English booklet 2012.Vce pdf

VCE English Kristina Bonfiglio et al.

Tuesday, 25 September 2012

SWOT 2012 VCE English

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CONTENTS Lecture 1 – Pavitra Raja Language Analysis Page 3 Lecture 2 – Kristina Bonfiglio Text Response Page 18 Lecture 3 – Vellyna Sumarno Writing in Context Page 24


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Area of Study 1: Language Analysis

Analysis of Language Use (Using Language to Persuade)

The task The Language Analysis task in the end-of-year English Exam is unlike any other part of the

exam. Your first encounter with the text you will be analysing will be when you sit down and

read it in the actual exam, and it will be at that same time when you begin to map out exactly

how you plan to structure your analysis. As is the case with the other two sections of the

exam, Language Analysis does not provide students with the opportunity to memorise

responses and re-write them in the exam. Yet year after year, a small number continue to

produce stunning pieces of work that have very little to do with the text that they are to

analyse.

Your ability to do well in this task is solely dependent on your ability to not only recognise

language and visual devices, but to look at the way that language and visual devices are

used to persuade the reader of the author’s view and overall contention. Successful

responses do this well by integrating them smoothly into each paragraph and relate them to

the overarching themes, purpose and contentions of the text.

In this document, we will develop a checklist of ideas and concepts that you can use to help

you perfect your Language Analysis prowess during your final weeks of preparation.

Essay structure / word count It is important to recognise that there is no definitive one answer as to the way that your

language analysis should be set out, the number of words you should be writing, the number

of quotations and the number of devices you should be analysing. This is partly due to the fact

that you only have access to the text at the time you are about complete the task itself. It is

important that your language analysis essay is / has:

- A strong Introduction and Conclusion that elicits the wider concerns of the article on

society and us as readers (see below for further information)

- Using clear topic sentences that introduce a key idea or concept in each paragraph

- Quotations that have been integrated smoothly into sentences – don’t ‘quotation

dump’ (dumping chunks of quotations at the end of sentences)

- Clear, concise and straight to the point (reduce waffle and save words)

- Integrated the visual (if there is one) smoothly into the overall body of the essay.

Preferably this should occur at the same time as discussing the article itself.

- Between 800-1200 words (more is ok, but focus on quality, rather than quantity)

Introductions and Conclusions Your introduction and conclusion are very important aspects of your Language Analysis.

Your Introduction frames the important aspects of the Language Analysis and helps to

provide essential information to the examiner as to how well you understood the article. There

are a number of ways in which you can write your introduction, but aim to include:

- The Form of the piece – a newspaper article, journal entry, newspaper editorial,

keynote presentation, opinion article, webpage, an excerpt from a person’s blog, etc.

- The Author of the piece – who wrote the piece? Who took / created the image?

When either of these details is unknown (this rarely happens, so look carefully!)

mention this in the introduction.

- The Contention of the piece – what is the Author trying to say? What is he/she

arguing for/against?


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- The Audience of the piece – who is the Author targeting in the text itself? Who are

the typical audience of the form of the piece?

- The Purpose of the piece – what is the Author attempting to achieve? What does the

Author want us to take away from reading the piece?

Note that Contention and Purpose are different things. Contention refers to the Author’s

argument. Purpose refers to the Author’s aims in writing the piece.

Example Introduction Voxi’s internet blog entitled ‘Keyed In’ highlights the importance of technology and its increasing

impact on society’s future progression. Whilst targeting those who live in the ‘boundaries of darkness

and ignorance’; who she later refers to as ‘losers’, Voxi inherently suggests that their hesitance

inhibits society’s move towards a ‘faster and more efficient’ future.

Your Conclusion is your opportunity to bring everything that you have talked about over the

course of the essay together and make a clear and concise statement about the text itself. You

may wish to relate the language devices used back to the real world situation that the text is

based on to emphasise a point you are trying to make. Don’t judge the effectiveness of the

language devices and their ability to support and reinforce the author’s contention and

purpose. Don’t introduce new material.

Example Conclusion Voxi’s blog entry highlights the role that technology has in everyday life. Rather than impedance, Voxi

stresses the importance of acceptance in order that further progression can be made. Whilst older

generations may express concerns in regards to their privacy and the advancement of artificial

intelligence, Voxi ultimately suggests that it is these individuals who inhibit future progress. For Voxi,

the allure of experiencing the future ‘now’ is one that should be enticing to the progression of the

individual. Those who remain concerned are those she believes deserve to remain isolated from the

new ‘22nd

century of optimism’ that fast approaches.

Paragraph Structure Each paragraph should focus on three central things:

1) The identification of the language device (you can name it);

2) The provision of examples of the language device (in quotation form or, if it is the

visual, a short description will suffice); and,

3) An explanation as to the effect of that language device on the reader. When we

talk about the effect of a language device, what we mean is the way that the

reader may be persuaded towards a particular perspective or point of view. For example, the use of Inclusive Language persuades the reader to either assert that

they have the same opinion as the author, and that the author appears to elicit it as the

‘right’ opinion, and / or that their opinion is the same as others, and as such, appeals

to our desire to feel belonging with others. Contrastingly, it can be said that the use of

Inclusive Language has the power to exclude those who don’t agree with a particular

idea or concept, and may make them feel inferior or that their opinion is simply

‘wrong’.


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Language Device

Examples of Language

Device from text

Explanation of effect of the

language device on the reader

Don’t make assumptions about the effect a language device can have on a reader. Even if the

idea appears extremely obvious to you, it is your job to ensure that you convey that same

obviousness to your assessor. Getting into a habit of explaining each of the language devices

used and their intended effects on the reader helps to ensure clarity and consistency in your

writing from the very beginning.

Language Devices The following is a list of Language Devices that you may encounter in the process of reading

and writing your language analysis. The table is split into three columns – the name of the

device, a definition of the device and a column for you to add potential effects on the reader.

This is an extremely worthwhile activity to complete and will help you to cement your

knowledge of language devices in time for your exam. After you have completed it, make a

photocopy of it and pin it up somewhere that you can read it regularly.

REMEMBER: It is NOT enough to simply state the Language Device and provide

examples from the text. You must be able to explain the effect the Language Device has

on the reader.

Language Device Definition Effects of the device on the

Reader

Alienation A process of isolation and

separation from others,

sometimes those who are of

differing opinion or belief to

you

Alliteration The use of the same

consonant (or vowel) at the

beginning of each word

Analogy The similarity between two

objects or things that share

similar characteristics

Anecdote A personal story or sharing of

experience

Figure 1 - Typical Paragraph Structure for a Language Analysis Essay


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Colloquialisms Phrases that are typically used

in informal conversation, such

as ‘mate’, ‘cobber’, and

‘chief’.

Denigration The act of belittling someone

else; making them (and their

thoughts/opinions) appear

insignificant compared to

another, more acceptable

version

Emotive Language Language that conveys the

author’s feelings

Expert Opinion / Evidence Information provided by a

reputable, often scholarly

source.

Hyperbole (Exaggeration) To make something larger,

more important or of greater

value than is true

Inclusive Language Language that positions the

reader in agreement with the

Author

Metaphor A figure of speech where a word or

phrase is applied to something that it

is not directly related to. (i.e.

Something is something else)

e.g. He is a lion in battle.

Onomatopoeia Words that imitate a sound of

a noise or action, such as

BANG! BOOM! Quack,

Moooo, Woof!

Repetition One word (or pairs of words,

or phrases) consecutively

used more than once

Rhetoric and Rhetorical

Questions

Speech or questions that have

an answer already implied

Sarcasm Any language used to show

irony or mocking of an idea,

person or abstract concept

Satire The use of ridicule, irony for

the purpose of discussing a

topical issue in a negative

way

Simile A figure of speech that

recognises a resemblance of

one object with another.

Unlike Metaphor, sentences

with Similes in them often use

in discourse such as ‘I’m as

tired as an old man’ ‘Hungry

as an elephant’ ‘As cute as a

button’

Sophisticated Language Language that reflects an

understanding of the

complexity of the topic being

discussed


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evokes creates suggests implies reflects

explores contrasts illustrates endorses reinforces condones elicits questions challenges condemns

subverts conveys intensifies undermines affirms

Statistics Information that is based on

gathered facts that is legally

usable because it has been

obtained through ethical

means

Tone The overall mood/feeling of

the piece and the way that

language is reflected as a

result of this

Urgency Something that requires

speedy and sometimes

immediate action

Developing an Analytical Vocabulary Developing an analytical vocabulary simply refers to your ability to express the relationship

between the language device and its effect on the target audience simply and effectively,

whilst maintaining a high standard response. The following words will help you to describe

what the author is doing when he/she uses a specific technique in the text.

(Sourced from: Beardwood R., (2006) Literature for Senior Students, Insight Publications, Australia, p. 104)

Don’t just use these words. Look them up in your dictionary and learn them so that they

become a normal part of your work. By doing so, you are giving yourself new and more

meaningful ways of explaining complex concepts and ideas, without losing the intricacy of

their original meaning.

Analysis of the Visual Whilst we can never be certain as to what this year’s exam will hold in terms of the content of

the texts, it is important to recognise that the Visual will almost always appear in some form,

whether it be a small clip art graphic, a photograph or cartoon from a newspaper opinion

piece.

Examiners in the 2010 Examination Report stated that our understanding of how the visual

works to further the contention and purpose of the article was of a good level, but can be

improved, specifically in one way. (VCAA, 2011, p.9)

By integrating what the visual is evoking into several other paragraphs, rather than making

one separately for the visual alone, your immediate understanding of the complexity of the

relationship between the two components rises significantly. It is important to recognise that

the visual can be interpreted in more than one way, and as you are talking about various

language devices, it is always possible to include ‘tag along lines’ such as:‘The accompanying

graphic further reinforces Budd’s concern for the situation on the African Horn’. (Then go

onto explain further about the graphic.)


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However, if you feel more comfortable in having the graphic as its own paragraph, try

relating it back to the author of the other text’s contention and purpose. The following is an

example of part of a successful response from the 2010 Examiners Report:

The image summarizing the presentation enhances the ideal of humanities’ responsibility and

impact upon biodiversity through depicting the globe resting in our hands. This image creates

the sensation that we control the well-being and future of the world inspiring an

overwhelming sense of responsibility.

(VCAA, 2011, p.9)

As a general rule, consider the following when discussing the graphic:

Form What is the graphic’s form? Is it a photograph, cartoon, clip art or drawing?

Make sure that you mention this in your response.

Author Who drew / photographed / made the graphic? In cartoons, this may be found

in the bottom left-hand corner or the right-hand corner. In photographs,

especially those taken and used by the author of the article, will state

something similar to ‘Source: Jo Dinkum Photography, 2010’. In this

situation, Jo Dinkum Photography is the author. State this in your piece, or if

the information is not there, state that the creator / photographer is unknown.

Contention What is the author / creator / photographer trying to say? What is he / she

arguing for / against? Most importantly, is what the author argue for /

against the same as the contention of the author? If so, how? How does

the information we receive from the graphic build on the existing

argument of the author of the article? If you can, try to find points that are

similar in both the article and in the graphic, or that are different in both the

article and graphic and comment about these and the effect that it has on the

reader.

Audience Is there a specific audience that the author / creator / photographer trying to

reach with this graphic? Is it the same as the article’s target audience? Does

the graphic somehow align the audience with the article’s audience? Or does

it polarise1 it?

Purpose What is the author / creator / photographer trying to achieve? What is the

message that he / she wants the audience to take away from this graphic?

An Example of a Graphic Analysis

1 Polarise – force the audience to move against what the author of the article is arguing for.


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In his cartoon, Knight argues that despite the election of a new Minister of Transport in

Martin Pakula, the public transport system is heading into chaos. The train is heading

towards a dark and looming tunnel, which literally emphasises the dark and unknown times

that the system is about to head into. The bleak humour of this image draws the reader in; at

the same time, the bleakness of the image disaffirms their confidence in the public transport

system.. The skeletons and the faceless eyes suggest that problems, just like the floating

skeleton in the foreground, are going to haunt the Pakula and his portfolio, evoking a sense of

apprehension within the reader as to the state of the public transport system. This is further

affirmed with the tunnel increasingly looking like a horror roller coaster ride how, complete

with a skeleton holding a machete. Pakula is drawn as looking very distressed, highlighting

that even the head of the entire sector – who is presumed to promote and successfully fix

problems within the public transportation system such as myki - has qualms about it. It raises

alarm and also generates anxiety within the reader. Furthermore, Pakula sarcastically

describes his new role as a “wonderful promotion”, implying that it is a difficult position that

is riddled with problems, which gives further implications that the public transport sector is

in anarchy – worrying the reader and raising their doubts over the reliability of the system.

Finally, the little pig in the bottom left hand corner suggests to Pakula that he “fasten (his)

seatbelt” – indicating that the “ride” as transport minister is riddled with problems. By

extension, it anticipates the reader? of the problems within the sector and evokes dread and

anxiety of the public transport system.

The Do’s and Don’ts of Language Analysis Do’s Don’ts

Consider how the text is using the language

device (often in combination with others) to

move towards the author’s central purpose and

contention.

Don’t rote learn responses for when you come

across a language device in the exam.

Read the whole article and look for links or

central ideas that can later be grouped

together to form paragraphs in your language

analysis.

Don’t go through the article sentence-by-

sentence. There isn’t enough time, so it is

essential that you look for:

- repetitive use of specific language devices, or

- similar language devices that can be grouped

together in paragraphs.

For example:

- Inclusive language, emotive language,

alliteration / colloquialisms

- Expert opinion, anecdotal evidence, metaphor,

imagery

- Sarcasm, Hyperbole, Rhetoric, Satire

Develop an analytical vocabulary that

reinforces your understanding of the key

devices that are being used

Don’t state each language device as they appear

in the text. For example:

The author used exaggeration to show that the

point he was trying to make was important. He

then uses sarcasm to show that his opinion should

be taken as being absolutely obvious to all.

Instead, integrate your language devices with

quotations and refer this back to the effect that

this has on the reader / audience. For example:

The use of inclusive language ‘our’ and ‘we’ not

only make the audience accountable for the

problem, but the effects that it has had on ‘our


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streets and waterways’ and its ability to ‘destroy

sea life.’ Read the background information before and after

you have read the text that you are to analyse.

The background information provides important

insights on many aspects of the text itself. Often, the

background information will tell you:

- Something about the author

- The type of text it is. Remember that this may not

be explicit, but may say something similar to ‘this

article appeared in The Age in 2009...’ or ‘the

following is a summary of a lecture presented to ...’

In both of these cases, the type of text becomes clear

– a newspaper article, and a presentation,

respectively.

- Where the article appeared (the date)

- Background information about the content of the

article

- An explanation of any key themes or ideas that

may otherwise be unclear

Don’t skim over it and forget about it when your

reading time is over. You may find it difficult to

write on the text, especially when the context is

not immediately clear to you.

The background information is free information

– use it to your advantage.

Remember to make insightful and valuable

comments about the visual / image that comes

with the text.

Link these comments back to the written text

and explore the connection between the two

and how the two relate to one another and add to

the existing persuasiveness of the text.

Don’t mention the visual ‘in passing’. It is put

there for a purpose – spend some time considering

why and its effect on the reader.

Check and re-check your spelling and

grammar, preferably as-you-go. Remember,

this is an English Exam – you will be penalised

for sloppy English.

Don’t use the ampersand (&) or + instead of and.

Don’t use / in replace of or

Don’t abbreviate words unless they have already

been mentioned in full followed by the

abbreviation in brackets

e.g. United States of America (USA)

Bring in a dictionary. You may not ever use it,

but it is there for you should you need to check

the meaning (or spelling) of a word.

Don’t copy definitions from your dictionary into

your work. Your dictionary is a tool that you can

use to help make your own definitions of words

and complex phrases.

Examiners want to see what you know, not what

your dictionary knows.

Use a blue or black pen.

Whilst it’s not compulsory, you may wish to

double space your work. This makes it very

easy to correct, and also leaves room for you to

change your own work if you make a mistake.

Avoid pencil as it smudges and your work

becomes unreadable.

Whilst handwriting is not assessed, it must be

legible in order for it to be marked. Examiners

spend huge amounts of time marking papers; it

simply is not possible for them to spend a lot of

time decoding the smudge.

Keep to the allocated 1 hour. Going overtime

means that your ability to complete the other two

aspects of the task is severely diminished, and

likewise if you do the other tasks first.

It is important not to disadvantage yourself by not

giving yourself every opportunity to do as well as

you can in this exam.

Don’t spend more than 5-10 additional minutes on

the task. Any more time begins to eat away at the

time you have for your other tasks to be

completed.

Likewise, don’t finish early and go to the next

section (or worse, leave the exam altogether). If

you feel you have done everything you can

possibly do, go through your spelling and


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Whilst not being the sole solution, keeping to the

time limit is an important step in your

achievement.

grammar. It is well heard of that people who are

under pressure will often make small mistakes

that can easily be fixed at the end.

Read the text in your 15mins allocated reading

time, and begin to make ‘mental notes’ as to what

language devices you can see, and the way that

they affect the reader.

Don’t waste your reading time – it is your

opportunity to brainstorm ideas, and calm and

prepare yourself into writing the exam.

The Assessment Criteria

The following is the assessment criteria used to mark your Language Analysis. We will go

through this as a group in the Lecture, and finish it off in your Tutorial.

Score Range Qualities for the Mark

Range

This means that...

9-10 Shows a perceptive and

sophisticated understanding of a

range of ways in which the

written and visual language

positions readers in the context

presented.

Develops a cogent, controlled

and well-substantiated analysis

using precise and effective

language and expression.

8 Shows a highly developed

understanding of a range of ways

in which the written and visual

language

positions readers in the context

presented.

Develops a detailed,

substantiated and coherent

analysis using language and

expression fluently

and confidently.

7 Shows an understanding of how

the written and visual language

seeks to position readers, with

reference to the context

presented.

Achieves a planned and

supported response using

accurate language and clear

expression.

6 Shows some understanding of

how written and visual language

is used and some awareness of

the context presented.

Achieves a planned and

supported response, generally

using accurate language and

expression.

5 Shows some understanding of

how language is used and an

awareness of the context of the

written

and visual material presented.

Attempts a planned and


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supported piece of writing using

adequate language and

expression.

4 Shows limited understanding of

how language is used and little

awareness of the context

presented.

Presents a piece of writing with

little organisation and basic

language and expression.

3 Shows limited knowledge of

how language is used in the

construction of written and

visual texts.

Demonstrates basic expression

and language control.

1-2 Shows very limited knowledge

of how language is used.

Demonstrates some expression

and language control.

0 Shows no understanding of the

requirements of the task.

2010 VCAA Exam Response – Section C


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Ladies and Gentlemen, This is a year of vital significance to our world. In declaring 2010 to be the International Year

of Biodiversity, the United Nations stated: “It is a celebration of life on earth and of the value

of biodiversity in our lives. The world is invited to take action in 2010 to safeguard the

variety of life on earth: biodiversity”.

Has this been a year of celebration of life on earth? Has this, in fact, been a year of action?

Eight years ago – in April 2002 – many of our countries made a commitment to achieve a

significant reduction in the rate of biodiversity loss. Over the next two days we will be

reviewing our progress in this area. Honestly, how well have we done?

It is with great pleasure – though not without a tinge of sadness – that I address you on this

occasion and work with you to re-establish, indeed to strengthen, our goals for the next

decade.

One may justly ask: how far have we really come in our commitment to achieve a significant

reduction in the rate of biodiversity loss as a contribution to poverty alleviation and to ensure

the preservation of life on earth? For, perhaps idealistically, this is exactly what we set out to

do.

Sadly, over the last one hundred years, we have lost 35% of mangroves, 40% of forests and

50% of wetlands. Due to our own thoughtless human actions, species are being lost at a rate

that is estimated to be up to 100 times the natural rate of extinction. Of the IUCN

(International Union for Conservation of Nature) Red List of 44 837 species assessed, 38%

are today threatened and 804 already extinct. It is too late for them.

In truth, for the first time since the dinosaurs disappeared, animals and plants are being driven

towards extinction faster than new species can evolve. We are in the grip of a species

extinction being driven by the destruction of natural habitats, hunting, the spread of alien

predators, disease and climate change. Reversing this negative trend is not only possible, but

essential to human wellbeing.

We know this. We are, in truth, the most educated generation of any to date. We have no

excuse for inaction. Clearly it is our lack of unity and lack of genuine commitment to action

that have led us to this grim situation.


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For too long our approach has been haphazard. Wonderful words, glossy brochures, inspiring

documentaries are no substitute for real action. It is one thing to mouth platitudes in the

comfort of an air-conditioned and sumptuously catered conference hall and quite another to

produce concrete results. A zoo here, a national park there, faint promises at conferences such

as ours, a talk-fest of targets. What have WE – what have YOU and YOUR country – actually

done since 2002 to contribute to the achievement of our goals?

There is no need to remind you why biological diversity is so important. As we all well know,

our failure to conserve and use biological diversity in a sustainable manner is resulting in

environmental degradation, new and more rampant illnesses, deepening poverty and a

continuing pattern of inequitable and untenable growth on a global scale. Healthy ecosystems

are vital to regulating the global climate. Poor rural communities depend on biodiversity for

health and nutrition, for crop development, and as a safety net when faced with climate

variability and natural disasters. Indeed, the poor are particularly vulnerable because they are

directly dependent on biodiversity for their very survival, yet they are not in a position to do

anything about it.

Species diversity affects the quantity and quality of human food supply. Biodiversity loss

undermines the food security, nutrition and health of the rural poor and even increases their

vulnerability. More than 1.1 billion people remain in extreme poverty and, while the

wellbeing of all people is dependent on ecosystem services, it is the dependence of the poor

on these services which is most crucial. Poverty eradication is crucial to a global action plan,

yet the needs of the poor are often subordinated to the interests of us, the powerful economic

giants. It is time we stopped kidding ourselves that the epidemic of affluenza is having little

effect upon fragile ecosystems across our planet. We affluent hunters and gatherers must hunt

less, gather less, conserve more and preserve more before it is too late!

Is any of this new information? Of course not! As leaders in the area of biodiversity, we know

what damage our lifestyle is doing to our world. The time for talk is over: now, truly, is the

time for serious action. We must reinforce this message to those in power: to the politicians,

to the corporate leaders, even to the everyday householder.

I leave you with the words of the ecologist Thomas Eisner: “Biodiversity is the greatest

treasure we have . . . Its diminishment is to be prevented at all costs”.

Thank you.


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Mid-Level Response2

In 2010, a conference was held introducing International Biodiversity year, focusing on the

needs of biodiversity in the world today. Through this presentation, the writer uses many

language uses to get their point across to the audience. An informative and serious tone is

used throughout the presentation to help have an effect on readers.

When first drawn to this speech, readers are automatically driven to focus on the visual

images provided. One image has a globe sitting in someone’s hands. This would indicate to

readers what this speech is about and that the message that the image is giving is that the

world is in your hands. This would have a great affect on readers as they would feel

responsible and needed to help in the world. The quote by Thomas Eisner that is given under

the image is also significant. By referring to biodiversity as a ‘treasure’, readers are made to

think that biodiversity is rare, that it cannot be replaced and that it must be taken care of.

Readers would also be impacted that biodiversity’s diminishment is to be prevented at all

costs’, as it would appear that nothing should stand in the way, which highlights the

importance to readers. The other image given has a much lighter affect on readers. ‘2010’ is

imprinted with images to tell readers what makes up biodiversity. With these images printed

over ‘2010’, readers would presume that something to do with biodiversity is going to be

done over this year.

The tone of the writer is given in the first few words of their speech. By introducing the

speech with ‘ladies and gentlemen’. This gives a serious and professional tone to readers.

This serious and professional tone is used consistently throughout the speech, which confirms

and reassures readers of the seriousness of the topic, ‘vital significance to our world’. By

using the words ‘vital significance’ tells readers that this speech is important. Giving facts and

figures also tells readers the seriousness of the matter as when given facts, they can really

believe what is being said is true, instead of just listening to and opinion, ‘38% are today

threatened and 804 already extinct’. By finishing this figure with ‘it is too late for them’ tells

readers that something should have been done before now, but because nothing was done, and

the species could not help themselves, it is too late.’

By highlighting that a commitment was made to reduce the role of biodiversity loss ‘eight

years ago’, tells readers that over eight years nothing significant has been done. It also asks

readers to ask themselves, how long will it take until something is done? Because this issue

has been going on for so long, the writer uses a sarcastic tone in presuming that everyone

should know this by now, ‘Is any of this new information? Of course not!’ The writer’s

sarcasm is also shown answering his own question as though he knows what his audiences’

answer will be. This use of sarcasm is used again in this speech. This time it is used to

emphasise the stupidity of how the problem of biodiversity is being take,’ Wonderful words,

glossy brochures, inspiring documentaries are no substitute for real action’. This puts readers

into realisation that these things may inform people of the problems associated with

biodiversity, but it does not make them solve the issue.

The writer of this speech successfully connects with their audience as they often include them

in the issue by using words like ‘we’, ‘you’ and ‘our’. This is emphasised in the speech by

using capital letters, ‘what have WE – what YOU and Your country’. This helps readers feel

involved with this current issue and causes them to feel some responsibility.

This importance of biodiversity is assured throughout the article as the writer uses words like

‘critical’, ‘significance’ and ‘vital’. This assures readers of the importance of biodiversity in

the world. Another language use that is used many times through the speech is the use of

2 Responses taken from the 2010 VCAA Assessment Report, and has not been checked for Spelling and Grammatical Accuracy.


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rhetorical questions. ‘Honestly, how well have we done?’ This causes readers to ask

themselves the question with an obvious answer. The use of the word ‘honestly’ is significant

as it tells readers to not just put in behind them or to think what everyone else thinks but to

really truthfully give an honest answer.

Through the many uses of language, tone and effectiveness on the reader, the writer

successfully convinces the audience of the seriousness and the desperate need of action on the

issue of biodiversity today. This also causes readers to wonder how long it will be until it

becomes to late for them.

Assessor Comments: Understanding of the context in which Lee’s presentation is made.

• Thorough exploration of the second visual with some thoughtful ideas.

• Shows the implications of language use (see paragraph 2 in particular).

• Quite general at times in relation to how language is being used and somewhat simplistic in

places in its understanding of the argument.

• Too formulaic in approach.

• Handles the tone and the shifting tone well.

• Uneven expression with a number of spelling and grammatical errors.

High-Level Response3

A speaker Chris Lee at the 2010 international Biodiversity Conference speaks with conviction

to his audience, attendees involved in the area of nature conservation, contending that action

must be taken to safeguard the variety of life, or, biodiversity. At times an accusatory and

disapproving tone is adopted, however alternates with an alarmist tone, the two

complementing each other and utilised to successfully persuade the speaker’s powerful and

influential audience to take action to preserve biodiversity. The use of a visual aid in the form

of a slide presentation assists the speaker, presenting the argument through a different

medium.

Lee begins by introducing his contention, an issue of ‘vital significance.’ Immediately, the

audience is drawn in by the warning carried in his words. This alarmist tone is further

continued, Lee speaking of what has been lost in the past tense, implying that the problem is

already here, and the effects are evident. ‘Sadly’, hundreds of species are ‘already extinct’ the

speaker taking on a more nostalgic tone full of longing for what has been lost. The

International Union for Conversation of Nature has assessed the ‘negative trend’ and

situation, the organisation adding credibility to Lee’s words and argument that more must be

done to safeguard biodiversity. The short, blunt statement, ‘It is too late for them,’ the extinct

species, once again raises alarm in the audience members, and also implies that it is perhaps

not too late for others – action can still be taken to project others.

The alarmist tone transforms into an attack on the audience, not in a vicious way so as not to

offend the audience, but instead urges them to want to take action. Lee contends that it is due

to ‘our thoughtless human actions’ that species are suffering, the ‘destruction of natural

habitats, hunting,’ and the list continues. As it is ‘our’ fault that biodiversity is diminishing ,

the speaker declares that it should be ‘us’ who reverse the trend, ‘We have no excuse for

inaction.’ The continued use of inclusive language engages the audience and the speaker

implies that it is their problem and they must right their wrong. Lee’s use of adjectives

‘wonderful’, ‘glossy’ and ‘inspiring’ all connote a glamorous, easy and passive method of

convincing others to take action, and this is strongly contrasted when followed by ‘real

action’. Here, the speaker accuses the conservationists and other influential people of not

3 Responses taken from the 2010 VCAA Assessment Report, and has not been checked for Spelling and Grammatical

Accuracy.


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doing what they are supposed to do, opening their eyes to the reality of the situation. Lee

describes talk at the conference as ‘platitudes,’ this disapproving tone used to further

reprimand the audience, and Lee passes on guilt with the words, a strong motivator for action.

An appeal to social responsibility adds to Lee’s persuasive power. The audience are, as stated

by Lee, to blame for the ‘degradation’ of the environment, ‘rampant’ illnesses and

‘deepening’ poverty. These words, of high importance carry strong negative connotations and

aid him in affecting the audiences emotions. Lee alludes to the poor who are ‘particularly

vulnerable’ and ‘directly’ dependent on biodiversity, these particular choice of words calling

on the audience to take action, as even if they are not directly affected, others are, and cannot

survive without biodiversity. The number of people that live in poverty, ‘more than 1.1

billion’, is stated to further reinforce how many are suffering while the audience sit in an ‘air-

conditioned, sumptuously catered’ hall. This not only appeals to the audience’s social

responsibility, but also to their sense of justice and equality. The poor are ‘subordinated to the

interests of us.’ Lee argues, and once again the audience is inclined to feel guilt associated

with making others suffer as they prosper. As the ‘powerful economic giants,’ they have the

resources and the power to take the ‘real action’ that is necessary to ensure that the less

fortunate do not suffer as a result of diminishing biodiversity.

Lee converts to a colloquial tone, urging the audience to ‘stop kidding’ ourselves and when

coupled with ‘of course not!’, he implies the solution is obvious. ‘We know what damage’ we

are doing and the ‘time for talk is over,’ instead for ‘serious action.’ The alarming tone is

again utilised, and he implies that time is ‘now, truly’ running out. Lee ends with a final call

to action, and when paired with a visual, induces a strong effect. The image depicts the world

in ‘our’ hands, and he calls on the audience to reinforce and pass on the message to everyone.

The world, is in essence, relying on the conference attendees to care for it and ensure its

safety and ensure biodiversity, our ‘greatest treasure’ is not diminished ‘at all costs.’

The speech uses a range of different tones to appeal to the different emotions of the

conference audience. The addition of visuals allow the audience to ‘see’ the argument Lee is

presenting, and each slide complements his words. In doing so, the audience is able to be

persuaded of Lee’s conviction that the safeguarding of biodiversity is vital, and also

convinces the conference attendees to take action.

Assessor comments:

• A controlled piece of writing that is fluent and well structured.

• Analysis of specific language which is tied into the wider implications of the argument of

the speech.

• Perceptive and sophisticated in its exploration of how language is used to persuade.

• Clear understanding of the context of Lee’s presentation.

• Incorporates the visuals neatly and shows their role in the presentation of the ideas and point

of view.

• Clearly an upper-range script that is strong in all aspects.


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Area of Study 2: Text Response

Stage One: Analysis

Setting down a solid foundation: The Text Itself

In the English exam, the examiner wishes to see whether you have understood the messages

and themes from your chosen text, your awareness of the author as having crafted the text,

and if you have been able to write a structured response to the topic.

This does not mean that you should memorise the text. It does, however, mean that you

should aim to have read the text from cover-to-cover several times. The first reading will

give you a chance to get a feel for the story and how it progresses, while the second reading

will allow you to hone in on common themes or other important details (note: don’t use the

word ‘theme’ in your essay). It also helps to re-read sections that are relevant to each other,

despite not being in sequence - it can help you understand the text as a whole, rather than just

a series of random events. Additionally, you may notice details that you overlooked the first

time.

It is important that you do not just retell the text. The examiner already knows the text very

thoroughly; simply writing what happens will not score you any marks, as it does not

demonstrate your understanding.

Reading the text alone is not enough to create a solid foundation for text responses, so write

down quotes, why they are important and what they demonstrate about the characters/ the

text. You may also wish to summarise the plots.

Remember: Plot summaries should focus on main events, turning points, crises and

resolutions.

Reading the Text

Regardless of what text you are doing, there are some things that are always important to

consider.

These areas include: -

Characters

Setting (this means where and when)

Themes

Structure (chronology, flash-backs)

Language style (repetition, symbols, images, tone)

The intention of the author

o This one can be a little tricky. Make sure that the author’s intention is clear, and

that you have solid evidence for this.

Quotes or examples that illustrate these things.

Characters:

An understanding of the characters in the text is essential for a thorough analysis. It is the

characters that give life to the text and the author uses them to convey messages and beliefs.

Authors usually illustrate their own ideas through the characters, whether they are social,

sexual, moral or political in nature.

You need to form a solid opinion on the main characters, based on evidence from the

text. This doesn’t mean that a character in a text cannot be an ambiguous or ambivalent one:

if they are, then you write about them with an awareness of their ambiguity.


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Going into the exam with a clear idea of who the characters are will help you to answer any

question that comes your way.

What are the features of these characters?:

Role

Why is the character there? Are they the focus of the story? Even if they are a minor

character, they may assist in the development of other characters, or provide entertainment.

Weaknesses and Flaws

A character’s weaknesses often drive their actions, and are used by the author to humanise the

character or illustrate a point.

In some cases it will not be clear whether a characteristic is a strength or a weakness and you

will need to make your own mind up about it using evidence.

Strengths

What is admirable about the character? Are they, for example, able to withstand social

censure in spite of the promises offered to them by succumbing to it? Are they reformative in

their views in spite of condemnation? Are they honest? Work out what the characters

strengths are, and how they affect the characters life.

You also need to consider if these strengths develop over time or in response to events.

Development of the character

This is extremely important. Characters often change throughout the text and an

understanding of this will help with your ability to write on the text. These changes may be

negative or positive, or as a consequence of the events and influences surrounding them. For

some characters this will take the form of a sudden reshaping of their moral values such as

Terry from On the Waterfront and outlook on life, while for others this will be a gradual and

more subtle change.

It often helps to put the major changes (with appropriate quotes) on your time lines, so that

you can see that following a particular event the character develops.

Quick Checklist You should know:

Is there one central character in the text or several?

Were there any secondary characters that played a part in the maturity of the central

character? Minor characters may be more important than you first thought.

What are their defining traits? What makes them unique?

What influences does the character exert on the plot?

How do characters change?

Were there any specific events which played a role in changing the character?

Why do I feel more drawn to one character than to another? Do these characters serve a

special purpose?

What techniques does the author use to create a character like this?

Themes:

are the author’s main concern(s)

illuminate the human condition

emerge from the events that take place

can be enhanced by the physical setting


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Remember: Themes are the big ideas that can be brought out from the text to the real world -

much like the moral of a fairytale. They might let you see what values the author sees as

being important.

For example:

Love and/or Desire, inappropriate love, unrequited love

Death and beliefs about death

Guilt and conscience

Justice

War, its futility

Awareness of the author:

Remember that in any text you read, it has been crafted by the author who creates the

characters, makes you feel a certain way about them and presents views on various themes.

Look at how the author has crafted your text. What do they affirm? Is it different from what

the characters purport? More on this later.

Evidence

For any essay you write, you need to provide evidence to support your point of view and

expand your ideas.

Do not make sweeping statements or arguments that you cannot support with evidence

from the text. Evidence is not your opinion- it is directly from the text.

Without evidence, your argument lacks substance and depth, and the examiners will notice

this. Using evidence is worth practicing because it can make a big difference to the quality of

your essay: as long as you can support your essay, the examiner cannot fault it.

Quotes:

You MUST know quotes.

You will need to memorise your quotes, although if you read the text enough times you may

just come to know them.

Do not go overboard on quotes. You don’t need long quotes or hundreds of quotes. Aim for a

couple of key quotes for each character and theme, as well as one or two that demonstrate the

effect of setting, good examples of stylistic devices and imagery.

How you use quotes is almost as important as knowing them.

- The quotes need to be relevant – they need to help your case. If you know a good

quote but it isn’t relevant DO NOT use it. It will just annoy the examiner.

- It is also important to integrate quotes into your response in a way that makes sense.

The quote should not be a sentence on its own- it should flow nicely into your

sentence.

Pick out quotes that tell you important things about the characters or events.

Events:

These are often overlooked, but they are as useful as quotes. A combination of quotes and

examples of events forms the best evidence. All the same rules apply to events as to quotes,

except that they are usually easier to remember!

For plays and films:

Don’t just quote the dialogue of a play - you can also quote stage directions etc.

You can also use things such as lighting, costumes and scenery to support your argument of

what the author/director is trying to achieve.


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Stage Two: Writing the Text Response

WRITING TIME:

Write out a quick plan in your exam booklet – try not to go over 15 minutes. This plan will

consolidate all that you write in the exam and will ground you in an argument/s.

Your essay should have an introduction, at least 3 body paragraphs, and a conclusion.

Introduction

In the very first sentence, note the author and the title of the text. (eg: ‘In Shakespeare’s

Hamlet, …’)

Express your contention- what will you talk about?

o Sometimes a good approach to forming a contention is to not outright agree or

disagree, but argue both sides, but one more strongly. So you could agree with

part of the question, but not all of it, and then explain why.

Define any key terms if any- but be careful to integrate the definitions into your writing

(for example don’t just say “Love can be defined as…”)

Highlight your key points that you will be talking about in the following paragraphs

o A good way to do this is to have one sentence per body paragraph

Essentially, the introduction should state your aim, define any terms and lay out the plan

for the rest of the essay

Body paragraphs:

Each paragraph should present ONE KEY POINT to support your argument.

Try to position your paragraphs so that each one gradually adds to your argument, which

you outlined in the introduction.

Start with a topic sentence which outlines what you will be arguing in the paragraph.

Make it reasonably short and to the point, and relevant to the essay topic (NOT just a

summary of the plot of the text).

Elaborate on the topic sentence to add substance to your argument.

Use relevant quotes and examples from the text to back up the point you are making in

this paragraph. For this you need to know the text well. If you don’t have evidence your

marks will suffer - you need to be able to back up what you’re saying. Explain these

examples as you go - a hastily inserted chunk of text will do nothing for your essay if it

doesn’t make sense in the context of your argument.

Use a linking sentence to conclude. That is, brings your idea together, links it to the

essay topic and leads on to what you are going to argue in the next paragraph. This allows

the examiner to follow your train of thought through ‘signposting’ of what you’re

arguing.

Conclusion:

DON’T just summarise your key points! This is the biggest mistake that a lot of people

make. The examiner will get annoyed if you just essentially repeat your introduction.

If you have argued well and with evidence, your key points (one from each paragraph)

should already be clear.

SO, your conclusion should be one or two sentences that clearly show the essence of your

argument and reinforce your contention.

What’s important: Show the examiner you understand the text, not just that you know the

storyline, but that you can use this understanding to argue a reasoned point and that you’ve

really engaged with the text.

Expressive language:

Is an important component of your text response. It shows the examiner that you have really

engaged with the text and understand the characters, not that you have just read it passively.


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Use more sophisticated words and show that you really understand the characters. For

example, instead of saying “this makes her upset”, show that you understand the type of

feelings she has- “this causes her anguish” or “pain” or “makes her feel trapped in a dark and

isolated world”. However, make sure you don’t go overboard with words – many students

seem to think that using four syllable words that only mouldy English professors know is a

good thing. It isn’t. Even most English professors (the good ones) will stay away from words

like “auto-narration” or “flibbertigibbet”. Simplicity is also a sign of sophistication. Choose

your words carefully.

Awareness of the author:

As mentioned previously, you need to be aware that your text has been crafted by the author,

and show the examiner that you have this awareness.

So: - show that you are aware that this is the AUTHOR’S text.

e.g. instead of saying “The play Hamlet shows that…”, say “Shakespeare’s Hamlet shows

that…”

- show that you are aware that the author has created the characters

e.g. instead of “Isobel is a character who…”, say “Through Isobel, Witting creates a

character who…”

- when discussing themes, show an awareness that, through themes, the author is

expressing a point of view on certain issues

e.g. instead of saying “the text demonstrates that a struggle for justice is the most important

thing in society…”, say “Miller aims to show us that a struggle of justice is the most

important thing in society…”

You don’t need to do this every time you mention the text, or the characters, or the themes,

just a few times throughout the essay to show the examiner that you know this text has been

created by an author who wants to present certain things.

REMEMBER…

The examiners know that most of the population cannot produce perfect, polished essays in

three hours. They are looking for:

A detailed knowledge and understanding of the text and how it is constructed by the

author

Your ability to write a relevant essay in response to the topic, presenting a reasoned

argument

Your ability to use quotes and examples properly as evidence for your essay

Expressive and clear language (i.e. punctuation, spelling, grammar etc. and writing with

passion)

So:

Answer the topic - it’s worth taking a minute to think about what the question is asking

before you begin.

Make a plan and be clear on your argument

Present with several points that back up your argument

Write good-sized paragraphs- if it’s too long think about splitting it into 2 points

Give relevant examples and quotes

Conclude convincingly and be consistent with what you have said in previous paragraphs

Use focused language

Use correct grammar and punctuation

Know your text really, really, really well- the characters, themes, issues

Have clear handwriting - if the examiner can’t read it, they can’t mark it. Plus it helps put

them in a good mood.


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Write in pen- the examiner may be marking late at night, and may be tired. Writing in pen

maximises your chance of the essay being read properly.

Don’t:

Stray from the topic

Ramble on and on

Have ambiguous arguments or inconsistent ones

Have one sentence as a paragraph

Have one paragraph as an essay

Fail to substantiate what you say by giving examples

Use quotes that aren’t relevant to your argument- don’t use a quote just to show the

examiner that you’ve learnt it. They won’t be too impressed.

Add new ideas to your conclusion- put them in your paragraphs

Use incorrect spelling/grammar or writing that is illegible

Memorise entire essays!!! Somebody always does! IT DOESN’T WORK!

Write on a text that you didn’t study. Yes, people really do that. Don’t be one of them!

Even if it sounds better than the ones you did study!

Panic.

Remember:

You only have 3 hours to do the exam- they won’t expect a masterpiece. The examiners

understand that you don’t have much time. Do your best.

When it comes to spelling mistakes, you will only lose one mark no matter how many you

make. Grammar does not follow this rule, however.

If you find yourself nearly out of time, and you haven’t finished your last paragraph and

conclusion, write them in dot points. This way you can still make it clear where you were

intending to finish with your essay, and the examiner will not penalise you greatly for an

incomplete answer.

Most importantly, don’t panic.


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Area of Study 3: Writing in Context The task: Your task in this section of the exam is to write a piece in response to a single

prompt given to you on the context of your choosing. You will have to nominate one

book/film as the ‘primary text’, meaning the text that you will predominantly be engaging

with throughout your response, which prevalently informs your piece. You must use the

themes central to the text to explore the stimulus prompt.

Assessors are well acquainted with the texts and will be able to distinguish how accurately

and to what extent you have been engaging with the text. With that in mind, do not try to

fluke your way through without knowing the text well.

You cannot have two films as primary texts. If you write on a film in the text response, you

may not nominate any film as your primary text in the context section of the exam.

**Note: most of the discussion is based on expository/persuasive essays; imaginative pieces

are slightly different.

Separating context from text response: a common issue that arises in context responses is

students’ difficulty in distinguishing a context piece from a text response, particularly when

they have to transition from one to the other in the exam. These are some distinctions to keep

in mind when writing practice essays (and of course, the exam) to ensure that you do not fall

into the trap:

- Text response essays always keep the text at the forefront of the discussion, and ideas are

seen as the product of the particular author (‘Miller illustrates this crux of human nature

through…’) it is the author’s creation that you are dissembling and analysing. Context

essays deal with ideas, treating them independent of the author. Context essays open with

general discussion of the themes evoked by the prompt, and move into the text as a

means of introducing evidence to substantiate the ideas being discussed. Thus, rather

than opening a paragraph with ‘Miller postures his antagonist, Proctor, to reveal how

conflict unmasks the inherent character of…’ you would begin with the idea being

discussed: ‘the intense atmosphere created by conflict unmasks the inherent, unwavering

character embedded at the core of individuals…’ and discuss this idea in several

sentences before moving into a discussion of your nominated text at all.

- Text response essays concern themselves with how a text is presented in addition to the

ideas being presented: the writing style, the shift in tone, the mise-en-scene. Context

revolves around the themes themselves, and do not require a discussion of these

elements. Do not think this makes them easier: the ideas that you formulate in your

paragraphs should be nuanced and complex, and require just as much effort.

- Unlike in text response and language analysis essays, it is not necessary to consider the

‘effect on the reader’. Again, you are being granted independence to thoroughly explore

the ideas themselves.

Addressing the criteria: There are several criteria that your essay must address in the exam.

Many a student has written a good, quality piece of writing, only to lose considerable marks

for failing to address the criteria in some way. The core criteria being considered are:

- your understanding of the implications and complexities of the prompt

- your ability to integrate ideas suggested by the texts you have studied

- the form and structure of your piece of writing


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- your use of language and its appropriateness for the audience and purpose

Understanding of implications and complexities of the prompt

The first thing to note about this criterion is supremely obvious, and yet so frequently

ignored: you must respond to the prompt. The prompt is not there as a suggestion, or a vague

springboard that you occasionally touch on. The 2009 Examiners’ Report heavily criticized

lack of response to the prompt, and several times pointed out the utilization of pre-prepared

answers where the prompt was artlessly cobbled onto it. Be aware: this makes them cross.

The best strategy, particularly if you are not very confident or will acknowledge a tendency to

stray from the prompt, is to keep the prompt at the forefront of your mind throughout the

entire essay. Respond to it immediately in the contention, and feel free to utilize the words in

the prompt for your contention. Make direct reference to the prompt or your prompt-elicited

contention at the start and end of every paragraph (you should be doing this in some way

regardless, but you may be more nuanced if you are more confident). Bear in mind that it is

far better to be blatant than to lose track of the focal point of the essay.

The assessors want you to engage with the prompt by drawing the ideas of your context

through the prompt. While you must always consider the prompt, the ‘implications and

complexities’ are the ideas that are triggered by and stretch beyond the prompt. We will use

Conflict as an example:

‘Internal conflict is harder to resolve than external conflict. Discuss’

The opening and closing of each paragraph will directly address the prompt, but the

discussion throughout the paragraph should, in a good context essay, extend to the nature of

conflict and furthermore, the nature of humans within conflict. It should consider, for

example, what internal conflict reveals about a person’s character, and the character of people

in general; perhaps how the constitution of some people is immutable and constant, thereby

making conflict difficult to resolve, or considering the radical shift in perspective necessary to

resolve internal conflict, etc. These are the implications and complexities being mentioned.

Encourage yourself to think creatively about the prompt. Often students will think linearly

about the prompt because they feel that anything more creative would be ‘wrong’, and as a

result, some really terrific ideas, ideas which make the piece ‘stand out’ from others, are

discarded. If you are thinking about the prompt logically, and can substantiate your ideas with

evidence from the text (not selective evidence that can be immediately contradicted,

however), then there is no reason why you shouldn’t include different ideas. Examiners will

not punish you for having different ideas, so be bold!

Ability to integrate ideas suggested by the texts studied

Your texts have been selected for a reason, so use them! Throughout the course of the year

you should have studied the ideas behind the texts. Consider the texts as a case study being

presented to you on your particular context: assume that the ideas are present, and important,

and it is your task to analyse them and draw them out of the case presented to you.

The text is your proof, use it to build upon and establish your ideas. You should use the text

as evidence and engage with it appropriately; it is not necessary to recapitulate the plot, but do

discuss the significance of parts of the plot you are utilizing rather than assuming that it is

self-evident. Do use quotes. You can, in context, use other texts to supplement and expand

your ideas, however you should limit yourself to two or three different texts or events being

discussed, so that you can consider them in adequate depth.


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Form and structure of your piece of writing

The most common forms of writing are expository, persuasive and imaginative.

Expository piece:

- takes a measured stance, objectively considers several aspects of the prompt

- must have a contention that is firmly adhered to, but the contention can be more

nuanced and allow for accommodation of different aspects of an argument rather than

just one driving argument as in persuasive essays (that is, your contention can be a

moderated ‘while the prompt is correct to this extent, there is this particular situation

in which it is not true, or not adequate’). However, be very careful of responding with

a bald ‘yes it’s true, but also no, it’s not’ contention. This is not nuanced, it is simply

conflicting.

Persuasive piece:

- takes a singular, driven stance; a ‘hard line’. The aim is to persuade the reader of a

particular contention, rather in the way a politician would, instead of weighing up the

respective merits of different arguments as in an expository piece.

- Tone should be emphatic, but mostly allow the evidence and the construction of a

logical, well considered argument act as your persuasive technique

- The best persuasive essays will still consider the ideas that may oppose their

contention, but prove their contention as superior to the opposing idea

Imaginative piece:

- all of the criteria still have to be met; results in a fusion of a creative storyline with

elements of critical analysis, and mention of a text.

- The language must be fluid and appropriate. Both language and writing style should

be consistent throughout, no jumping between a creative piece to an expository style

of writing and back to something creative.

- Concepts should be expressed either directly or through subtle devices such as

symbolism, metafiction, and characterization.

The exam:

Preparation: practise essays are key. Rather than just covering prompts that you’re

comfortable with, try to get a wide range of prompts. Once you’ve covered a good breadth of

prompts, it’s incredibly likely that the one you encounter on the exam is similar to one, or a

hybrid of several that you have already written on. This will greatly increase your confidence

and improve your response, particularly since you won’t have to waste time planning or

wondering if you’re contradicting yourself, etc. Practise essays are the time to consider and

incorporate all of the advice you’ve been given, and make modifications. Ensure that you do

some practise essays within 60 minutes.

The exam: do not attempt to memorize essays. Trying to reproduce a memorized essay will

most likely result in a great deal of stress and time wasted as you fuss over missing sentences

and crucial elements of explanation, plus it’s more likely you will ignore the prompt.

However, feel free to incorporate elements of your practise essays as you feel is relevant;

that’s what you did them for. Try to keep the prompt and responding to the prompt in the

forefront of your mind. During your reading time, read the prompt and consider it, even if

you’re reading your language analysis article. Have at least a contention by the end of reading

time. Decide firmly on a plan and stick to it, and be confident!


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CONTEXT ESSAY CHECKLIST

Are you addressing the prompt?

Do you have a strong contention?

Does your contention use the words in the prompt?

Does your introduction outline what will be discussed in the paragraphs?

Does your introduction contain character’s names or examples from the text already?

(hint: it shouldn’t!)

Do your paragraphs each have a very clear, concise topic sentence?

Does each topic sentence address the prompt?

Are you using characters names in the first few sentences?

Are you already discussing examples in the first few sentences of each paragraph?

Have you done some contextual discussion on the issue in each paragraph?

Does each topic sentence address the contention?\

Are you using quotes as evidence?

Have you avoided retelling the story?

Does each sentence in the paragraph contribute to the point you’re trying to make? (i.e.

no filler sentences)

Do you draw conclusions from the evidence?

Do you summarize how the evidence presented proves your contention?

Have you considered and taken into account any contradictory evidence?

Have you avoided contradicting yourself?

Are all of your sentences grammatically correct? (i.e. you don’t stop a sentence halfway)

Documents

English booklet 2012.Vce pdf