma being completely overtaken by her romanticised fantasy of ‘Old Hollywood’.

So read below to learn how to use the most effective and crucial cinematic techniques within Sunset Boulevard.  ‍

Camera Techniques: Shot Types & Angles

Camera techniques are arguably the primary way that a director will intentionally direct the eye of the audience, directly framing how they view a film. The two most basic ways in which the camera is used for this are through the distance between the subject (what the scene is about) and the camera, or the ‘shot type’ and the ‘camera angle’ at which the subject is being filmed. Four key examples of these from Sunset Boulevard are explored below. 

Key Examples of Shot Types

Our first look at Norma Desmond is within the wide shot above, just as Joe Gillis has entered her dishevelled mansion early in the film. As a rule, the introductory shot of a character is always worth closely analysing, as the director typically establishes their characteristics and place within the film’s wider world. 

Shown above, this distant first look at Norma establishes her distance, both physical and mental, from the world around her. Removing herself from an industry that has long since moved on from her, she is severely out of touch with the reality of the world outside her home. Crucially, as this same shot is from Joe’s perspective, Wilder also foreshadows the more specific character ‘distance’ that will emerge between the two. Here, the audience sees the space Joe will similarly leave between himself and Norma, disingenuously humouring her poor-quality scripts and romantic advances and, therefore, always keeping her ‘at a distance’.

Another shot conveying crucial information about character relationships is shown when Joe officially ‘loses’ Betty towards the end of the film, refusing to give up his ‘long-term contract’ with Norma. Here, Wilder consciously frames the scene’s subject (Betty) at a distance with a medium shot. Supported by her refusal to make eye contact with Joe and her literal statement that she ‘can't look at [him]’ we again see physical distance between the camera and the subject translating to emotional distance between two characters. The impact of them no longer ‘seeing eye to eye’ is additionally heightened by the clear chemistry they previously demonstrated across the film. 

Key Examples of Camera Angles

Just like the introductory shot of a character is worth digging into, the opening shot of a film is also incredibly important to unpack. Sunset Boulevard’ s seemingly straightforward opening shot simply includes the film’s title, by showing the real-life Hollywood street. However, notice that we are not seeing a ‘Sunset Boulevard’ street sign (the more obvious choice), but instead a dirty and stained curbside. Further, Wilder shoots this curb from a high angle . Therefore, the film’s opening shot establishes maybe the most central aim of Wilder’s film; offering a critical look at the superficiality and flawed nature of Hollywood. As such, we are literally looking down on the film industry in the first moment of the film, represented by this dirty and unflattering visual symbol of Hollywood. This, therefore, is setting the stage for the satire and critical commentary that will follow. 

Wilder’s careful use of camera angles is further shown at the end of the film after Betty abandons Joe at the gate of Norma’s mansion. Crucially, this all happened due to the desperate exertion of power by Norma, who called Betty and revealed the details of her relationship with Joe. As such, Wilder shoots Norma at a low angle, as Joe looks up at her haughty gaze. The level of power that Norma has exerted over Joe may seem minimal within the moment, but when we consider what happens next, this shot becomes much more important. On the brink of descending completely into madness and taking Joe’s life, Wilder uses this shot to establish that Joe should be looking up in fear at Norma, and his dismissive and pitiful opinion of her will soon lead to his death.  

Mise-en-scène

Mise-en-scène is perhaps the most deceptively simple cinematic technique. It involves analysing what appears within a frame and where it has been placed by the director. This includes elements such as the actor’s costumes, the props and the design of the set. Often, mise-en-scène is used to reinforce something we are being told about a character already through the film’s dialogue and acting.  

Key Example of Mise-en-scène 1

We can see a key example of characterisation through mise-en-scène early in the film, where the audience’s introduction to Joe Gillis visually communicates his unconcerned and detached attitude, as well as his tendency to settle for something convenient despite its inauthenticity. His being dressed in a bathrobe with the blazing sun outside (and his debt collectors clearly up and doing their jobs) speaks to his slovenliness and uninvested approach to life. The set design within this scene further characterises Joe, with the script directly describing the ‘reproductions of characterless paintings’ that cover his walls. Here, the set arguably provides a visual metaphor for the profit-driven ‘Bases Loaded’ script he is writing at that very moment, later described by Betty as having come ‘from hunger.’ 

Key Example of Mise-en-scène 2

Equally, our introduction to the home of Norma Desmond helps establish the key elements of her character. The house is, as Joe describes, ‘crowded with Norma Desmonds’, in the form of countless framed photos of her from her silent film era. These self-portraits constantly looking out onto Norma symbolise the deluded fantasy world she has placed herself in. They both show how this world is based around her still being a youthful and famous actress, and that this delusion is maintained through Norma only communicating inwardly, refusing to face the reality of the outside world.

As ‘symbolises’ is a verb that is very commonly misused, it’s necessary here to provide a very simplified definition:

A symbol is something that contains levels of meaning not present at first glance or literal translation.  

In film, the most obvious symbols are often physical objects that reappear within the story, working to symbolise concepts that develop the text’s key themes. 

The Dead Chimp & The Organ

One of the more seemingly inexplicable parts of Wilder's film actually contains one of its most important symbols, with Norma’s pet monkey playing a key foreshadowing role from beyond the grave. The chimp, a pet owned and trained by Norma to amuse her, leaves a vacant role that Joe will gradually fill after having unknowingly interrupted its funeral. From this point in the film, Joe is manipulated, or ‘trained’, by Norma to entertain and provide companionship to her. Naturally, Joe also ends up dead within the bounds of Norma’s estate, with this symbol, therefore, foreshadowing the full trajectory of his character. All of this is directly alluded to through Joe’s description of the ‘mixed-up dream’ he has the night of the funeral, imagining ‘an organ [player]’ and the ‘chimp…dancing for pennies’ that he will soon become. 

This naturally brings us to the organ itself, which serves as a physical reminder of the unflattering parts of the new role Joe must play. Included after Joe wakes from his ‘mixed-up dream’, the shot above frames Max’s organ-playing hands as massive and overpowering, as the much-smaller Joe storms in demanding to know why his ‘clothes and things’ were moved to Norma’s house without his say-so. Crucially, Norma then reveals that she ordered this action and that Joe's apartment debts are ‘all taken care of’, hand-waving his attempt at grasping back some control and dignity by proposing it be ‘deduct[ed]...from [his] salary’. This scene reveals the symbolic role the organ plays within Sunset Boulevard, reminding Joe of the shameful and powerless role of the ‘pet monkey’ that he now fills, as well as what he will be ‘dancing’ for. 

Finally, we come to allusions, one of the techniques that Sunset Boulevard is most famous for. Allusions refer to anytime something from outside the world of the text is referenced, including other texts and real-world people, places, events, etc. Biblical and mythological allusions are commonly found in fiction, but references to something closer to our world can often bring a degree of realism to certain texts, working to strengthen their social commentary. 

Cinematic Allusions

Being a film about film, Sunset Boulevard naturally contains many allusions to other films. However, Wilder does not shy away from adding an extra level of realism to his references to the film industry. Central to this is the use of the real (and still functional) Paramount Pictures studio to which Joe attempts to sell his clichéd baseball script. Notably, this is the studio that actually released Sunset Boulevard , all of which adds a self-deprecating edge to the satire of the film industry these scenes contain. The scene where the cigar-chomping Paramount executive, Mr Sheldrake, cynically suggests that changing Joe’s film concept to a ‘girls' softball team’ might ‘put in a few numbers’, packs an extra punch due to the use of the real film studio, therefore, showing the effect of this allusion in strengthening the film’s satire. 

Allusions to specific films are additionally used for humorous purposes and character development. For instance, take Joe’s dry observation that the extravagance of the funeral for Norma’s pet means that he ‘must have been a very important chimp’, perhaps the ‘great-grandson of King Kong’. Here, Joe’s sardonic and witty character is revealed to the audience. Additionally, these kinds of references further place the film firmly in the world of real Hollywood , again working to strengthen the satire it offers of this industry. 

Literary Allusions

Similarly, allusions to the world of literature flesh out both the characters and the world of Sunset Boulevard . The most stand-out example of this is the allusion to Charles Dickens’ classic novel Great Expectations . Here, Joe muses that the ‘unhappy look’ of Norma’s house reminds him of ‘Miss Havisham’ from this text. This is a character, who, after being abandoned by her fiance, refuses to change her clothing and lives secluded in a ‘rotting wedding dress’. Havisham directly parallels Norma, being a tragic figure immovably stuck in the past, with Norma's excessive placement of young self-portraits being reminiscent of Havishman’s insistence on keeping her house’s clocks at the exact time she received her letter of marital rejection. Therefore, this comparison to the Dickens character, who engages in a more exaggerated version of Norma’s behaviour, seeks to highlight just how detached Norma is from reality through her attempts to live in the past, implying that what she is doing is just as deluded as refusing to remove a rotting wedding dress. Further, the eventual fate of Miss Havisham within Great Expectations, with her wedding dress catching fire and leaving her as an invalid, foreshadows Norma’s similar descent to invalidity through her madness.

Written by Milo Burgner

Measure for Measure is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

INTRODUCTION ‍

Ahh William Shakespeare. That guy. You’re probably thinking, “Great. More fancy language. Hasn’t he been dead for centuries? Why does he keep popping up in our English curriculum?”

At least, that’s how I reacted.

Shakespeare is actually a huge figure in the history of the English language, and really no high school English curriculum is complete without a mandatory dose of him. In fact, the current VCAA study design demands that one of his texts must be on the text list. What a legend.

Shakespeare doesn’t only influence our world in the classroom. The Bard coined many words and phrases that we use today. We can thank this playwright for “be -all, end-all”, “good riddance”, and my personal favourite, “swagger”.

The Bard’s play “Measure for Measure” was first performed in 1604; over 400 years ago. So why do we still study his works today? In fact, the ideas and themes that are evoked in his plays are universal and timeless; pertinent to his contemporary counterparts, as well as today’s audience. Shakespeare’s plays are like soup (bear with me, this is going somewhere). One could say the playwright is a master chef; he mixes tales of the human condition and experience and asks us to question people and ideas. Everyone, regardless of their time, will gobble up the story.

So, what is this soup- I mean ‘Measure for Measure’ about? The play is known as a “problem play” and/or “tragicomedy”. That’s right, it’s both a tragedy and a comedy. Dire trials and tribulations are intertwined with humorous gags and jokesters. I guess Shakespeare couldn’t choose just one.  

‘Measure for Measure’ is also a problem play. Critic W.W Lawrence defined a problem play as one in which "a perplexing and distressing complication in human life is presented in a spirit of high seriousness ... the theme is handled so as to arouse not merely interest or excitement, or pity or amusement, but to probe the complicated interrelations of character and action, in a situation admitting of different ethical interpretations".

Ok, crazy, but he also said that "the 'problem' is not like one in mathematics, to which there is a single true solution, but is one of conduct, as to which there are no fixed and immutable laws. Often it cannot be reduced to any formula, any one question, since human life is too complex to be so neatly simplified.”

In short, a problem play presents lots of complications and issues that are open to different ethical interpretations. As in “Measure for Measure”, the “problem(s)” is/are not always solved.

So, what actually happens in this play that is problematic? What are our ingredients in this problem soup?

‍ P(L)OT SUMMARY

Get it? Cause soup is cooked in a pot. Sorry.

The Duke of Vienna appoints his deputy, Angelo, as the temporary leader. This Duke then pretends to leave town but instead dresses up as a friar to observe what happens in his absence. Angelo, strict and unwavering in his dedication to following the rules, decides to rid Vienna of all the unlawful sexual activity; including shutting down the brothels. Prostitutes like Mistress Overdone (pun alert) and her pimp Pompey are poised to lose their livelihoods. Laws against this activity exist, but they’ve gotten lax over the years. Angelo, a stickler for the rules, has Claudio arrested because young Claudio has gotten his engaged wife-to-be (Juliet) pregnant before they were officially married. Claudio is to be executed.

The virtuous Isabella, Claudio’s sister, is poised to enter a nunnery. Upon hearing of her brother’s arrest and sentence, she goes to Angelo to beg him for mercy. He hypocritically, in an absolutely dog move, propositions her, saying he’ll pardon her brother if she sleeps with him (with Angelo, not Claudio). She immediately refuses, being the religious and chaste woman that she is. At first Claudio is upset because he wants to live, but then he calms down and accepts death.

Luckily, the Duke (secretly dressed as a friar) helps in their sticky situation. He brews up a plan; Angelo’s former flame Mariana was engaged to him, but he broke off their engagement after she lost her dowry in a shipwreck. The Friar (Duke) plans to have Isabella agree to sleep with Angelo, but then send Mariana in her place. In theory, Angelo would pardon Claudio and be forced to marry Mariana by law.

The old switcheroo goes off without a hitch. But come morning, Angelo refuses to pardon Claudio, fearing he will seek revenge. The Duke, in collaboration with the Provost, send Angelo the head of a dead pirate (Ragozine) who died of natural causes. They claim that it’s Claudio’s head, and Angelo is satisfied, thinking him to be dead. Isabella is also told that her brother is dead and is encouraged by the Friar (Duke) to complain about Angelo to the Duke, who is returning home.  

The Duke makes a grand return to Vienna, saying he will hear any complaints immediately. Isabella tells her story, and the Duke feigns disbelief, despite having orchestrated the plan himself. In an act filled with more twists and turns than a Marvel movie, everything comes out; the Duke reveals he was a friar all along, Angelo is forced to confess, and Claudio is pardoned amongst other things. To top it all off, the Duke proposes to Isabella. Crazy!

HISTORICAL CONTEXT

It’s important to acknowledge what was going on in the world during the writing of a text. This may help give insight into why the author has included (or not included) some aspect of their work.

The Divine Right of Kings

This holy mandate states that a monarch derives his right to rule from the will of God and is not subject to earthly authority. The “king” or monarch is hence practically divine, and questioning his orders is also questioning god; blasphemy.

The Great Chain of Being/Class divides

This chain is a hierarchy of all life forms and matter in the following order:

• Kings & Royalty
• Commoners (Gentry, Merchants, Yeoman, Laborers)
• Non-living things

Hence, alongside The Divine Right of Kings, this ideal gave monarchs huge power over their subjects.

In early 1600s England, there was a defined social hierarchy and class system. Everyone had a place in the hierarchy, and there was little movement between the classes. Within each class, men were considered superior to women.

Shakespeare encourages us to ask a few questions of our supposedly holy leader and his actions. According to the Divine Right of Kings, the Duke is god’s right-hand man, and thus all his decisions are holy and backed by heaven. However, the Duke is pretty shady when he plots his bed-trick plan with Isabella and Mariana. Is this deceptive behavior still holy? Furthermore, is it not sacrilege to pretend to be a holy friar when one is not truly a holy man?

Moreover, when the Duke assigns Angelo as his deputy, would this transform Angelo into a divine ruler too? Could he be divine, considering his cruel rule and despicable request to Isabella?

Women were considered subservient, lower class citizens then men. Alliances were forged between powerful families through arranged marriages of daughters. These girls may have received an education through tutors attending their homes (there were no schools for girls), but their endgame would be marriage, children and maintaining the home. Women and girls of a lower class did not receive any formal education but would have learned how to govern a household and become skilled in all housewifely duties. Impoverished and desperate women (Mistress Overdone) would turn to prostitution to stay alive.

Shakespeare perhaps highlights the struggle of women in his female characters; Isabella, Mistress Overdone, Juliet, and Kate Keepdown. Their futures appear bleak; Isabella is poised to enter a nunnery, Juliet’s husband (her only source of income and protection) is to be executed, while the brothels that facilitate Mistress Overdone and Kate Keepdown’s livelihoods are being closed down by Angelo.

Jacobean Audience

It was a tumultuous time when Shakespeare penned ‘Measure for Measure’ in 1604. A year earlier came the end of the 45 year long Elizabethan era and began the Jacobean era under the rule of King James. Since the late Queen Elizabeth had no direct heirs, King James of Scotland (a relative) took to the throne. Little was known by the English people of this foreign king.

Perhaps, as Shakespeare portrays the ruler in ‘Measure for Measure’ as clever and good-hearted, the Bard sought to appease the king by calming the people and encouraging them to trust in their new monarch.

The playwright characterizes the Duke as loving his people, but not enjoying being before their eyes and in the spotlight; much like King James, a quiet ruler who relished studying privately in his great library.

‍ Playhouses and Brothels

The general public (commoners) paid a penny (could buy you a loaf of bread back in the day) to see Shakespeare’s plays, standing in the “yard”; on the ground, at eye-level of the stage. The rich (gentry) paid 2 pennies for seating in the galleries, often using cushions. The really rich (nobles) could watch the play from a chair set on the side of the stage itself. Shakespeare’s plays were performed at the Globe Theatre. Playhouses in Shakespeare's time were often close to brothels, both in terms of their physical locations in the suburbs and the way they were viewed by some of polite society. Thus, Shakespeare's relatively sympathetic portrayal of sexual deviance in ‘Measure for Measure’ may also constitute a defence of other suburban entertainment—his plays—and a way to humanize lower classes who patronized them.

WRITING ABOUT 'MEASURE FOR MEASURE'

If you’re lucky enough to study this interesting piece, the study design requires you to prepare “sustained analytical interpretations…discussing how features of the text create meaning and using textual evidence to support (your) reasons”. Basically, you’ll be given a topic; this topic could surround themes, characters, etc., and you must write analytically.

While you may choose to structure paragraphs around themes, ideas or characters, make sure to embed some historical context in there; that’ll show the examiner that you’ve done your research and have a thorough and deeper understanding of why Shakespeare put this or that in. Talking about authorial intent in your analytical essay leads to a more in-depth analysis.

“Shakespeare portrays characters that are flawed as a result of pre-destined circumstances. These characters, such as bawd Pompey and prostitute Mistress Overdone, lived in a time when there existed strong class divides, and movement within the social hierarchy was rare. As per the “Great Chain of Being”, a contemporary religious dogma, there was a hierarchy of all living things and matter, from lofty God and his angels down through the ranks of men and finally to animals and non-living things. In some cases, attempting to move up the social ranks was even considered a blasphemous rejection of the fate chosen by God.”

- embedding historical context (The Great Chain of Being) into a paragraph that discusses characters being flawed because of their circumstances

“Shakespeare offers characters such as Isabella and The Duke who strive for self-improvement through understanding and temperance. Perhaps the playwright suggests that perfection is very difficult if not impossible to attain, even for a ruler like the Duke and a pure soul like Isabella. However, he posits that it can be strived for and that perhaps this attempt to become better is what truly matters.”

- talking about authorial intent - what is Shakespeare trying to tell us?

Think of it as an opportunity to make your very own soup! Add some themes, stir in character analysis, sprinkle in some quotes and serve with historical context and authorial intent. Just like with a soup, there’s got be a good balance of all your ingredients; test out different structures during the year to find what works for you. (Just try not to overcook it, like I have done with this soup metaphor). If you need more help, How To Write a Standout Measure for Measure by William Shakespeare Essay is for you!

So, you see, there’s more to Shakespeare and ‘Measure for Measure’ than just fancy old language and iambic pentameter (What’s that? Well...). Keep on reading this blog post, where we’ll delve into themes, characters and symbols/motifs. In the meantime, let’s have a break. Grab a snack, a drink, and enjoy this tasty Shakespeare meme.

...Aaaaand we’re back!

Are you ready for part 2 of the Shakespeare train? Hop on board as we explore themes, characters and symbols/motifs. ‍ ‍

These are the major themes in ‘Measure for Measure’.

As you can see, the themes are interconnected. (Do you like the diagram? Made it myself :)) Why does this matter? Well, if you get an essay topic about Justice, for instance, you can also link it to Sexual and Gender Politics as well as Social Decay/Cohesion.

So, why is any one theme an important theme?

Which moments and characters are these themes related to?

Is there a link to historical context?

What are some key quotes?

What could be Shakespeare’s potential message? (Keep in mind that depending which pieces of evidence you look at, the Bard could be saying something different. In this piece, we’ll only discuss one or two authorial messages. The beauty of Shakespeare is that much is open to interpretation. You can interpret characters and ideas in so many different ways!)

Those are some great questions. Let’s explore some of the biggest themes...

Power and Authority

Power not only dictates the Viennese society, but we see it is a basis for moral corruption (I’m looking at you, Angelo!). The Duke is the leader of Vienna, ordained by God. He hands this power to his deputy Angelo, who misuses it in his request of Isabella. Now consider Isabella - she has power too, but a different kind… Also consider characters who have little to no power - Mistress Overdone, Pompey etc.

This theme could be linked to the Divine Right of Kings, the Great Chain of Being and Women.

• “O, it is excellent to have a giant’s strength, but it is tyrannous to use it like a giant” - Isabella when she pleads to Angelo to not kill her brother (Act 2, Scene 2, Line 130-132)
• “He who the sword of heaven will bear should be as holy as severe” - The Friar (Duke) to himself, not happy with Angelo’s dog move (Act 3, Scene 1, 538-539)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio (Act 2, Scene 1, Line 87-88)
• "Hence we shall see, if power change purpose, what our seemers be.” - The Duke lowkey suggesting that once Angelo gets power, he’ll change into something evil (Act 1, Scene 4, Line 57)
• “Some rise by sin, and some by virtue fall.” - Escalus is sneakily hating on Angelo. This quote shows that power and authority often involve corruption (Act 2, Scene 1, Line 41)

Perhaps Shakespeare is suggesting that power is a dangerous weapon and that in the wrong hands, it could be deadly.

Morality and Sin

This is an interesting theme. What defines sin? For instance, if Isabella sleeps with Angelo she’s sinning before God. But if she doesn’t, then she’s letting her brother die, which is not good either. Bit of a pickle that one. Some characters to consider include Isabella, Angelo, The Duke, Claudio, Lucio, the Provost…. jeez just about everyone! So many of the characters take part in questionable deeds. Was it immoral for the Duke to pretend to be a holy friar? Is Claudio’s sin of impregnating Juliet really punishable by death if both parties were willing, and no one else has been punished for the same “crime”? Are Pompey and Mistress Overdone being immoral in being in the prostitution business, if it’s the only way to survive?

Deep stuff man. This can be linked back to class divides, women and the contemporary playhouses/brothels.

• “What sin you do to save a brother’s life, nature dispenses with the deed so far that it becomes a virtue” - Claudio begs his sister to sleep with Angelo (immoral, especially since she’s poised to enter a nunnery), saying that it’s for a good cause, and will actually be a virtue/good deed (Act 3, Scene 1, Line 146-148)
• “Might there not be a charity in sin to save this brother’s life?” - Angelo asking Isabella to sleep with him and trying to paint the act as a charitable deed (Act 2, Scene 4, Line 65-66)
• “I am a kind of burr, I shall stick” - Lucio, who represents sin and immorality in Vienna (we’ll talk more about this later in symbols/motifs) (Act 4, Scene 3, Line 182)
• “To bring you thus together ‘tis no sin, sith that the justice of your title to him doth flourish the deceit.” - The Friar (Duke), encouraging Isabella and Mariana to do the dodgy bed-trick and trick Angelo (Act 4, Scene 1, Line 79-81)

Perhaps Shakespeare tries to tell us that there is a fine line between something moral and something sinful. Maybe he’s asking, “who are we to judge?”, since we all do questionable things sometimes. Everyone from the almighty Duke to a lowly prostitute has committed potentially immoral acts. Perhaps audiences are encouraged to be more understanding of others, and their reasons for these deeds.

Mmm, this theme ties in nicely with just about all of the others. How does one define justice? The play explores this idea; does justice mean punishment? Or mercy? How do we balance the two to deliver the right punishment/lack thereof? Characters that dispense justice include The Duke, Angelo (although they have differing ideas of justice) and Isabella. Since Vienna is a religious place, consider the divine justice system (ie. a perfect, flawless system meted out by God) and the earthly one (ie. the flawed, human justice system). Laws exist in an attempt to ensure justice. But does it always work? Consider also the Old and New Testament ways of thinking - the former strict and punitive, while the latter is more measured and merciful (see symbols/motifs below for more info).

This theme can be linked to the Divine Right of Kings, Great Chain of Being, Women, and Jacobean Audience.

• “Justice, justice, justice, justice!” - (Wait, are you sure this quote is about justice?) Isabella pleads for (you guessed it) justice to the Duke (no longer dressed as a friar), thinking Angelo has, in fact, killed her brother (Act 5, Scene 1, Line 26)
• “The very mercy of the law cried out… ‘An Angelo for Claudio, death for death!’ Haste still pays haste, and leisure answers leisure, like doth quit like, and measure still for measure” - The Duke, explaining that it’s only fair that Angelo die for “killing” Claudio. (Act 5, Scene 1, Line 437-441)
• “liberty plucks justice by the nose” - The Duke tells Friar Thomas that the laws have slipped over the years, and the citizens of Vienna are not being punished for immoral deeds (prostitution, sex before marriage etc)

Perhaps Shakespeare says that since we humans are inevitably flawed, that any justice system created by us will too be imperfect. Who are we to decide the fates of our fellow man? Furthermore, the Bard may be encouraging us to be kind when dispensing justice, leaning more to mercy than punishment.

Sexual and Gender Politics

Who run the world? Gir- no it’s a bunch of men. This theme contributes to why ‘Measure for Measure’ is a problem play. The exploration of the female characters in this play are very interesting, and kind of sad. Of 20 named characters, only 5 are women. Together, their lines make up only 18% of the play. Yikes! There is a lot to unpack here. Our female characters are Isabella, Mariana, Mistress Overdone, Juliet, Francisca (a nun who speaks twice) and Kate Keepdown (who we never meet). Their situations: a maiden poised to enter a nunnery, a prostitute, a pregnant girl about to lose her husband, a nun, and another prostitute. Quite gloomy, isn't it? Meanwhile, the men are leaders (The Duke, deputy Angelo, and ancient lord Escalus) and gentlemen (Lucio, Claudio, and Froth). Over the course of the play, our female characters are put into worse situations by men. Their experiences are dictated by men. Consider taking a “feminist perspective” and exploring ‘Measure for Measure’ from a female point of view.

This theme links to the Great Chain of Being, Women and Playhouses/Brothels.

• “see how he goes about to abuse me!” - These are the last words we hear from Mistress Overdone, as she calls out Lucio for betraying her even though she kept secrets for him. All this happens while she’s being carted off to prison in only Act 3! What do you think Shakespeare is saying to us? (Act 3, Scene 1, Line 481)
• “Then was your sin of heavier kind than his” - The Friar (Duke) says to Juliet that she sinned more than Claudio, even though their sin was “mutually committed”. Even though they were both consenting, the woman is blamed more. Consider what would become of Juliet if Claudio was executed. She’d probably end up like Mistress Overdone... (Act 2, Scene 3, Line 31)
• “Who will believe thee, Isabel?” - Angelo says this after Isabella threatens to reveal his disgusting request. Ouch. It really goes to show how untrustworthy women are deemed.  (Act 2, Scene 4, Line 163)
• “Why, you are nothing then: neither maid, widow, nor wife?” - The Duke says this to Mariana. Basically, he says a woman can only be those 3 things. Jeez. (Act 5, Scene 1, Line 196-197)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio. So, perhaps women do have some power. But, it’s due to their sexuality; something evaluated by men. Peachy. (Act 2, Scene 1, Line 87-88)

Perhaps Shakespeare suggests that women are treated unfairly in society. Maybe he posits that women are afforded so few opportunities in a man’s world. The Bard potentially says that such sexual and gender politics do not create a cohesive and just society.

This theme, again, connects to many others. It can link to all groups of people (The wealthy, the poor, women, criminals etc). Most of the mercy is dispensed at the end of the play when the Duke does his grand reveal. Characters who choose to mete out mercy over punishment include The Duke and Isabella. Also consider Angelo, who instead of choosing to spare Claudio, decides to kill him to uphold a law that hasn’t seen anyone punished for the same deed. We might think this is harsh, but it a legal and lawful decision.

Connect this idea with historical context, specifically Jacobean audience and playhouses/brothels.

• “I find an apt remission in myself” - Apt remission = ready forgiveness. The Duke says this after pardoning Angelo (Act 5, Scene 1, Line 539)
• “pray thee take this mercy to provide for better times to come” - The Duke pardons murderer Barnadine, asking him to use it to do better. How lovely!  (Act 5, Scene 1, Line 525-526)
• “let us be keen (shrewd/sharp), and rather cut a little than fall and bruise to death” - Escalus says this to Angelo, who wants to enact all strict laws immediately. The ever-reliable Escalus advises Angelo to be lenient and merciful. (Act 2, Scene 1, Line 6-7)
• “Mercy is not itself that oft looks so, pardon is still the nurse of second woe” - Escalus says this, defending Angelo’s decision to punish Claudio. He suggests that sometimes being merciful can encourage further wrongdoing. (Act 2, Scene 1, Line 282-283”)
• “I show it (pity) most of all when I show justice” - Angelo says to Isabella that he is showing Claudio pity/mercy by punishing him. A firm believer in the law, Angelo thinks he’s doing the right thing and teaching Claudio a lesson by punishing him.  (Act 2, Scene 2, Line 123)

Perhaps Shakespeare encourages us to look at mercy and punishment from different perspectives. Angelo believes he is punishing Claudio for his own good, and cleaning up Vienna of lechery too. Maybe we ought to be merciful in our opinion of the deputy. Nonetheless, the Bard shows that in the case of young Claudio, mercy and forgiveness is the right path to choose. Finally, consider why Shakespeare may have portrayed a merciful leader to his Jacobean audience. Maybe if he were to portray a leader as fair and merciful, the Jacobean audience would trust that their new king (a man similar in character to the Duke) could be kind and merciful too. Earning the favour of the king and writing a killer play? He’s killed two birds with one stone.

Human Frailty & Fallibility

I’ve encountered many essay topics about how humans are flawed and imperfect. It’s a pretty big theme in many texts, not just in our friend William Shakespeare’s. Human fallibility is to blame for a lot of the going-ons in ‘Measure for Measure’. Angelo takes the law too seriously, he gets heart eyes for Isabella and kills Claudio even though he thinks he’s slept with Isabella. Why? He wants to save his own ass, fearing Claudio will seek vengeance. The Duke is flawed too. He’s a leader, but he just avoids his problems, leaving Angelo in charge to deal with them. Then he plans to swoop in and look like a hero. Kinda dodgy. Consider Claudio and Juliet too. They, like Angelo, succumbed to lust and slept together before they were officially married. (Sigh, humans just can’t get it right.) It’s also worth thinking about the “low-lives” and poorer characters. Are the poor frail in a different way? For example, Mistress Overdone keeps Lucio’s secrets for him. In that way she is virtuous. However, she sells her body to survive. Perhaps she is not prone to desire like Angelo, but serves another desire - a desire to survive?

In terms of historical context, consider the Divine Right of Kings, the Great Chain of Being and Playhouses/Brothels.

• “They say best men are moulded out of faults, and for the most become much more the better for being a little bad” - Mariana pleads to Isabella to support her in begging the Duke to pardon (her new husband) Angelo. She is optimistic for man, believing our bad deeds can lead to self-improvement. (Act 5, Scene 5, Line 473-475)
• “Why, all the souls that were were forfeit once” - Isabella pleads to Angelo to pardon Claudio. She states that all souls were flawed before Christ offered redemption. (Act 2, Scene 2, Line 93)
• “I speak not as desiring more, but rather wishing a more strict restraint” - Isabella is speaking to a nun as she is poised to enter the ranks of the nunnery. We usually think of a nun as living a very strict life, but Isabella wants it even stricter! Here we see her flaw is that her thinking is too singular and blinkered. (Act 1, Scene 5, Line 3-4)
• “Lord Angelo is precise, stands at guard with envy, scarce confesses that his blood flows, or that his appetite is more to bread than stone.” - The Duke talks about how unhuman Angelo is. The deputy follows rules very closely, almost to the point where he’s like a machine. His nature is too strict.  (Act 1, Scene 5, Line 53-56)
• “I love the people, but do not like to stage me to their eyes” - The Duke says this to Angelo and Escalus as he hands over power to his deputy. Even the Duke is not perfect, in that he does not like being before crowds of his people (Act 1, Scene 2, Line 72-73)

Perhaps Shakespeare suggests that no one is truly perfect, not even a leader supposedly ordained by God, a law-abiding deputy, or a maiden who is poised to enter a nunnery. Yet while Angelo is overcome by his lust and emotion, the Duke and Isabella attempt to better themselves by showing mercy and temperance. Maybe Shakespeare suggests trying to improve one’s flawed self is most important.

God, Religion and Spirituality

Phew, we’re at our last theme. So, society in Vienna is very much religious. Their beliefs dictate actions and laws within the city. Some very religious characters include Isabella and Angelo. However, our novice nun, who is obsessed with virtue and chastity, agrees to and takes part in the bed-trick, a deception that is not particularly Christian. Our lusty deputy also succumbs, hellishly propositioning a maiden to sleep with him in exchange for her brother’s life. Even The Duke, supposedly semi-divine, makes some dubious choices. He spends most of the play posed as a holy man, even though he is not. He plans the bed-trick to deceive Angelo and lets poor Isabella think her poor brother is dead, instead of saving her so much pain. Furthermore, the title of the tale, ‘Measure for Measure’, comes from the Gospel of Matthew. (See symbols/motifs for more deets). The question of how much we should let religion dictate us is another reason this piece is a problem play.

The theme of God and Religion can link to historical context such as the Divine Right of Kings.

• “more than our brother is our chastity” - (Act 3, Scene 1, Line 194) and “Better it were a brother died at once, than that a sister by redeeming him should die forever” - (Act 2, Scene 4, Line 111-113) show that Isabella values her chastity and virtue over her brother!! Damn girl!
• “Ay, but to die, and go we know not where, to lie in cold obstruction and to rot” - Claudio tells Isabella that he fears the uncertainty of death. Perhaps his belief in a heaven has left him in the wake of his impending death? (Act 3, Scene 1, Line 129-130)
• “Let’s write good angel on the devil’s horns - ‘tis not the devil's crest” - Angelo is talking to himself about his lust for Isabella. It’s an appearance vs reality (ooh another theme!) kind of idea, where you can try to pretend something is something else (ie. Angelo doesn't lust after Isabella), but it doesn't change the thing (ie. he’s still keen). The deputy is comparing his emotions to these religious extremes. (Act 2, Scene 4, Line 16-17)

Perhaps Shakespeare criticises religious extremism in his portrayal of characters like Isabella and Angelo. Or maybe he just wants us to remain open-minded about ideas and our spirituality.

Yikes, there are so many themes in this play! Let’s move it along, and talk a little bit about characters.

Each character can be viewed in different lights, even more so than themes can be. We’re going to discuss characters very briefly because it’s up to you how you want to read them.

Here are the characters, in order of how much they speak in the play. To keep things short, let’s pretend these are all tinder bios. Who would you swipe right on? (Hint: not Lucio)

• super chill (the benevolent ruler of Vienna who’s let the laws slip a little)
• loves dressing up (actually spends most of the play disguised as a friar)
• clever/cunning (secretly counteracts the injustices decreed by Angelo)
• strong morals (would rather her brother die than she lives in shame)
• can get wild (conspires with the Duke to complete the bed-trick)
• holy gal (poised to enter a nunnery)
• a gentleman (well, his title is. He’s rude about the Duke and abandoned a prostitute that he got pregnant, so maybe he’s not that kind of gentleman)
• loves attention (legit! He’s a minor character but he has the third most lines of them all! Lucio loves to stir the pot!)
• loves some symbolism (Lucio represents all the bad stuff in Vienna…..see symbols/motifs)
• plays by the rules (a little too much)
• hypocrite (Sentences Claudio to death for sex before marriage, while asking the same thing of Isabella…. wow we’ve found our antagonist)
• Deep (Angelo is a bit of a complex character. He seems aware of his misdeeds and struggles to deal with these desires. It’s hard not to pity him at times)
• reliable (consistently counsels Angelo against acting too harshly)
• virtuous (he’s merciful, lets Pompey go with a warning in Act 2 Scene 1)
• loyal (trusts in the Duke)
• hard worker (he’s a prison ward)
• virtuous (does what’s right by him, disobeying Angelo’s orders to behead Claudio)
• magician (not really, but he makes Angelo believe that pirate Ragozine’s head is Claudio’s)
• clever (philosophically debates whether prostitution is worse than murder)
• funny (his character is the clown, and he’s got some sassy comebacks)
• poor (Pompey is a bawd employed by Mistress Overdone. Not the best dating bio)
• down for a good time ;) (impregnates Juliet before they are officially married)
• cool family (he’s Isabella’s brother)
• good hearted (initially is horrified at Angelo’s request of Isabella, saying she shouldn’t do it. Unfortunately, his fear of death get’s to him. After he’s calmed down, he’s accepting of death)
• a man in uniform (a policeman)
• a little dumb (he speaks a lot of malapropisms - hilariously using similar but incorrect words)
• not like Pompey (Pompey is a clever poor man, while Elbow is a policeman who’s a little bit all over the place)
• dedicated (still in love with Angelo even though he called off their engagement because her dowry was lost)
• a willing accomplice (participates in the bed-trick)

Mistress Overdone

• poor (she’s a prostitute, who fears for her livelihood when Angelo announces he’s destroying all the brothels)
• good hearted (kept Lucio’s secret. What secret? Read on…)
• works for the Duke (as an executioner…. there’s no way to make that sound nice)
• doesn't have a great name (c’mon it’s true)
• also likes to have a good time ;) (pregnant before official marriage)
• dependent (if Claudio dies she will probably end up as a prostitute to survive)
• can sing (Mariana asks him to sing a sad song about how she lost her beloved Angelo)
• holy gal (she is a nun)

Kate Keepdown (we never actually meet this character)

• a colleague of Mistress Overdone (a prostitute)
• single mum (Lucio got her pregnant and then ran away. He thinks marrying a prostitute is akin to whipping and hanging)

Ragozine (we never actually meet this character)

• dies (legit that’s all he does)

SYMBOLS & MOTIFS

These are people, objects, words etc that represent a theme or idea. For instance, the fact that I’ve used a bad soup metaphor AND a tinder reference means I need to go outside more. But let’s move on…

The title, “Measure for Measure” draws from the gospel of Matthew. The idea of heavenly justice vs earthly justice is prominent throughout the text. Moreover, it’s worth exploring the Old Testament ways of “an eye for an eye” and “measure for measure” in comparison to the New Testament teachings which lean towards forgiveness and mercy. Now, where do the Duke’s actions fit in? Is he harsh and equalising? Is he just and sympathetic?  

New Testament vs. Old Testament

When the Duke sentences Angelo to death, he makes a fancy speech which includes the play’s title.

“‘An Angelo for Claudio, death for death!

Haste still pays haste, and leisure answers leisure.

Like doth quit like, and measure still for measure.”

Act 5, Scene 1, Line 439-441

This mimics the Old Testament views, which famously states “eye for eye, tooth for tooth” (Exodus 21:24). These ideals teach that the person who committed a misdeed shall have the same misdeed done unto them. (For example, if you don’t like my new Facebook profile picture, I’m not liking yours…..but way more severe.)

In comparison, the New Testament states that we “Be merciful, just as your Father is merciful. Do not judge, and you will not be judged. Do not condemn, and you will not be condemned. Forgive, and you will be forgiven.” (Luke 6:36-37)

So, when sentencing Angelo the Duke employs the words of the Old Testament. However, he doesn’t go through with Angelo’s execution, instead showing the mercy encouraged by the New Testament. He’s not really following either way. Perhaps he’s instead choosing a middle road; one of temperance and justice.

Wait, who? We haven’t mentioned the “gentleman” Lucio much in the plot and in this blog post. That’s because he doesn’t really do that much other than buzz around and annoy everyone. Maybe that’s why his name rhymes with mosquito….

Regardless, we do see enough of Lucio’s character to learn that he’s not a very nice person. He treats Mistress Overdone and Pompey poorly, makes visits to the brothel, doesn’t take responsibility for his actions (getting Kate Keepdown pregnant) and bad-mouths the Duke. So yeah, we don’t like Lucio, what’s the big deal? Well, in Act 4, Scene 4 Line 182, Lucio says something very intriguing.

“I am a kind of burr, I shall stick.”

Burr - those little brown prickly things that get stuck to you.

We can think of Lucio as representing all the sins and misdeeds in Vienna - lechery, immorality, lack of justice, selfishness etc. Hence, Lucio is saying that these shortcomings and flaws will always be present to people and in Vienna, sticking to the city like a nasty burr. Damn, that’s deep.

Prose/Verse

The metre of the verse (ie. the classic Shakespeare writing) in ‘‘Measure for Measure”  is iambic pentameter. This means that each line is divided into 5 feet. Within each foot, there is one unstressed syllable followed by a stressed one.

I’ll TELL him YET of ANgelO’S reQUEST, And FIT his MIND to DEATH, for HIS soul’s REST. (Act 2, Scene 4, Line 195-196)

Verse does not have to rhyme, as the above lines do. Shakespeare often employs a rhyming couplet to close a scene and add some drama.

Verse is usually reserved for the higher class citizens, with those who are less fortunate speaking in prose.

Prose is language in its ordinary form, with no metre.

Certain characters, such as Lucio, switch between verse and prose depending on who they are speaking to. This could allude to Lucio’s duplicity, or perhaps a deep understanding of class divides in Vienna.

Names: Escalus and Angelo

Escalus is the ever reasonable and loyal lord and close confidant of the Duke. His name gives connotations of scales and balance - characteristic of the rational man.

Angelo’s name has connotations of “angel”. If we judge him only by his name, he should be a pure and heavenly being. Bah! That’s so fake! We can see that appearance is very different from reality. Isabella notices this too, stating that “this outward-sainted deputy...is yet a devil” (Act 3, Scene 1, Line 95-98).

Angelo’s Words/Actions

There is so much to unpack about this douchebag. Let us briefly consider 2 ideas. When he propositions Isabella to sleep with him, he requests that she “lay down the treasures of (her) body” (Act 2, Scene 4, Line 100).

Firstly, that’s weird. Perhaps Angelo can be seen as someone who is obsessed with the physical - Isabella’s body and treasure. Maybe this obsession leads to his immorality and poor leadership.

Secondly, Angelo struggles to directly say, “hey, let’s sleep together”. He weaves his way around the request, propositioning Isabella so indirectly that at first, she does not even seem to understand his request! However, once she threatens to tell everyone about his vile demand, he speaks bluntly; “Who will believe thee, Isabel?” (Act 2, Scene 4, Line 163). Perhaps this shows Angelo is self-aware that he’s being an ass. Or maybe this scene is yet more evidence of a patriarchal society, with the men knowing very well the power they hold.

We never actually meet this fellow. Ragozine is a pirate who dies in jail while “Measure for Measure” unfolds. His head is used in place of Claudio’s to convince Angelo of the former’s execution. Fascinatingly, Ragozine is the only person who dies in the entire play. ALSO, he dies of natural causes. Interesting. It feels like the play is full of death, grief and many heads on the chopping block. But curiously, there is only one death, of a minor character, of natural causes. Perhaps this says something about fate and justice or offers some commentary on life and hope.

Elbow vs. Pompey

Elbow is a silly policeman who speaks in malapropisms (using a similar but incorrect word for humorous effect). Pompey is a clever pimp who seems to have a deep understanding of justice and the Viennese people. The comparison of these characters, fortunate and dumb to unfortunate and clever, perhaps serves to show that the law is not always apt and that sometimes those who break the law are more clever than it.

Mistress Overdone (or lack thereof)

Mistress Overdone is a pitiable prostitute. She worries for her survival when Angelo begins pulling down the brothels, and she keeps Lucio’s bastard child a secret, only for him to throw her under the bus to save his own skin. The last we see of Mistress Overdone is her getting carted off to prison, crying “See how he goes about to abuse me!” (Act 3, Scene 1, Line 481) Yes, the last we witness of one of five speaking female characters is of her imminent incarceration. Furthermore, this happens in Act 3 of 5, around halfway through the play! The audience never hears from Mistress Overdone again, and her future is left uncertain. Even Barnadine, a convicted murderer, is given freedom and a happy ending.

Consider writing a few sentences of your essay from a feminist’s perspective. Think about the events of the play from the female characters’ points of view. What is Shakespeare saying by portraying Mistress Overdone (and other women) in such a way? Perhaps he is pointing out the injustices of the patriarchal system, or how uncertain a woman’s life was in his contemporary time.

“Measure for Measure” truly is an incredible text. This blog post is by no means an exhaustive list of all its quirks and complexities. This play’s relevance has survived centuries, and I believe it will continue to be pertinent to audiences well into the future. You are very lucky to be studying a text with such universal themes and ideas that you can carry with you even after high school.

Photograph 51 & The Penelopiad are studied as part of VCE English's Comparative. For one of our most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative .

We've explored themes, characters and literary devices amongst other things over on our Comparing The Penelopiad and Photograph 51 blog post. If you need a quick refresher or you’re new to studying this text pair, I highly recommend checking it out!

Here, we’ll be breaking down a Photograph 51 and The Penelopiad comparative essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Without further ado, let’s get into it!

The Prompt:

‘You heard what you wanted to hear.’ ( Photograph 51 ) 

‘Now that all the others have run out of air, it’s my turn to do a little story-making.’ ( The Penelopiad ) 

Compare the ways in which both texts suggest there is power in storytelling. 

Step 1: Analyse

The first step is to deduce what type(s) the essay question is (for a refresher on the 5 types of essay prompts, check out this blog ). I usually find that a process of elimination is the easiest way to determine this. The prompt doesn’t explicitly include the keyword ‘How’, so it isn’t how-based. There are also no characters mentioned in the prompt, so we can rule out character-based. There’s no metalanguage included, so it isn’t metalanguage-based either. However, the prompt does mention the themes of ‘power’ and ‘storytelling’, so yes, it is theme-based. There are also two quotes (one from each text) included as part of the prompt, so it’s also quote-based.

Now that we’ve determined what types of essay prompt are relevant here, the next step is to identify its keywords: ‘the ways’ , ‘both texts ’, ‘power ’ and ‘storytelling’ . 

The inclusion of ‘the ways’ tells us that we must consider different examples from ‘both texts’ where Ziegler and Atwood show us there is ‘power in storytelling’ . The thematic words ‘power ’ and ‘storytelling’ are especially important in your selection of evidence and also your three distinct paragraph ideas, as singling out the thematic keywords will make sure you do not go off-topic. 

Step 2: Brainstorm

Let’s look at the common themes of ‘power’ and ‘storytelling’ that are central to the essay topic, and more specifically, how there is power WITHIN storytelling. In the case of Photograph 51 and The Penelopiad , a common representation of storytelling that is present in both texts is that truthful storytelling is subjective. This means that both Atwood and Ziegler posit that those in power throughout history have been afforded the ability to shape the historical narrative to best fit their interests. Both texts are also set within patriarchal societies - 1950s Britain and Ancient Greece. Therefore, our overall contention in response to this topic can be: 

Both texts suggest that the ability to control the subjective nature of storytelling is a power that has predominantly been afforded to men throughout history .

This opening line addresses ‘power in storytelling’ in a specific way that brings in the contexts of both texts. Each of your paragraphs should fall somewhere under this umbrella of thought - exploring the dynamics of the patriarchal systems within both texts in relation to storytelling. Who tells the story? How does it benefit them? Why not others? 

Step 3: Create a Plan

It is now time to develop the three main ideas that will form your essay structure. It is important to remember that each paragraph should include a discussion of converging and diverging ideas. Try to only use one or two examples from each text in a paragraph, as this way, you will have more time and space in your paragraphs to analyse your literary techniques and quotes. As the old saying goes, show don’t tell! 

P1: Both texts give women a voice through the retelling of their stories from a different perspective. 

Convergent Ideas: 

• Photograph 51 serves as a correction to the history of the discovery of the helix structure. 
• The Penelopiad inserts the female perspective into the famous myth of The Odyssey , giving reasoning and depth to the female voice.

Divergent Ideas: 

• Rosalind’s story is primarily told by the male scientists as the play retells the events, injected with commentary from the male scientists.
• The Penelopiad is a first-person recount from Penelope herself, therefore she is given more agency and control of the narrative.

P2: However, women still lack authority in the shaping of their own narratives as their subjective truth and perspective is often undermined.

Convergent Ideas:

• Predominantly, the narration is told from the male perspective as male scientists narrate Rosalind’s life. Her story is still subject to male opinion.
• The Maids interrupt Penelope’s first-person narrative through the 10 interludes from the maids’ perspective. In doing so, they cast doubt on Penelope’s retelling of the narrative and offer a more truthful perspective.
• Rosalind’s story is often interrupted by other male scientists, therefore more directly illustrating that men have more control over the subjective truth. Despite Rosalind’s story being central to the novel, Ziegler still demonstrates the difficulty women face in being believed and accredited for their contribution to history.
• Penelope’s story is not interrupted by men like Rosalind’s is. Therefore, there is a lack of male dominance in this aspect of the tale. However, the theme of patriarchal dominance is instead illustrated through the lack of authority that the maids have. Despite their account of the events in the tale being the most accurate, their low social status limits the power of their voice in a patriarchal society.

P3: In patriarchal societies, the men ultimately control their own narrative and how they are remembered, amplifying their own greatness by omitting the potential blemishes on their character.

• The male scientists deflect the blame for discrediting Rosalind by instead blaming her cold personality instead of their own deception and inability to cooperate with a woman.
• The execution of the maids is dismissed in the trial of Odysseus as Odysseus’ actions are justified in the patriarchal society of Ancient Greece.

Divergent Ideas:

• The male scientists’ reputations remain untarnished at the conclusion of the narrative, aside from personal guilt and shame. They achieved the scientific success they set out to achieve and were remembered as heroes.
• Unlike the untarnished reputation of the male scientists, the maids curse Odysseus at the conclusion of the narrative.

The ability to control the subjective nature of storytelling is a power that has predominantly been afforded to men throughout the retelling of history (1) . This is a result of the dominance of patriarchal systems, which inherently give men more agency in society to dictate the narrative for the next generations to remember (2) . Both Atwood’s The Penelopiad and Ziegler’s Photograph 51 criticise this power imbalance in historical storytelling and deliver the female perspective in two different eras of history. Each text recognises that the lack of voice women are granted in society undermines and suppresses their contribution to history (3) . Ultimately, both authors question the objectivity of the legacies that men have left behind, casting doubt on the narratives that they have shaped by introducing the underrepresented female perspective (4).

Annotations (1) A ‘universal truth’ or broad thematic statement is a great way to start an essay. This is your overall contention that does not mention the specifics of the texts - it purely deals with the themes of the topic. 

(2) As seen here, your second sentence can be used to back up the universal truth in a way that is more specific to the texts and the ideas you’re going to discuss. In my second sentence, I’ve included more information about the societal power structures that are present within the texts and how men have more power to dictate historical narratives. 

(3) Then, you signpost the three ideas that you’re going to discuss within your essay in a clear, precise and summarised way. Here is where you can mention textual details such as the titles, authors, forms and setting (i.e. 1950s Britain and Ancient Greece).

(4) I have finished off my introduction with an ‘Ultimately’ sentence that discusses the authorial intent of both authors. This offers a broader in-depth look at the topic as a whole, as it acknowledges the author’s intentional decisions about the text. 

By writing narratives that focus on the female perspective in history, both texts afford the female protagonists power through the representation of their voice. Atwood and Ziegler address the imbalance of female input in history and aim to rectify that through representing the contributions women made in both narratives. Photograph 51 , through the form of a play that retrospectively reenacts the events leading up to the discovery of the helix structure, cements Rosalind Franklin as the true genius behind the 'secret of life'. This honour has been credited to Watson and Crick solely throughout history, with them being given recognition of the 'Nobel' and having their names 'in textbooks'. Ziegler firmly details how the key to their success is the 'photograph she took of B', which Watson exploits to eventually win the race to construct the model. Similarly, The Penelopiad is also a societal correction to the lack of female representation in the narratives presented (4) . Written as a first-person narration, Penelope’s aim as a narrator is to be given the opportunity 'to do a little story-making' in this retrospective novel, inserting her perspective into the well-known myth of Odysseus and The Odyssey (5) . The characterisation of Penelope is subverted in Penelope’s retelling, as the generalisation of her character being only recognised for her 'smart[s]', '[her] weaving', and '[her] devotion to [her] husband' is challenged. Atwood contends that Penelope is also determined, self-sufficient and tactile through the narrative voice she grants Penelope as the main protagonist of the text. Rosalind in Photograph 51 is not the narrator of her story, which limits her agency in the telling of her truth in comparison to Penelope, who is able to shape her story the way she wishes (6). Underpinning both of these texts is Atwood and Ziegler’s authorial intention to contend that there is an underrepresentation of female contribution to history, and therefore utilise their texts to give power to female characters in patriarchal systems (7) .

Annotations (4) The transitional sentence between texts can be less jarring and clunky if you introduce your example from Text B in a similar vein to the discussion of Text A. As seen here, I have used my discussion of how Ziegler represents Rosalind in a manner that is seen as a historical correction to then transition into how Penelope also serves the same purpose.

(5) The explicit stating of the first-person narration style in The Penelopiad directly addresses the keywords of 'the ways' from the essay question. By incorporating different textual examples like narration and characterisation (as seen in the following sentence), I’m able to analyse multiple ways that the authors suggest there is power in storytelling.

(6) It makes it easier to discuss your divergent idea if it is directly linked to the converging ideas you’ve already mentioned, just as I have here in pointing out the difference in protagonists and narration. This means you don’t have to waste time re-explaining things from the texts!

(7) I conclude with a more broad statement that references the authors’ intentions in order to finish with a more in-depth exploration, just like the end of the introduction.

Women still lack authority in the shaping of their own narratives as their version of the truth is often undermined. Despite the main motivator for the texts being to empower the women by giving them a voice, both texts also recognise the limitations of a patriarchal society by illustrating the challenges the protagonists face in having their voices heard. By viewing the past through a retrospective lens in The Penelopiad , Penelope is finally able to deliver her perspective, encapsulated in the opening line of 'now that I’m dead I know everything'. (8) The notion that Penelope had to be dead and free of the restraints placed on her voice whilst she was alive in patriarchal Ancient Greece demonstrates the complete lack of authority the voices of women have in establishing themselves in history. This is echoed in the same retrospective retelling of Rosalind’s story in Photograph 51 , as the play begins with Rosalind stating that 'this is what it was like', establishing that the events that follow this initial line are a snapshot into the limitations she had to face as a woman in the male-dominated scientific field. It also references that the interjections of the male scientists as they commentate on her life were 'what it was like', as male opinion majorly shaped the suppression of Rosalind’s success throughout the play. On the contrary, (9) Penelope’s recount of the story is less interrupted by interjections of other characters, specifically those from men. However, the maids deliver ten interludes throughout The Penelopiad . These interludes are another example of female voice being represented in the text, but often being dismissed due to their crudeness or sarcastic nature in their casting of doubt over both Penelope and Odysseus, as they taunt Penelope’s decision to 'blame it on the [...] poxy little sluts!' and blemish Odysseus’ name by characterising him as the 'artfullest dodger' or 'blithe lodger', in reference to his infidelity. Despite the maids being the most authoritative in terms of true Greek theatre, (10) as they deliver the truest and most objective judgement of events, they are 'forgotten' and are not served true justice as a result of their low social status and gender that limits their voice in a patriarchal society. The female perspectives in the texts are truer representations of history in both contexts, yet because of limitations regarding their gender in the two patriarchal systems, they are overshadowed by the male recounts of history.

Annotations (8) To strengthen your essay, it is important to also use evidence that is not strictly dialogue or themes from inside the text. In this line, I use a literary device - retrospective storytelling - to back up the analysis I am talking about.

(9) Starting your discussion of the divergent ideas is easy with the use of phrases such as ‘on the contrary’, ‘unlike this…’ and ‘however’. You don’t want to spend unnecessary time on filler sentences. Be efficient!

(10) By further strengthening my analysis with a range of examples (e.g. mentioning the historical importance of genre, such as Greek theatre in this instance), I’m able to demonstrate a deeper knowledge of not only the texts and their context . 

In patriarchal societies, the men ultimately have more control over their own narratives and shape them for their own personal glorification of character. The omission of immorality and emphasis on male achievement by the men narrating the story is a clear indication that despite the selfish choices they make, men are still able to shape their legacies in their favour. Watson and Crick in Photograph 51 are depicted as 'arrogant' and duplicitous as they extort their 'old friend[ship]' with Wilkins for personal gain, pressuring him into 'talking about his work' to further progress towards notoriety. The conclusion of the play, with Watson and Crick accepting the honour of the Nobel Prize and claiming it as the 'finest moment' of their lives, illustrates that the motivation of personal success justifies the immoral actions of men as they are remembered fondly as scientific heroes without the blemishes of their characters. Similarly in The Penelopiad , Odysseus is revered as a hero through the intertextual reference of The Odyssey, a myth detailing the legend of Odysseus and his 'cleverness'. Penelope’s recounting of the 'myth of Penelope and Odysseus' sheds light on her ingenuity in the tales of Odysseus, showing that she 'set the whole thing up on purpose', referring to the deceiving plan that Odysseus had been awarded all the credit for in the original retelling of their story. Additionally, in the 'trial of Odysseus', Odysseus’ character is evaluated in the setting of a court, as the maids have demanded justice for Odysseus’ unjust execution of them. However, the judge overturns this decision as it would serve as a 'blot on an otherwise exceedingly distinguished career', encapsulating the idea that men in a patriarchal society will omit personal errors in favour of presenting themselves and other men as heroes of their narratives. However, unlike the untarnished male success of Photograph 51 , the maids curse Odysseus so he would 'never be at rest' in the conclusion of the narrative, as Atwood makes the final statement that men throughout history should be held accountable for the immoral actions they make (11) .

‍ Annotations (11) By concluding with a specific reference to the authorial intent of this specific idea explored throughout the paragraph, you ‘zoom’ back out and show your reader the bigger picture. 

At the end of each text it is evident that, regardless of the representation and voice that is given to the female characters, the deeply entrenched patriarchal systems in both timelines negate this power in favour of the male voice (12) . Ziegler’s play asserts that Rosalind’s 'groundbreaking work' should 'cement her place in history', and aims to give her recognition from a relatively more progressive, feminist society. Atwood’s conclusion also is representative of giving women more recognition for their achievements, like giving credit for Penelope’s 'intelligence' as an esteemed character trait in contemporary society. Both characters cast doubt over the previously revered male heroes in both texts, and further criticise the lack of female representation in those heroic stories. In conveying both Penelope and Rosalind’s stories, the authors call for a further critique of past and future accounts of human achievement. 

‍ Annotations (12) In this conclusion, I have chosen to focus on comparing the authorial intentions of Atwood and Ziegler in relation to the topic. In doing so, it can summarise my contention that I introduced earlier in the essay. By starting my conclusion with an overall statement regarding the ending of the two texts, I draw on the readers’ preexisting ideas of how they felt at the end of each narrative.

If you’re studying Photograph 51 and My Brilliant Career, check out our Killer Comparative Guide to learn everything you need to know to ace this assessment.

From year 7-10 the traditional essays we have written have had an introduction, three body paragraphs and a conclusion. In these essays we write about characters, plot points and themes. Hence, it is understandable that upon entering English Language in year 11 or 12, it can be difficult to grasp a hold on how to write an essay without characters, plots or themes. To be precise, the requirement in an English Language essay is to ‘use key linguistic concepts and metalanguage appropriately to discuss/analyse/investigate…in an objective and systematic way” (English Language Study Design) .

What does this mean?

Essentially, in section C of the exam, you are required to present a discussion of a given idea. The word ‘discussion’ is defined as ‘a conversation or debate about a specific topic.’ In this sense, your essay is effectively a written conversation which needs to display an understanding of both sides of the topic.

In saying that, it is still important to form a contention, such as ‘indeed non-standard varieties are more acceptable in speaking than in writing in the Australian context’ however in arguing this contention, you must to explore both sides to show the examiner your understanding of language in Australian society.

The overarching idea of the essay is presented to you in the form of a prompt. For example, in the 2016 VCAA exam, a possible essay prompt given was: “In Australia today, variations from the standard tends to be more acceptable in speaking than in writing.”

In this prompt, the idea to be discussed is standard vs. non-standard Australian English. The main idea or topic forms an umbrella under which the essay is formed. This is the foundation of your essay. Each main argument will relate to this topic. In this example, standard vs non-standard Australian English is a topic from which an array of sub-topics can be extracted, the choice of which is to your discretion.

The sub-topics you choose to delve into will depend on your preferences and strengths. You may choose to discuss online-speak, ethnolects or Australian slang in relation to non-standard English, or legal and political jargon in relation to standard English.

Regardless of the choice of sub-topic, each body paragraph must explicitly link to three things; the prompt, the topic sentence and the contention. This is the criteria for your discussion. Ensuring clear links to these three will assure the examiner that you have confidence in the material you are discussing.

Your body paragraphs should be used to show the examiner how the ideas you have chosen to talk about relate to the prompt provided. Here it is necessary to use a combination of contemporary media examples, personal examples and linguist quotes as a means to prove the link between your chosen paragraph idea, your contention and the prompt. Try to find the most relevant examples which clearly demonstrate your line of thinking to the examiner. You don’t want to give them a reason to question the arguments you choose to present.

It is also important to be wary of this so that your essay flows in an orderly, sequential manner. Each idea presented within a paragraph and across the essay itself should follow a pathway, one leading into another. Use the ending of each body paragraph to come back to your essay prompt and reiterate your contention. This ensures you stay on topic and the examiner can clearly visualize your understanding of your topic.

In the end, your job in your essay is to present a discussion of a given prompt; an understanding of both sides. Use examples and explanations to show your examiner that you comprehend how the prompt can be debated.

Helpful Hints:

• Writing the very first sentence of your essay can be difficult. Sometimes, to get yourself into the flow of writing, it can be helpful to integrate a linguistic quote into your first sentence. This also helps solidify your contention. For example:
• “One’s idiolect, particularly lexical choices and accent can be strongly indicative of their unique identity and the social groups to which they belong; it is the most natural badge of symbol of public and private identity (David Crystal)”
• Your topic sentence for each paragraph should contain a link to the essay prompt, to the topic of your paragraph and to your contention. A link to all three elements should be identifiable. Below is an example of a topic sentence for the given essay prompt. “The language we use is the best indicator of who we are, individually, socially and culturally. Discuss.”
• Ethnolects are a quintessential indicator of cultural identity as they are strongly identifiable by their unique phonological characteristics.
• This topic sentence shows a clear identification of the topic of the paragraph (ethnolects), a connection with the prompt, (cultural belonging) and a contention, (ethnolects are indeed indicative of cultural identity)
• Rather than introducing linguist quotes with expressions such as “in the words of…” or “as said by…” using linguist quotes discretely where they are integrated as part of the sentence will improve the flow of your essay. Consider this example.
• “The use of the interjectory ‘reh’ expresses the cultural identity individuals associate themselves with and is part of the language they use as ‘a means to an end of understanding who [they] are and what society is like (David Crystal).”
• Not all your contemporary essay examples need to come from news articles or social media. Students can often get caught up doing aimless research trying to find examples through research which really isn’t all that necessary. You should try to find examples of language use in every-day life. Perhaps consider other school subjects you study and the jargon you used within these subjects. You can quite easily discuss this use of language in your essays. Here is an example of a student using the metalanguage from VCE Accounting as an example for their essay.
• Jargon and taboo language are often used to express social identity as they are demonstrative of social groups one wishes to belong to. Jargon terms such as, ‘equity,’ ‘profit margin’, ‘cash flow statement,’ ‘debt ratio’ and ‘accrued’ belong to the financial and accounting semantic field. Their use suggests the individual is knowledgeable in business and finance and further suggests they are likely to be working in the business sector. The use of jargon in one’s vernacular can therefore provide hints of the individual’s social identity and is significant to their individual identity.

Link to David Crystal interviews to pick out quotes and ideas for your essays:

Link to Kate Burridge on TED Talk talking about Euphemisms; a good source for examples of euphemisms and how they are used in society. This can be used as foundation for a paragraph in your essays:

‍ 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!

Creative Responses in VCE Literature

This was my favourite SAC in Literature; it allows so much creative freedom in creating and recreating a literary work. When else will you be able to depart from the (admittedly rather boring) standard essay structure?!

In your adaptations and transformations SAC (see my blog post about this literature assessment  here !), you learnt how the  meaning  of the text changed as the form changed. Here’s  your  opportunity to change the meaning of the text, maybe emphasising a particular thematic idea, or perhaps recreating a completely new perspective. Remember – you have almost complete creative licence in this assessment…use it to your advantage!

But don’t forget that the most important part of this task is that you must have a  highly convincing connection between the original text and your creative response . There must be a tangible relationship present, through an in-depth understanding of the original text’s features. These features include characterisation (what motivates these characters), setting, context, narrative structure, tone and writing/film style. Establishing a clear nexus between the original text and your creative piece does not mean you need to replicate everything of the text; you can stylistically choose to reject or contrast elements of the original text – as long as these choices are deliberate and unambiguous. Therefore, your creative response must demonstrate that you read your original text closely and perceptively by acknowledging these features of the text.

You can establish this relationship by:

• Adopting or resisting the same genre as the original text : e.g. an epistolary genre (written in letters) – do letters make an appearance in your text? Is that something you want to highlight? What about writing a monologue or a script if the text is a film or a play?
• Adopting or resisting the author’s writing/language style : does your writer characteristically write plainly or with great descriptive detail? What about irony or humour? Consider the length and style of sentences. Are there frequent uses of symbols or metaphors?
• Adopting or resisting the text’s point of view : do you want to draw readers’ attention to another thematic idea that was not explored in the original text? Will you align with the author’s views and values or will you oppose them? (See my views and values blogpost here!)
• Adopting or resisting the original setting, narrative structure or tone
• Writing through a peripheral character’s perspective : give a voice to a minor character that didn’t have a detailed backstory. Find a gap in the text and create and new perspective.
• Developing a prologue, epilogue or another chapter/scene : what new insight can you add with this addition and extension of the text? It must add something new – otherwise it is a redundant addition.
• Rewriting a key event/scene from another character’s point of view : does this highlight how important narrative perspective is?
• Recontextualising the original text : by putting the same story or characters into a completely different context, for example in the 21st century with technology, how does the meaning change in the narrative?

I chose to write a creative piece from the perspective of an inanimate object that followed the protagonist’s journey throughout the entire film, providing an unexpected point of view of the text. Be original and most importantly, enjoy it!

If you're doing a creative piece - whether for English or Literature - you'll find the following blogs super helpful:

The Ultimate Guide to VCE Creative Writing

‍ 5-Step Recipe for Creative Writing

How To Achieve A+ in Creative Writing (Reading and Creating)

The Erratics is usually studied in the Australian curriculum as a Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Within the intimate Albertan landscape of her memoir, The Erratics , author Vicki Laveau-Harvie guides her readers through the inhospitable terrain that marked her family environment. Laveau-Harvie’s memoir is complex, showcasing the complicated dynamics that arise within her dysfunctional family. Understanding the ideas and values that underpin these family tensions is crucial to scoring well in The Erratics , which is why this blog will break down the key themes and quotes to help you analyse the memoir. 

Family & Trauma

Truth & perspective, choice & agency.

Family lies at the heart of The Erratics . Both sisters spent their childhoods navigating the hostile familial setting fostered by their mother’s turbulent behaviour, resulting in a profound trauma that manifests itself in their present lives. The ways in which they manage this trauma, whilst reestablishing a connection with their family, is a core aspect of Laveau-Harvie’s memoir. 

‍ ‘We’ve been disowned and disinherited…When something bad happens to them, we’ll know soon enough and we’ll deal with it together. I don’t realise at the time, but when I say that, I imply care. I imply there may be something to salvage. I misspeak. But I’m flying there anyhow. So is my sister. Blood calls to blood. What can I tell you?’ (p. 17) 

From the outset, Laveau-Harvie asserts the underlying tension of her memoir. Having established her mother to be as ‘mad as a meat-axe’ in the first chapter, the reader may find Laveau-Harvie’s decision to return to Canada bizarre, to say the least. However, for Vicki the choice makes sense, having promised her sister that she will return to support her when ‘something bad happens’. 

Laveau-Harvie suggests that people cannot completely separate themselves from their blood relations, and that most importantly, a moral obligation to one’s family and self-preservation are not mutually exclusive. Rather, she suggests that there exists a ‘precarious balance’ between these commitments and that one’s family cannot be ignored in times of need, because, ultimately, ‘blood calls to blood’. 

‍ ‘...everybody knows a family Christmas will always go badly, that even the most extremely lowered family expectations will not be met. Magazines publish the same articles…year after year, on why we harbour these wildly unrealistic expectations of family unity.’ (p. 54)

Laveau-Harvie challenges the ‘wildly unrealistic expectations’ of familial culture depicted in countless generations of Canadian magazines. She uses the imagery of a ‘family Christmas…go[ing] badly’ to dismantle the idea of a traditionally wholesome festive season, suggesting that such compassion is inaccessible in the presence of her mother’s ‘mercurial’ personality.

Additionally, Laveau-Harvie’s insistence that ‘everybody knows a family Christmas will always go badly’ is immediately juxtaposed by the gracious dinner she shares with her friends. Laveau-Harvie appreciates how they ‘light up their properties in such joyous fashion’ relative to the ‘Hotel California’ her parents reside in. Thus, Laveau-Harvie invites her readers to reflect upon the value she places on this fulfilment of familial duty; how all it takes is an act of selfless humanity to restore (to some extent) the vision that ‘family unity’ is not ‘unrealistic’, but rather, completely possible. 

‍ '...the giant Douglas fir…It has prospered, cutting off the view of the Rockies…even though it should have never flourished…The tree is full of tiny birds, red-breasted nuthatches who live in it year-round…' (p. 42)

Laveau-Harvie uses the Douglas fir as a symbol of survival, emblematic of the extraordinary circumstances under which she was able to 'flourish'. Laveau-Harvie recounts her numerous travels throughout the memoir – Canada, Australia and Hong Kong – her decision to 'opt for geography' acting as a means of self-preservation, placing distance between herself and her family (in particular, her mother). It is made clear from the prologue that the Okotoks Erratic foothills, also called the Rockies, are a motif for the indomitable presence of the mother ( see here for more on setting in The Erratics ) from which Laveau-Harvie escapes.

Hence when the Douglas fir is described to have '[cut] off the view of the Rockies' it conveys Laveau-Harvie’s success in physically removing herself from the hostile family setting she was trapped in. However, note that Laveau-Harvie’s geographical location does not relieve her of her trauma – she openly explains how she 'walk[s] like an invalid through life'. Regardless of this, Laveau-Harvie 'prosper[s]…even though [she] should have never flourished', parenting kind and compassionate children ('tiny birds') of her own despite the immeasurable anguish she endured during her own childhood. Thus, Laveau-Harvie demonstrates the capacity to break a vicious cycle of trauma created by her mother, instead using her own 'principle of pre-emptive karma' to limit passing on her grief.

A reflection of a specific six-year period of her life, Laveau-Harvie uses her memoir to explore the multifaceted nature of truth, how a shared experience can give rise to varying perspectives and responses. An intimate piece of storytelling in its own right, The Erratics is a platform from which Laveau-Harvie urges the reader to discover their own truth, whilst cherishing a balanced view of reality 

‍ 'This is not untrue. My sister feels differently. She has her truth and I have mine but she isn’t the one doing the talking right now.' (p. 12)

Consistently throughout The Erratics , Laveau-Harvie emphasises the differences between the sisters, and the varying extents to which their past trauma has affected and damaged them. She suggests that despite a shared upbringing, with the same malignant presence of their mother, one’s perspective is unique to the individual. It also raises discussion about the truth the reader is presented in the memoir. As the author, Laveau-Harvie guides her readership through events as they pertain to her memory - the subjectivity of her memoir is something Laveau-Harvie openly admits to her readers. 

Regardless, there are clear distinctions between how the sisters respond to their trauma. The sister struggles to 'negate a past that haunts her', feeling 'the blows of the past continuously in her present'. Conversely, Laveau-Harvie’s past 'is not merely faded…it’s not there', with many of her memories repressed to help her survive her anguish. Thus, Laveau-Harvie affirms how one’s response to trauma is dependent on the individual, how one’s truth is often adapted to their needs in order to survive. 

‍ 'The aurora borealis are fading. Well, he says, show’s over. Gotta see a man about a dog. You should move on too. You’ll have more scope now, for the good stuff. He waves his arm. Wider view, he says. Farther reach. But only for the good stuff.' (p. 217)

Bookending her memoir with the geological construction and spiritual origins of the Okotoks Erratic foothills, Laveau-Harvie ultimately uses her memoir as a reflective process that helps her find 'closure' towards her mother’s legacy. Initially conveying her mother’s menace through the 'danger' of the Rockies, Laveau-Harvie’s connection with the Albertan landscape helps her see hope within the 'landscape of uncommon beauty'. Her mother’s life 'tainted' by mental illness, Laveau-Harvie comes to an understanding that her behaviour, much like the harshness of the Canadian winter, was 'nothing personal'. Thus, upon her mother’s death, Laveau-Harvie crafts an intimate interaction between her mother and Napi the Trickster, closing her memoir with the hopeful wish that her mother now lives a life with 'wider view…farther reach…but only for the good stuff'. Hence, in a final act of forgiveness, Laveau-Harvie honours the life of her mother, whose potential was tarnished by mental illness. 

‍ 'My sister says her suburb is working-class; she also tells me that she considers herself working-class…I try to make her see that we have sprung desperately from a violently aspirational upper-middle-class background, and that I see that as part of the greater malaise we live with.' (p. 186)

Laveau-Harvie continues to emphasise the differences between her and her sister, with one focus being how their values have developed in response to their trauma. There is a clear difference between the sisters when they discuss their definitions of ‘working-class’; the sister argues that she and her suburb are working-class, defined by 'having a job'. Contrastingly, Laveau-Harvie 'tr[ies] to make her see that [they] have sprung…from a violently aspirational upper-middle-class background', and expresses some concern towards her societal status being 'part of the greater malaise [they] live with'. 

The sister chooses to identify as 'working-class', thereby highlighting how her parent’s obsession with the accumulation of material wealth has influenced her perception of class and privilege. Amassing an 'impressive wall of properties', the sister parallels her father’s 'pride…at the sight of watching his wife spend big'. On the other hand, Laveau-Harvie openly acknowledges her family’s privilege but instead perceives it as a 'malaise' and chooses to separate herself from any degree of avarice. Thus, the reader is invited to reflect upon the differences between the sisters’ perspectives, how the sister may still be in thrall to her parent’s values, whereas Laveau-Harvie’s sense of self is inextricably linked to the natural landscape over material possessions. 

Many characters that feature in Laveau-Harvie’s memoir are elderly, and experience a unique set of challenges that only comes with the ageing process. The mother and the father, for example, both endure deteriorating health conditions that compromise their independence and autonomy. As such, Laveau-Harvie offers an interesting insight into what it’s like to observe and deal with ageing parents who struggle to accept the limits of their age. 

‍ 'My father is looking far away, back in a moment when life was excitement and danger and possibilities…’ (p. 91)

Laveau-Harvie’s father often finds himself reminiscing over his past, reflecting on war-time memories or the wealth he accumulated from his work in the oil industry. Although, Laveau-Harvie does suggest to her readers that these stories become more exaggerated each time they are told, highlighting the difficulty the father has in coping with his ageing body. Laveau-Harvie illustrates how the ageing process inevitably incurs a loss of independence and autonomy, and uses the characterisation of her father to emphasise the challenge of reconciling with this isolating experience. 

By 'looking far away, back in a moment when life was excitement and danger and possibilities', Vicki’s father uses his memories to retain the feeling that 'he’s twenty and bullet-proof'. Reminiscing over his act of heroism during the war, the father commends himself for the 'precise calculations' that enabled him and his copilot to perform a 'remarkable manoeuvre'. Thus Laveau-Harvue uses this hyperbolic description of her father’s story to reveal how elderly people must often depend upon their past memories to maintain a sense of autonomy in the present. 

Laveau-Harvie suggests that elderly individuals such as her father must 'confront the real' in accepting that the ageing process will physically hinder their independence, leaving them to feel rejected by their own bodies. Hence, Laveau-Harvie exposes her readers to how the ageing process can be an inherently challenging experience for elderly individuals to accept. 

‍ 'It happens, they say. With older people They come to, and a whole married life of disappointment and bitterness slips out, like an organ escaping an incision, like a balloon filled with acid. It bursts on impact, burning holes in their spouses’ clothing and leaving little round scars on their flesh that never heal completely.' (p. 19)

There are many marriages and long-term relationships mentioned throughout the memoir: the mother and the father, the aunt and the uncle and the sister and her partner. Even Laveau-Harvie herself is divorced from 'the father of [her] children'. Laveau-Harvie acknowledges the difficulty in maintaining these types of relationships; how they are often marked by histories that invariably include events that are never resolved or forgiven. Laveau-Harvie explores this notion through her use of metaphor, likening the 'bitterness' of unresolved conflict to 'a balloon filled with acid…burst[ing] on impact'. Here, she asserts the importance of forgiveness in a long-term relationship, affirming its capacity to maintain and restore compassion, love and empathy. 

Moreover, Laveau-Harvie suggests that in the absence of forgiveness, marital conflicts are left to foster 'disappointment and bitterness' that is released when people enter elderly life. Laveau-Harvie conveys how the 'burning holes' in a long-term relationship can compromise its stability, leaving 'little round scars…that never heal completely' - thereby reinforcing the feelings of isolation and despondency endured by The Erratic ’s elderly characters. Thus, Laveau-Harvie reinforces the value of forgiveness, how a willingness to empathise with a partner, especially early in a relationship, can minimise the 'bitterness' experienced when one ages. 

‍ 'We’re like the king and the queen, my uncle says, every time we see any of them, whenever they visit. Like the king and the queen. They smile at the fullness of their life: love and problems, success and loss, pride and a hefty measure of grief. A well-worn life fully lived, perspectives widening with each new baby, blossoming like one of those paper flower buds that unfold into unexpected beauty when you plunge them into water. ' (p. 86) 

With Laveau-Harvie’s parents at the forefront of the memoir, it seemingly appears that she depicts only a grim image of old age. Whilst she does offer these insights, Laveau-Harvie also portrays the emotionally rich and satisfying life lived by her ageing aunt and uncle. 'Smil[ing] at the fullness of their life', the aunt and the uncle 'peer endearingly' over their extended family. Their 'perspectives widening with each new baby', Laveau-Harvie also uses the virtuous imagery of her aunt and uncle to emphasise the value of an emotionally rich elderly life. 

Metaphorically referred to as 'the king and the queen', Laveau-Harvie uses the connotations of royalty imbued in this metaphor to emphasise the richness of a life spent in a nurturing family environment, where widening perspectives help ageing individuals find a 'fullness' in their life despite the 'hefty measure of grief' endured. Thus, Laveau-Harvie juxtaposes her aunt and uncle’s willingness to engage with family against her parent’s 'disown[ment] and disinherit[ment]' of their daughters. 

Throughout their lives, the sisters have suffered immeasurable trauma at the hands of their parent’s decisions. Yet, despite this, the two daughters demonstrate that they possess a strength of character capable of making the most difficult of decisions. Laveau-Harvie explores the significance of employing one’s agency in reconnecting with, and restoring, familial relationships. 

‍ 'It means always try to do the decent thing, the rational thing, the selfless thing, the boring thing, because then you won’t have to beat yourself up with guilt until your early stress-induced death…Do nothing you know you will live to regret.' (p. 80)

'Tattoo[ed]' 'on the corner of [her] soul', the philosophy to live without regret is permanently engrained as part of Laveau-Harvie’s character, a testament to the integrity she holds that allows her to make the difficult decision to return to Canada and reconcile with her trauma. Laveau-Harvie fully understands the challenges, and even dangers, she would be facing upon her return. Despite having been disinherited two decades prior, and entirely aware of her mother’s volatility, Laveau-Harvie ultimately chooses to use her agency and confront, reconcile and heal from her past.

Interestingly, Laveau-Harvie’s sister also exhibits similar behaviour. When her mother is hospitalised, the sister also returns to Alberta; she takes upon herself several responsibilities involving the cleaning and organising of her parent’s house (which ultimately risks her life as she triggers an angioedema attack). This therefore invites the reader to reflect upon the sister’s willingness to do 'the selfless thing[s]' necessary to help her family; and perhaps suggests that to live with no regrets is a philosophy shared by two sisters 'petrified by grief'. 

‍ 'I reminded her that Dad went along with my mother in disinheriting us, removing any right we had to help him in his old age; that, most hurtfully of all, he believed everything she told him about us, even though he now holds other views. It is as a result of his own inability to act that he now barely has a connection with us and has none whatsoever with his grandchildren.' (p. 187)

When the reader is first introduced to the father, they are met with the imagery of a frail old man suffering from a starvation diet enforced by his cruel and narcissistic wife. However, as the memoir progresses, Laveau-Harvie limits the reader’s sympathy towards her father, who she instead affirms is a victim of his own design. Laveau-Harvie holds her father accountable for the passiveness that perpetuated the mother’s unpredictable behaviour. Illustrating how her father 'went along with [the] mother in disinheriting' herself and her sister, Laveau-Harvie challenges the extent to which her father’s intervention could have mitigated the devastating 'swathe of misery' cast by the mother. Therefore, Laveau-Harvie asserts the power of one’s voice, suggesting that had her father employed his agency then perhaps the extent of his daughters’ trauma could have been minimised. 

‍ 'There are the dangers and difficulties you summon up the courage to deal with physically, every day, in the lab or the forest, and then there are the blows that fall from the air, unseen, unpredictable, but nonetheless brutal and crippling. Confronting the real makes you a person of substance; fending off the invisible light that always blindsides you makes you Chicken Little, hoping to absorb a little warmth from the lights on the tree.' (p. 65)

'Confronting the real', Laveau-Harvie demonstrates that to begin the healing process and reconcile with the past, one must make the difficult choice to 'summon up the courage to deal with…the blow that fall from the air'. Upon her return to Canada, Laveau-Harvie faces the 'unseen' and 'unpredictable' challenges her mother has imposed. She deals with the web of lies spun by her mother, the bureaucracy of the hospital workers and her starved father’s declining health. However, despite the overwhelming trauma of her past and the challenge of being reunited with her parents, Laveau-Harvie ultimately chooses to use her agency and 'confront the real', enduring the 'brutal and crippling' blows along the way. 

Want to dive deeper into this text? Check out our blog post on Understanding the Symbolic Nature of Setting in The Erratics. 

This blog was updated on 21/10/2020.

2. Background

4. Chapter 1 Plot and Analysis

7. Sample Essay Topics

8. Essay Topic Breakdown

The Secret River is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

The Secret River is a historical novel telling the story of William Thornhill, a poor Englishman from the early 19th century who was deported and transported to New South Wales, Australia in 1806 for theft. This novel tells the story of Australia's founding and the moral choices made when  Europeans colonised land that was already inhabited by Aboriginal people.

During 18th century to mid 19th century, 162,000 men and women were transported to Australia, with majority from England. These people, known as ‘convicts’, had committed crimes such as larceny and robbery – acts which were considered severe offenses and demanded heavy sentences. In order to deal with the overwhelming masses of criminals, the government exported crowds of convicts to Australia to serve their term as labourers. The reason driving the deportation included an attempt to decrease poverty and crime in England while concurrently developing the British colony in Australia.

Many of the fleets from England were destined for New South Wales, Australia. Those on the fleets included the criminals, marines, and their families. Living in a penal colony, the criminals were employed depending on their various skills: farmer, boatman, servant etc. The settlers were award a ‘ticket of leave’ if they presented good behaviour during labour. This meant that settlers would become emancipists, where they were set free from the government’s sentence and could begin a life for themselves by making their own living. This suited the government’s goal for a successful and thriving colony since it would only be possible if people were to work for themselves, and not under the terrain of the government.

Although Australia was chiefly populated with Indigenous Australians, the first century of colonisation saw a drastic decline in their population. This was due to a clash of desire for the land; the native’s innate protection of their land and the white settlers struggle to declare their right to an area already inhibited by natives – possibly for 40,000 years. The two cultures failed to ever create a peace agreement or compensation and as a result, the frontier was often marked with blood. Overtime, a successful of the British colony meant that white settlement overpowered any possibility of the natives retaining their land. The Secret River’s exploration of this powerful change in Australia’s history is a poignant reflection of the past, and demands attention to the sensitive issue of Australian and native relationship that is still present today.

Set during the early 19th century. Located in London, Sydney and on the Hawkesbury.

Chapter 1: Strangers

The Alexander , a transport ship for convicts has reached New South Wales, Australia after a travelling across the world for majority of the year. William Thornhill, an Englishman convicted to sentence his ‘natural life in the Year of Our Lord eighteen hundred and six’ [pg 3] will serve as a labourer.

During his first night in New South Wales, where their homes are ‘only a flap of bark, a screen of sticks and mud,’ Thornhill digested the new land with its ‘rich dank smells…restless water…no Pole star’; an environment vastly differentiated from England. The unfamiliar situation is overwhelming as ‘he had not cried, not for thirty years….but now his throat was thickening.’ In his despair, Thornhill describes how being sentenced to New South Wales could potentially be worse than dying itself.

Initially, Thornhill believed his tears are clouding his vision since the ‘darkness moved in front of him’ [pg 5]. However, he then realised that a human, ‘as black as the air itself’ stood before him. The unusual appearance of this human struck Thornhill since ‘his skin swallowed the light…[and] eyes were set so deeply into the skull.’ Although clothed, Thornhill ironically felt ‘skinless’ against the other who was completely naked and holding a spear. Thornhill repeatedly demanded that the man ‘be off’, for fear of his family and himself being attacked. Despite his shouting, this only impelled the man to move closer to the point where they almost touched. The ‘black man’ [pg 6] reproduced ‘be off’ in Thornhill’s exact tone. While Thornhill’s fear of this strange human is prominent, he grappled the strength to exert a bold, intrepid veneer, as ‘he was not about to surrender to any naked black man’. When he glanced back to his wife and children however, the man promptly disappeared, leaving only the darkness behind. Thornhill returned to his hut where he laid back down to rest yet ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh.’

Environmental / Landscape conflict

For Thornhill, who has spent a lifetime in England, the confrontation of a new environment evokes a powerful sense of unfamiliarity. The unknown land presents him with various intrapersonal conflicts, one of which is the difference between England and Australian stars. While the physical distance of this new land from Thornhill’s home is demonstrated by the lack of a ‘Pole Star, a friend to guide him on the Thames, [and] no Bear that he had known all his life,’ [pg 4] the unrecognisable stars above Australia only depict a ‘blaze, unreadable, [and] indifferent.’ His conflict demonstrates his physical and emotional distance from Thames, a place he grown up surrounded by compared to Australia, where learning begins from the very basics, as shown when he absorbs the natural landscape around him. The night described as ‘huge and damp, flowing in and bringing with it the sounds of its own life’ [pg 3] highlights how the Australian land is unique, possessing qualities of existence.

Thornhill’s sense of negligence in the vast forest that continues ‘mile after mile’ is illustrated through the imagery of the ‘trees [which] stood tall over him,’ depicting that nature is a powerful and dominant force over the Europeans. While the trees render him insignificant, it also demonstrates his alienation from the environment. The ‘Alexander,’ a common traditional English name, represents an intrusion of the Europeans onto the Australian land, further highlighting the idea that they do not belong on this island.

The Australian land is depicted to be harsh and unforgiving, as highlighted through the imagery of ‘dirt chill...sharp stab...alien stars' [pg 4] This conflict with the brutal landscape, along with the unknown leaves Thornhill apprehensive of what is to come. His feeling that he was ‘nothing more than a flea on the side of some enormous quiet creature’ [pg 4] depicts the Australian land almost like a monster. Additionally, the words ‘restless’ draw to the idea that the land is at discomfort or uneasy to have new inhabitants.

Racial/Cultural conflict

The conflict between two cultures is shown through the initial encounter between Thornhill and an Indigenous Australian. Without any conversation, the tension between the two is clear, merely through their actions in each other’s prescence. Thornhill notes the Aboriginal male’s tattoos, yet regards them as ‘scars’ since he is unaware to their culture. Even before this man, Thornhill is still infused with a sense of nakedness because of his unfamiliarity.  His feeling that ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh’ highlights the tension of his first encounter of an Australian Aboriginal while it also foreshadows a suffering and anguish for his time ahead.

If you'd like to see the all Chapter plots, their analysis, along with important quotes, then have a look at our The Secret River Study Guide .

Conflict with land quotes

“Now it had fetched up at the end of the earth.” [pg 3]

“…this prison whose bars were ten thousand miles of water.” [pg 3]

“foreign darkness” [pg 3]

“…soughing of the forest, mile after mile.” [pg 3]

“He was nothing more than a flea on the side of some enormous quiet creature.” [pg 4]

Thornhill’s inner conflict quotes

“He had not cried, not for thirty years, not since he was a hungry child to young to know that crying did not fill your belly.” [pg 4]

“But every muscle was tensed, anticipating the shock in his neck or his belly, his hand going to the place, the cold moment of finding that unforgiving thing in his flesh.” [pg 6]

Racism quotes

“It took a moment to understand that the stirring was a human, as black as the air itself.” [pg 5]

“Clothed as he was, Thornhill felt skinless as a maggot.” [pg 5]

“This was a kind of madness, as if a dog were to bark in English.” [pg 6]

“He was not about to surrender them to any naked black man.” [pg 6]

Sample Essay Topics

1. William Thornhill is more worthy of our respect than our reprehension. Do you agree?

2. How does Kate Grenville explore hierarchy?

3. How does The Secret River’s symbolism enhance its exploration of alienation?

4. “Fear could slip unnoticed into anger, as if they were one and the same.” The Thornhills’ anger is valid. To what extent do you agree?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our The Secret River Study Guide to practice writing essays using the analysis you've learnt in this blog!

Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Theme-Based essay prompt: T he Secret River depicts many layers of conflict, within but also between its key characters. Discuss

The key term of this prompt is conflict , but I think it’s also important to analyse how it’s discussed—as something that exists in layers , and something that can happen both within and between characters. This seems to hint at the idea that conflict can be internal—that is a single character can feel conflicted about something—as well as external—that is two or more characters can have some kind of dispute. This prompt will require us to think about all these different types of conflict. 

Let’s start with the most internal layer—conflicts with the self. In terms of key characters, consider William but also Sal: what debates do they have with themselves, or what do they say or do that shows they feel conflicted or unsure about something?  

Then, let’s broaden that out to interpersonal conflicts between characters. How do William and Sal, for example, come into conflict with their neighbours—both their white neighbours and their Aboriginal neighbours? How do they come into conflict with each other, even?

Maybe it’s worth separating the racial conflict into another category—conflicts between groups of characters, rather than individual characters. If we make this distinction, we need to be prepared to back it up—in what ways is this conflict of a different nature?

Step 3: Create a plan

I think we can pretty justifiably separate out our layers of conflict into those categories: interpersonal, interpersonal and interracial. This gives us three neat(-ish) paragraphs and a clear, affirmative contention: yes, there are many layers of conflict, and those are the three layers. 

P1: At its most intimate layer, conflict is internal—the moral dilemmas of William and Sal are particularly strong examples.

P2: Conflict can also be interpersonal—we can see this between William and Dan, or William and his neighbours, or between William and Sal even. It’s up to you which way you cut this paragraph.

P3: However, perhaps the central conflict that the novel is built around is interracial conflict between white colonisers and the Aboriginal people whose land they occupied. To extend the prompt a little, we can talk about conflict not just between characters or people, but also between value systems. For example, the way colonisers saw land and property were fundamentally incompatible with how Aboriginal people saw it—this is another type of conflict.

In this sense, we’re largely agreeing with the prompt, backing up the distinction between interpersonal and interracial conflict, and finding a way to extend on it a little towards the end. We can build this into the contention as well: there are many layers of conflict, but they occur not just between characters. They can also exist between the broad cultural values of entire groups of people as well. 

If you find this essay breakdown helpful, then you might want to check out our The Secret River Study Guide where we cover 5 A+ sample essays (written by a 50 study scorer!) with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

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Contention and Topic Sentences

We are well into the second half of Semester 1 and for Year 12 students, the Mt Everest that is the final English examination is approximately 6 months away. Though most students are at this stage comfortable with the text response aspect of English, many tend to struggle with the notion of “answering the prompt”.

When working to correct this issue, it is important to understand the VCAA English Study Design brief for text response which outlines its examination criteria as being:

• detailed knowledge and understanding of the selected text, demonstrated appropriately  in response to the task
• development in the writing of a coherent and effective structure  in response to the task
• control in the use of expressive and effective language  appropriate to the task .

To find out more about how to satisfy the VCAA criteria in your Text Response, as well as a sample essay doing so, check out our Ultimate Guide to VCE Text Response .

The importance of answering the prompt is stressed in each of the 3 listed points in the rubric which share the common theme of following the assigned task. In order to construct an essay which successfully answers the prompt, one must be conscious of  the relationship between the prompt assigned, their stated contention and the topic sentences they provide.

Prompts for Section A are divided into one of five categories. To learn more about LSG's Five Types Technique, check out our blog .

The first thing one should do when presented with a prompt is analyse it by identifying the keywords of the prompt and clarifying all the key terms. Once this has been done, it is time to  formulate a contention. 

A  contention is simply your view of the prompt . This is where you challenge the statement presented to you and construct a viewpoint outlining the degree to which you are in agreement or disagreement with the prompt or if you are sitting on the fence. It is vital to do this not by blatantly rewording the prompt to display your stance, instead you must observe the prompt and construct an assessment of the prompt by drawing from the text to confirm your contention. It is through  your contention that your points of discussion detailed in your topic sentences are formed.

Points to remember:

• do not explicitly say “I agree” or “I disagree”
• rather demonstrate how you feel (and thus how you are going to write) by using the text to highlight your opinion of the prompt
• use your contention as “umbrella” from which your body paragraph ideas fall under

The next step in developing your essay response is to  settle on what points to make in your body paragraphs and  write topic sentences . Topic sentences outline the content you will be presenting to your teacher or examiner in the particular body paragraph. A good topic sentence should detail an idea that can be  drawn from your contention.  A habit some students carry into Year 12 from earlier years of essay writing is to write body paragraphs solely on characters and in turn writing a topic sentence stating which character they will write about in that paragraph. Rather than doing this,  focus on the context, themes, symbols and conventions  particular character(s) feature in throughout the text.

• ensure your topic sentence clearly indicates what you will discuss in your paragraph
• check to make sure your topic sentence is an idea that stems from your contention
• avoid character based topic sentences and focus on the themes these characters are utilised to explore

The key to adhering to the prompt presented to you is f orming a relationship between the material given to you, your adopted contention and the topic sentences  which headline your evidence and justification.  Think of the prompt  as the avenue through which to form your overall stance.  Your contention  is the basis of the entirety of your essay.  Your topic sentences  are opening statements written with the purpose of helping you develop a discussion that follows your contention that is in relation to the prompt. When your text response has evidence of this not only will you present an essay that closely addresses the prompt, but your work will reflect  your thoughts,  in a manner which efficiently enables you to show off your skills.

Whenever you write anything, whether it be a creative piece, a text essay or a literature discussion, keep these four words in mind:

Simple language, complex ideas.

It seems a basic concept, and at the heart of it, it is! But these four words hold the key to unlocking your English potential. 

To write at your own personal best, you need to utilise the language that you are familiar with. This way, you won’t confuse yourself, and as an extension, the marker too!

Writing clearly and precisely is a skill that all academics can improve on, so how do we outdo ourselves? It’s really quite simple. 

Whenever you write, choose words familiar to you. Searching for longer and more complex words can be dangerous. Rather for the simple word, the word that can be universally understood. When you truly understand the language you use, you then have the power to explore your arguments with far more efficiency.

Of course, with progression of writing comes an increase of sophistication, but do not let this be your goal. Rather, aim to allow your vocabulary to increase organically, looking up definitions when and where you need to. Expression is a facet of writing that every person can improve on, so why overcomplicate your task?

Next time you write anything, consciously focus upon how you express your argument, point of view or analysis. Often, you will find, the simplest word can be the most effective!

So, what about the complex part? This too will grow organically. Find a concept, idea or theme that you understand, and simplify it through the best language you can think of. This way, you ensure that nothing becomes lost in translation, and you demonstrate clearly to the marker that you understand the core of your topic. Next, find another idea, this time of a greater complexity. Break it down and put it into your own words. Over time, you will not only build a concise and accurate writing style, but you will also learn your arguments intimately. You can never go wrong!

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