Preface:
Hello VCE English students. As a fervent (post)English student, I’d love to share my passion for the subject with you through some tips and tricks. There are many, many wonderful guides already existing on AN, so you may only take one or two small things from this page. But any advice is better than no advice, right?
I’m firmly convinced that any student can succeed in VCE English. From the overtly meticulous Mathematics student, to the wonderfully crafty Art student, anyone can write a smashing essay. All it takes is consistent effort and a willingness to explore ideas.
Although I have structured this guide according to English units 3 and 4, it will absolutely hold true for all of those studying units 1 and 2.
Unit 3:
AOS 1: Reading Texts
Everyone’s favourite- the dreaded text response. There is no quick way around producing a beautiful text response essay. This part of AOS 1 will take some TLC. However, come exam time, when everyone is frantically racing through the study guides, you will thank yourself for having carefully built up an awe-inspiring interpretation.
Here are some tips for planning the text response
• Read some critical essays on your text (if there are any available). Often these are hard to access on the internet alone. Google Scholar may be handy. But your best bet would be university databases, which teachers are likely to have access to. Not only will these dissertations open you up to new ideas and fancy, text-specific vocabulary, but they will also act as a start point for your own interpretation. When I started reading scholarly essays, I felt very intimidated and worried when I didn’t agree with certain arguments. But I would encourage you to challenge proposed views. By questioning the assertions of others, you will be able to clarify your own beliefs of a text (something that can be quite difficult to do!). Like everything, however, only delight in these with moderation. Don’t lose the essence of your own ideas in those of others.
• Be prepared to plan, and plan and plan. The best, most refined essays that I wrote took around 2 weeks (or even one month) to plan. Of course time is a personal preference, and subject to the individual! However, planning was just as important as writing for me. It ensured that everything made sense, was relevant to the prompt and was zingy. More than that, it forced me to be intimate with the text, and acknowledge the significance of single words, subtle shifts in character or contradictions. If you take the time to effectively plan, you’ll find that each essay thereafter will be easier and easier to write to.
• Think broad and get narrow. I never used to warm to character-based prompts. I would always opt for the thematic ones. Somehow I always felt boxed in with a character focused essay, and worried that my essay would become too “character-y.” But I came to learn that behind every character prompt is a wonderful, thematic idea. This made it easy for me to maintain idea-orientated arguments, as opposed to clunky, jolting character ones. Characters will indeed be included in these idea-based arguments, but they will not be alone. Here is an example for Medea:
(1)- Jason inflicts gross bodily trauma on Medea.
(2)- By elucidating the visceral nature of Medea’s anguish, Euripides is able to underscore the consequences of patriarchal hypocrisies.
The second topic sentence would be much better. It still takes the main concept of the first, but presents it in a way where overarching views and values are addressed.
• Find quotes that have depth and breadth. That is, don’t flood your whole essay with quotes from the one character (even if the prompt solely concerns them). This will strengthen the originality of your essay, and thus make it interesting for readers. Examiners reward fresh ideas. Also, if you are studying a play, or a film, appreciate this construction! Analyse stage directions, film shot, or lighting. They are equally as important as dialogue/textural evidence.
Here are some tips for writing the text response
• Use analytical verbs/author or director name to avoid retelling. It is easy to fall into the trap of retelling. Especially when an annotated-type summary looks like an analysis. So here are some lovely sentence structures that will help you avoid this trap:
(1) By characterising Medea as a woman “scorned and shamed,” Euripides endeavours/aims/seeks to……
(2) The implicitly despairing undertones of Medea’s cry, “women are the most wretched,” enables Euripides to illustrate/convey/stress……
(3) Medea’s propensity for self-annihilation is further expounded by the Nurse, who compares the protagonist’s state of being to “a rock or wave of the sea.”
These are only some examples. There are countless ways of constructing sentences. And I encourage you to incorporate variation into your essay! After all, examiners don’t want to see the name of the author/director in every second line.
• Ensure that your points spring from one another. Some handy phrases, which will assist with coherency are:
(1) Indeed/Certainly
(2) This notion/idea is further affirmed/bolstered/fortified by,
(3) Through this elucidation/repetition/contradiction
(4) To heighten the intensity/severity/hilarity of
Like always, choose what suits your own writing. You may have developed your own style and method of connecting points, and this is absolutely fine.
• Keep making references back to the prompt. This does not need to be done in an awkwardly explicit sense, where you recall the exact words of the prompt 5-6 times in your essay. Just look for synonyms or ways of rephrasing the prompt (in a way that suits your own contention). A good way of rephrasing the prompt is writing down 3-5 other ways in which the prompt can be expressed. Here is an example:
Original prompt: “To what extent does Medea show that love brings pain.”
(1) Medea examines the peril associated with uncontrolled, passionate feeling.
(2) Euripides warns that acute mental and physical torment can stem from a lack of moderation.
(3) Medea unveils the deceptive pain that is often masked by the emotion of love.
By doing this activity, you are essentially generating new phrases/words that you can weave throughout your essay. This assures examiners/teachers that you are staying on task!
AOS 1: Creating Texts
Given the recent changes to the English study design, this AOS is highly refreshing. By adapting or transforming elements of a text, you are, in effect, moving into the position of an author. This may be a terrifying prospect for some, but it grants you with a whole lot of playful experimentation and an opportunity to express your own original voice.
Here are some tips for planning the creative piece
• Annotate the text as you are reading it. That is, write down any questions, revelations, interesting character tendencies, or ambiguous grey areas next to certain phrases or words. This will help you extend ideas and envisage possible scenarios for your characters (which are not explicitly laid out by the author/director). Before you know it, you’ll have a loose idea of your creative text.
• If annotation alone doesn’t ignite the creative juices, then I’d suggest you pick a favourite scene or chapter of your text. Zoom in closely to this particular snippet and ask yourself, what draws me to this? It could be a sentimental reflection, a menacing threat, or even just an interesting conversation. Then consider the following questions: What circumstances led to this moment? What are the repercussions of this? What moral lesson lies within? Who will this affect? Is the character conscious of their actions? Obviously there are many more thinking questions that you could ask, but take the ones that are never (outwardly) addressed by the author/director. These questions are what you can use as a foundation for your own piece.
• If you’ve established your focal point (a particular character/conversation/etc.) and need to fill in some empty holes, collect 5-10 noteworthy quotes that will complement your creative vision. Then carry out isolated analyses for each. You’d be amazed by how much depth/intensity a single quote can carry.
Here are some tips for writing the creative piece
• Try not to become frustrated. With creative writing, impatience is inevitable. You may be a perfectionist (*coughs and looks at self*) and sit there for 2 solid hours going backwards and forwards- making absolutely no progress. Or you may keep typing/writing for the sake of it until you tip that word count. After enough experience, I’ve worked out that short, sharp writing periods of 10 minutes are great. These help you maintain focus, a creative flair and perhaps most importantly, productivity.
• Weave the writing techniques of the author or director through your piece. If you can do this with subtle skill, you will be rewarded for your close engagement with the original text. Finding the right balance is key. If you are unsure of the techniques used by your author/director, go to the start/end of each chapter or scene and look for common occurrences. For example, when I studied The Golden Age, I noticed that London proceeded nearly all paragraphs with a preposition of sorts.
• This is old, but always forgotten: Show don’t tell. One of the best ways to do this is through a description of the senses. I’d also recommend internal reflections.
• After every paragraph, get at least one other person to look over it. There is no worse feeling than having finished an entire story, only to later realise that there are a myriad of inconsistencies and holes. I can assure you also, that this process will come in handy with the final written statement. It is likely that you’ll have to answer questions of the reader, explain certain things, and justify your choices- the whole purpose of the intention statement.
Here are some tips for writing the statement of intention
• Quote snippets of your own piece to justify choices. This may seem quite an obvious thing, but many students don’t take advantage of this tool. Oftentimes, students will vaguely ramble on about a whole heap of techniques, which overrides any nuanced, thoughtful approach to the task. Here is an example of quote integration:
To build on Addie’s initial characterisation, I make use of London’s technique of the tricolon to remark that Addie’s ‘nod […] spoke of compassion, empathy and sensitivity.’ The repetition of these adjectives strive to emphasise the idea that Addie has a deep, underlying awareness of ‘the obligation’ that Sullivan owes to his father.
• Ensure that the statement makes links back to the initial context of the text (time period, permeating concern, etc.). This tells teachers that you haven’t just reeled off a random, unrelated piece.
AOS 2: Analysing Argument
Once you find your rhythm for this essay, you’ll be set. For some it will be highly methodical, and for others it may be a bit overwhelming. Moderation (once again) is key. A really weird analogy that I developed for this task is to think of the article as a food buffet. If you spend too long at the entrée (the early part of the article), you will miss the goodness of the dessert (the end of the piece), and vice-versa. You want an even spread of all meals.
Here are some broader tips for Argument Analysis
• Write a snappy introduction. I would always follow this kind of structure: Context--- Tone (and tonal shift if necessary)-- Contention-- Comparison (if applicable). Here is an example:
In response to the proposed implementation of a compulsory Medical Information Card, Robert Brown submitted an email. By employing a predominantly earnest tone, Brown contends that the M-I card will cater for easy access to medical records and fundamentally, increased safety and wellbeing for civilians. Conversely, Christina Singh disparages the prospect of the M-I card; dismissing it as a proposal that will encroach on the basic privacy rights of Australians.
• Try and combine argument and technique in the one topic sentence. This facilitates a smooth transition into the paragraph of analysis. Here is an example from a past SAC:
With the intent of casting Melbourne’s current homeless crisis as a national embarrassment, Panahi opens her piece with an appeal to city pride.
Argument: homelessness is a national embarrassment
Technique: appeal city pride
Here’s what the rest of the paragraph may look like:
Through the laconic sentence, ‘welcome to Melbourne,’ which is tinged with undertones of sarcasm, Panahi engages attention of readers and alerts them of her upcoming agenda of naming all that the city is renowned for. In doing so, Panahi floods her description of the city with adjectives such as ‘aggressive,’ ‘rough’ and ‘illicit,’ which all carry connotations of unorderly and even unlawful behaviour. In turn, readers are positioned to respond to the current state of their city with detestation and disgust. These feelings are fortified by Panahi, who reminds readers that Melbourne is acclaimed as the ‘world’s most liveable city.’ Given that not only ‘international and interstate visitors’ are appalled by the makeshift camps, but also ‘local traders, workers and residents,’ Panahi implicitly urges readers to acknowledge that the city no longer lives up to its ‘most liveable’ title. Rather, entire communities are ‘aghast’ by a problem that palpably subverts any degree of liveability. To this end, Panahi strives to awaken the acknowledgement in readers that ‘a national embarrassment’ has imposed itself upon the city. Given that this ‘embarrassment’ has been contrasted to a notable title of ‘world’s most liveable city,’ Panahi seeks to kindle a sense of yearning and desire in readers to rid the city of the makeshift camps and reclaim a pride-fuelled position.
• Integrate image analysis into paragraphs (ie. Link with a corresponding argument). This can be especially beneficial if you don’t have a substantial amount to write for one paragraph. That is, an image is up to your interpretation. So long as you can plausibly justify this, you can link an image to almost any argument for an extra boost (if you can’t achieve this with textural evidence alone). After all, argument analysis encompassed both written and visual language.
• If you are stressed about the comparative component, don’t be! Comparative ability is not explicitly stated on the criteria rubric. You do not need to weave in and out of pieces every second line. This would give your readers whiplash. Rather, construct some nice transitional phrases like this:
Singh, however, scornfully undermines Brown’s idealistic future with the M-I, by casting the card as a deceptive invention.
The way you incorporate the second (or how ever many accompanying articles there are) is completely up to you! Do whatever you feel comfortable with.
• Take advantage of tone! Often, students will include the predominant tone/tonal shift in their introduction, and maybe preface a paragraph with reference to tone, and then completely forget about it. Try and incorporate tone with textural evidence. Here is an example:
The undertones of weariness in the phrase, “day after day,” enables Smith to highlight the inexorable hassle that is associated with the M-I Card. This in turn encourages readers to……..
• Don’t be forceful. Try to avoid phrases such as:
(1) This makes/urges/compels the reader to feel
(2) Readers react with disgust
You are looking for intended effects. So try:
(1) Author encourages/attempts/seeks/aims for readers to feel
(2) Readers are implicitly encouraged to react with…...
Unit 4:
AOS 1: Reading and comparing texts
The delightful new essay. In many ways, the comparative piece is much easier and straightforward than the regular text response. Your texts have been paired together for a reason. So when you find a significant point in one, be assured that there will be a noteworthy parallel in the other. Also, given the broad nature of the comparative task, you’ll find that after several essays (spanning different themes) there won’t be much that you can’t answer. Sounds like a dream, doesn’t it?
Here are some tips for planning the comparative piece
• Take down quotes and analyse in isolation. That is, as you are reading a novel/play or watching a film, be sure to compile a list of significant quotes. After you have taken down all these quotes, write any thoughts/feelings beneath them. I’m not going to lie, this is a cumbersome task. But it made the comparative unit 100 times easier. Why? Because once I found my significant point of comparison, I could flick through each respective quote booklet and find my evidence within no time. Even better, my already existing annotations meant that I didn’t need to spend hours coming up with insightful analysis.
• Mind-maps are great for establishing interpretations. Given that you are studying two texts, it can be tricky to reconcile the overarching issues between them, and establish one coherent line of argument (especially if there are considerable differences). Moving this confusion from your head onto paper helps immensely. You can create visual paths, linking lines, or basically any form of graphic to clarify points of confusion.
• For more tips, look to the planning section of the aforementioned text response task.
Here are some tips for writing the comparative piece
• Introductions and conclusions should not be lengthy. With the comparative, you have two texts to cover, meaning that you will generally have more to write than a text response. Thus, save your words for the bulk of the essay. After a while you will develop your own short and sharp style for both the introduction and conclusion. Here are relevant samples for Tracks and Into the Wild:
Introduction-
Despite the contrasting mediums of memoir and biographical film, both Tracks and Into the Wild respectively depict protagonists, who seek to emancipate themselves from the pervasive encumbrances of society and unearth a newfound clarity through a journey into nature. This notion of emancipation is, however, unveiled as an illusion by Davidson and Penn, who maintain that an utter disconnection from civilisation is impossible. And although Robyn recognises this truth, she remains hostile towards its presence; unlike Chris who ultimately cherishes the idea of existing in the company of others.
Conclusion-
Hence, both Tracks and Into the Wild endeavour to examine the cultural allure associated with emancipating the self from permeating, societal requirements. While both texts concede that an utter obliteration of these requirements is an unrealistic ideal, it is only Davidson’s Robyn, who continually refutes this knowledge; for Penn’s protagonist Chris, fundamentally identifies happiness with being able to provide a purpose to the lives of others
• Don’t obsess over how many similarities or differences you have. To a large extent, this depends on your texts. In Tracks and Into the Wild, I personally found that there were many similarities and few differences. As a result, my essays were primarily built around similarities. But this does not matter if you take a look at the criteria:
Comprehensive comparison that presents an enriched understanding of the ideas, issues and themes in both texts through complex analysis of the similarities and/or differences.
The and/or implies that you do not necessarily need an equal balance of both.
• A point of comparison that students often overlook is medium presentation. For example, if you are studying a novel and a film, it is likely that the author and director will express similar ideas through different methods. One might articulate character experience through metaphorical imagery where the other may do so through the film’s score/shot type/lighting.
• Structure is personal preference. Some like the block approach, the integrated approach or a mixture of the two. For clarity purposes, I’ve always been inclined to use the “mixture.” This ensures that I maintain a depth of analysis (for each text), uphold the comparative element and remain clear at all times. Here is an example of the “mixed” structure.
Topic sentence: both texts- comparative statement
Text 1 (analysis)
Linking sentence: both texts- comparative statement
Text 2 (analysis)
Closing sentence: both texts- comparative statement
AOS 2: Presenting argument
Finally, we have the oral presentation. For some, this will bring about tears of anguish, and for others, beaming smiles of excitement. Regardless of whether you are the latter or former, you can still present a “wow factor” level speech. All it takes is some belief. If you believe everything that you are saying, and are genuinely passionate about your topic, confidence and conviction will come naturally. Given the myriad of public speaking tips that are already online and elsewhere, I will focus on the planning and writing elements.
Here are some tips for planning the speech
• Research widely. This allows for “sifting” to take place. That is, you’ll be able to gather what arguments/evidence are solid, well-justified and reputable and what are questionable. Don’t take anything at face value. Always scroll to the top (or in some cases) the bottom of the article and check the year that is was published. As time changes so too do facts.
• Within your research, examine the opposing arguments. Students tend to neglect the opposition once they have established a contention. However, if you can immerse yourself in the “other side” like it was your own, you will strengthen the quality and credibility of your speech by miles. Especially if you can subtly refute opposing viewpoints throughout the entirety of your presentation.
• Take note of the persuasive devices embedded into the research articles. Some topics will demand frequent rhetorical questions, exaggerated language or emotional appeals while others are more aligned with reason and logic, statistics or expert opinions. Articles in themselves can be persuasive. And so, when you read them, you’ll be able to ascertain which techniques are most effective for your topic.
Here are some tips for writing the speech
• Be clear. Although it is great to begin your presentation with a joke or statistics, try not to get too carried away. You want audiences to understand your contention and relevant contextual information early. This sets the tone for the remainder of the speech.
• Remember that you will perform this. As you are writing think, how would this sound out loud? Is this pompous academic jargon that no one in their right mind would verbalise? After writing every sentence, I suggest that you read it to yourself. Not only does this ensure sensibility, but it will too give you a fair indication of how engaging the speech really is.
• Make sure that your own voice is emerging. When putting together a speech, you are often overwhelmed by evidence. You do not need to use it all! Use it sparingly and in a manner where your own words and opinions can come to the fore. It is only a complementary body.
• Switch up sentence length. Moments of pause and reflection are critical in any good speech. So ensure that not all lines are tortuous. Immense power can come from few words.
Here are some tips for writing the statement of intention
• This is like a mini language analysis. Take quotes from your own piece, analyse their significance and how they intend to persuade audiences. Here is an example:
To shift a sense of responsibility onto my audience, I too make use of repeated personal pronouns evidenced in, ‘every time you use a plastic bag, you are prolonging this misery,’ which seek to establish a causal link between the actions of the members and the debilitated state of the planet.
• For logicality purposes, I arranged my paragraphs according to argument. However, this is merely a structural suggestion. Do whatever you feel is most comfortable.
• Like I mentioned for the creative statement of intention, ensure that you address the context/issue that is on hand. And perhaps more specifically for the oral statement, be sure to include contention and specific audience.
Closing:
I sincerely hope that you learnt something small from this guide. If anything is unclear, or you would like some further clarification, please feel free to ask! Questions are your best friend in English.
Overall, I’d just encourage you to enjoy the subject. Absorb yourself in the lives of characters, roles of authors and authority of public speakers. I wish you all the very best for your studies.
Clarke :)