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Insight: Engage

How to write introductions and conclusions in text responses.

Opening and ending your responses on a strong note can help to add cohesiveness and clarity. In this week’s post, English teacher Kylie Nealon outlines how to write effective introductions and conclusions in your text response essays.

Writing a clear introduction and conclusion to a text response essay is key to communicating your understanding of the topic and the text to the assessor. Here are some key points to consider that will help you to improve the quality of your opening and closing paragraphs.

Introductions

You will be presented with three main types of topic for your text response:

• a ‘discuss’ topic
• a ‘do you agree?’ question
• a topic that uses a quote and then asks you a question about a theme suggested by that quote.

Regardless of which topic type you are presented with, your introduction must respond directly to the topic and present a clear contention.

With a ‘discuss’ topic, you have the ability to define the boundaries that you will be exploring. Responses to these types of topic have the tendency to become quite broad, so be careful not to include too many ideas in your introduction. Consider this example.

Text: Like a House on Fire by Kate Kennedy

Topic: ‘The characters in these stories are all finding ways of “keeping up appearances”.’ Discuss.

Sample introduction:

Keeping up appearances is a central concern for many of the characters in Kate Kennedy’s anthology Like a House on Fire . Many struggle with this issue against a backdrop of conflicting familial or work relationships, or the need to maintain physical or mental control. Their ‘happy fronts’ are often put on in an attempt to avoid being perceived as weak or powerless in situations that are informed by gender and generational contexts. Throughout her anthology, Kennedy presents characters who struggle to maintain these external facades, often at the cost of their own identity.

• In this introduction, you’ll notice that the names of the short stories are not included. You can refer to the titles of particular stories if you prefer, or you can simply reference the ideas you’ll be exploring, as in the above example.
• This introduction gives the ‘threads’ of the ideas that will be explored, allowing stories to be linked a little more organically, and making topic sentences a bit easier to handle.
• Throughout, key words from the topic (and appropriate synonyms) are embedded.

With a ‘do you agree?’ question , you’ll want to ensure that you don’t use the dreaded words of ‘yes’, ‘no’ or ‘I agree/disagree’! These words are off limits, so think about framing your contention in a formal, objective way. How do you do that? Let’s look at an example.

Text: Burial Rites by Hannah Kent

Topic: ‘Blondal is the irredeemable villain in Burial Rites .’ Do you agree?

While it can be argued that Blondal is an irredeemable villain in Burial Rites , he is not alone. Kent’s exploration of Iceland’s patriarchal society of the nineteenth century paints him, along with many other men in the narrative, as villainous. What Blondal reflects are the social and cultural attitudes that allow him (and others) the freedom to exert this gendered power. While these men can be perceived as villainous, they are merely reflections of the attitudes towards women at the time.

• In this introduction, although there is no use of ‘I’, there is a clear sense of the writer’s point of view on the topic.
• The scope of the essay is intended to focus not only on the character named in the question, but on others as well – this gives some freedom to explore, compare and contrast.
• You’ll notice that there is also a sense of context – time and place – as well as a reference to the author. These are all aspects that you may choose to include in your own introduction.

With a theme-based question , you have more scope to explore. What you want to remember is that, while you may have a quote to get you started, you aren’t required to base your entire response on it. (However, you must reference the quote at some point in your essay, and it is often a good idea to show an understanding of the context of the quote in relation to the text as a whole.)

Topic: “The room is stiff with a charged awkwardness, with languages I can’t speak.” How does Kennedy show communication issues to be central in these stories?

Kate Kennedy’s short-story anthology Like a House on Fire explores issues of communication, both spoken and unspoken, through her construction of familial and intimate relationships. Her characters struggle to express themselves when faced with confronting situations, unable to articulate how they feel or what they want. In these stories, the ‘awkwardness’ can stem from a place of inexperience or a lost connection that makes interaction with a loved one ‘charged’. In many of her stories, Kennedy explores the challenge that communication poses for these characters, sometimes resolving the issues arising in a positive but unexpected manner.

• Rather than discussing how each story contributes to the theme of communication, this introduction deals with ideas more broadly. In writing the introduction in this way, the writer is setting themselves up to look at both explicit and implicit examples and ideas suggested in the stories.
• Key terms from the topic are embedded, and the structure of the introduction establishes how the writer will advance their contention.

With all three types of topic, you want to limit your introduction to around four sentences – any more than that and you run the possibility of starting to encroach on your first main body paragraph. Once you’ve decided on your key points during the planning stage, write down the first sentence of each main body paragraph. Avoid using these sentences in your introduction; this should help you to avoid blending together the two parts of the essay (introduction and body paragraphs) once you start writing.

Conclusions

Conclusions are another area of concern for many students, and often they do tend to either repeat the points already mentioned in the body of the essay or else introduce new ideas or information that have not been discussed elsewhere. Your aim is to avoid doing either of these!

Consider the following points before you start writing your conclusion.

• Revisit the topic again, considering the key words.
• What is the overall contention that you’ve advanced in response to the topic?
• What was the author/director trying to do/show/explore? And how is the reader/viewer left feeling as a result of this? (Consider these in relation to the topic.)

Sample conclusion (concluding the second Kennedy topic):

Kennedy’s exploration of communication underpins her presentation of character actions and evolution. Some, like Anthony in ‘Static’ or Chris in ‘Ashes’, experience moments of wordless clarity that allow them to see to the heart of their situations. Others, like Tyler’s mother in ‘Seventy-Two Derwents’, assert their new-found literal and figurative voices. Throughout her anthology, Kennedy suggests that the ‘awkwardness’ of language and people’s frequent inability to communicate effectively are universal aspects of human experience.

• In this conclusion, you’ll notice that the key words of the question have been incorporated, some (but not all) of the stories mentioned in the main body paragraphs have been grouped together, and the authorial intent has been revisited in the last sentence.
• As with the conclusion above, don’t end your response with a question; end with an assertive statement, leaving the marker in no doubt as to where you stand with your contention.

_____________________

As with any part of your preparatory process, practice is key. When you’re writing up your own responses to your texts, a good tip is to work through a range of these topics, just writing the introductions and conclusions. This will compel you to consider how you construct your ideas in a concise and specific way.

Not sure how to approach your text essay? Insight has at least one Insight Sample Essay for each List 1 text and List 2 text pair. Each high-level essay features annotations and assessor comments identifying the elements of the essay that work and areas for improvement, as well as tips on how to approach the essay topic and appropriate strategies for analysis, all for just $3.95.

Insight Sample Essays are produced by Insight Publications , an independent Australian educational publisher.

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English Works

Writing a text response essay: notes, tips and sample paras

In a text response essay, you will be assessed on your ability to develop an argument/discussion relating to a prompt, your ability to analyse themes, issues and characters in an insightful way, your ability to identity an author’s intentions and unpack their narrative devices.

Remember, the reason you are studying your particular text is because it contains complex and thoughtful themes. You must discuss the text’s complexity, but in a systematic way. Start with the simple and obvious points and then show a progression of thoughts.

If you are getting around a mid-range C-B, you may need to work on:

Topic sentences

• Sharper and more analytical topic sentences. Make sure they directly answer the question and set up a paragraph that will develop the main theme in a thoughtful and profound way.
• Make sure that each topic sentence has a different focus so as to avoid repetition. In a B-range essay there is often considerable repetition of ideas.
• Evidence: you must be as analytical as possible and avoid general statements. Show an insightful knowledge of the text by choosing key evidence/insightful/ ambivalent examples in the text to support the topic sentence.
• Build your discussion around the author’s intentions, purpose, narrative devices. These will keep the focus on analysis rather than summary.
• Be sure to show readers/assessors that you are capable of precise and accurate analysis of characters, themes and significant moments/turning points in a text’s narrative. 

The flow of ideas throughout the paragraph

• Take each topic sentence and brainstorm the points/quotes/insights that you must include in the paragraph. Group together similar ideas and then delve deeper.
• Make sure that your paragraph flows. Do not just cobble together a list of statements or quotes. Make sure that each point follows and adds to the previous point.
• Make sure you give priority to the narrative devices.
• Do not just add irrelevant details in order to pad the paragraph; or if there are two perspectives/views on the statement, include them separately.
• Please see sample  paras on Romeo and Juliet.
• Awkward phrases: work on sophistication of expression. Avoid clumsy verb phrases. Use nominals. Work at incorporating quotes  into the grammatical construction of your sentence. Use a combination of short, snappy sentences and longer sentences. Do not lose control of the subject. See Notes on Improving Expression.

Write a 1-2 page summary of the “most important” or key points/issues in the text.  Ask yourself, if you had to write a response on this text, what could you absolutely not leave out, or omit to mention (taking into account that given the prompt, you may make a short or longer reference to this key piece of evidence/quote/views/values.)

• See Writing a Comparative Essay
• See Romeo and Juliet : Study Page
• See Macbeth: Study Page

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How to write a text response

WHAT IS A TEXT RESPONSE?

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

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

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

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

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

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

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

WHAT IS THE PURPOSE OF A TEXT RESPONSE?

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

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

A COMPLETE TEXT RESPONSE BUNDLE FOR STUDENTS

2 in-depth units for students and teachers to work on as a class or independently. Packed with teaching resources and lesson ideas.

160 PAGES of high-quality teaching units for all ages and abilities. NO PREPARATION IS REQUIRED. DIGITAL and PRINT to DOWNLOAD NOW.

TEXT RESPONSE STRUCTURE

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

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

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

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

TEXT RESPONSE FEATURES

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

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

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

GETTING STARTED: THE PREWRITING STAGE OF A TEXT RESPONSE

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

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

Read for Understanding:

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

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

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

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

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

Read Directions Carefully:

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

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

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

The Process:

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

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

HOW TO WRITE A TEXT RESPONSE

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

The Introduction:

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

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

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

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

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

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

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

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

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

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

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

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

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

Writing a text response conclusion:

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

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

TIPS FOR WRITING A GREAT TEXT RESPONSE

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

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

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

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

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

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

TEXT RESPONSE TASK FOR STUDENTS

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

The steps for completing a reaction or response paper are:

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

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

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

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

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

USEFUL STATEMENTS TO INCLUDE IN A TEXT RESPONSE

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

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

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The Ultimate Guide to VCE Text Response

May 7, 2019

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Updated 19/01/2021

1. What Is Text Response? 2. What Are You Expected To Cover? (Text Response Criteria) 3. School Assessed Coursework (SAC), Exams and Allocated Marks 4. How To Prepare for Your Text Response SAC and Exam 5. How To Write a Text Response

1. What Is Text Response?

Like its name, Text Response is when you respond to a text. The most popular texts are novels and films; however, plays, poetry and short stories are also common. Your response will be in the form of an essay, in which you discuss themes, ideas and characters. Recall all the novels and films you've studied since Year 7 (there'll be quite a few!). You should be very familiar with the process of watching a film or reading a novel, participating in class discussions about themes and characters, and finally, submitting an essay based on the text.

As you graduate into higher year levels, you spend each year revising and improving on TEEL, learning to better incorporate quotes and formulating even longer essays than the year before (remember when you thought you couldn't possibly write an essay more than 500 words?).

The good news is, all of that learning is now funnelled into VCE’s Text Response, one of the three parts of the VCE English study design. Text Response, officially known as ‘Reading and Responding’ in the study design, is the first Area of study (AoS 1) - meaning that the majority of students will tackle the Text Response SAC in Term 1. Let's get into it!

2. What Are You Expected To Cover? ( Text Response Criteria)

What are teachers and examiners expecting to see in your essays? Below are the VCE criteria for Text Response essays.

Note: Some schools may express the following points differently, however, they should all boil down to the same points - what is necessary in a Text Response essay.

a) Critically analyse texts and the ways in which authors construct meaning;

Much of the ‘meaning’ in a novel/film comes instinctively to readers. Why is it that we can automatically distinguish between a protagonist from an antagonist? Why is it that we know whether or not the author supports or denounces an idea?

Here you need to start looking at how the author constructs their texts and why they have made that choice. For example, the author describes a protagonist using words with positive connotations (kind, brave, charming), whereas the antagonist is described with words using negative connotations (vain, egocentric, selfish).

For example, 'in Harry Potter , by describing the protagonist Harry as "brave", the author JK Rowling exhibits the idea of how possessing bravery when making tough choices or facing challenges is a strong and positive trait.'

b) Analyse the social, historical and/or cultural values embodied in texts;

Society, history and culture all shape and influence us in our beliefs and opinions. Authors use much of what they’ve obtained from the world around them and employ this knowledge to their writing. Understanding their values embodied in texts can help us as readers, identity and appreciate theme and character representations.

For example, 'through the guilty verdict of Tom Robinson in To Kill A Mockingbird , Harper Lee expresses the belief that the American legal system in the 1930s was not always fair or just.'

For more information on context and authorial intent in VCE English, read Tim's blog, Context and Authorial Intention in VCE English, or Olivia's on what authorial intent is and why it's important .

c) Discuss and compare possible interpretations of texts using evidence from the text;

Be open to the idea that many texts can be interpreted in many ways. Texts are rarely concrete and simple. Take The Bible , a book that is one of the most popular and famous books in history but is interpreted differently by every person. Acknowledging more than one perspective on a certain aspect of the text, or acknowledging that perhaps the writer is intentionally ambiguous, is a valuable skill that demonstrates you have developed a powerful insight into your text.

For example, 'in The Thing Around Your Neck , feminist readers condone Adichie's stories which all revolve around women either as protagonist or as narrators, giving voice to the disempowered gender in Nigerian society.'

‍ d) Use appropriate metalanguage to construct a supported analysis of a text;

While you should absolutely know how to embed quotes in your essay like a boss , you want to have other types of evidence in your Text Response essay. You must discuss how the author uses the form that he/she is writing in to develop their discussion. This encompasses a huge breadth of things from metaphors to structure to language.

For example, 'The personification of Achilles as "wolf, a violator of every law of men and gods", illustrates his descent from human to animal….' or 'Malouf’s constant use of the present voice and the chapter divisions allow the metaphor of time to demonstrate the futility and omnipresence of war…'.

To learn more about metalanguage, read our ' What Is Metalanguage? ' post.

e) Control and effectiveness of language use, as appropriate to the task

When examiners read essays, they are expected to get through about 12-15 essays in an hour! This results in approximately 5 minutes to read, get their head around, and grade your essay - not much time at all! It is so vital that you don’t give the examiner an opportunity to take away marks because they have to reread certain parts of your essay due to poor expression and grammar.

For further advice on the above criteria points, read Emily's (English study score 46): Year 12: How To Turn Your Text Response Essays From Average to A+ .

3. School Assessed Coursework (SAC), Exams and Allocated Marks

Reading and Creating is assessed in Unit 1 (Year 11) and Unit 3 (Year 12). The number of allocated marks are:

• Unit 1 - dependant on school
• Unit 3 English – 30 marks
• Unit 3 EAL – 40 marks

Exactly when Text Response is assessed within each unit is dependent on each school; some schools at the start of the Unit, others at the end. The time allocated to your SAC is also school-based. Often, schools use one or more periods combined, depending on how long each of your periods last. Teachers can ask you to write anywhere from 800 to 1000 words for your essay (keep in mind that it’s about quality, not quantity!)

In your exam, you get a whopping total of 3 hours to write 3 essays (Text Response, Comparative and Language Analysis). The general guide is 60 minutes on Text Response, however, it is up to you exactly how much time you decide to dedicate to this section of the exam. Your Text Response essay will be graded out of 10 by two different examiners. Your two unique marks from these examiners will be combined, with 20 as the highest possible mark.

4. How To Prepare for Your Text Response SAC and Exam

Preparation is a vital component in how you perform in your SACs and exam so it’s always a good idea to find out what is your best way to approach assessments. This is just to get you thinking on the different study methods you can try before a SAC. Here are my top strategies (ones I actually used in VCE) for Text Response preparation that can be done any time of year (including holidays - see How To Recharge Your Motivation Over the School Holidays for more tips):

a) Reread your book (or rewatch the film)

After all the learning and discussion you’ve had with your teacher and peers, you should have now developed a solid foundation of knowledge. Rereading a book enables you to refresh your memory on subplots, popular passages and most importantly, helps you fill in any missing gaps in knowledge. Take this as an opportunity to get familiar with the parts of the texts you're less confident with, or to examine a particular theme that you know you're weaker in (HINT: A good place to start is to make sure you know the difference between themes, motifs and symbols !)

b) Do a close analysis

This is like an advanced version of rereading a book. A 'close analysis' - a term stolen from VCE Literature (thanks Lit!) - is basically where you select a passage (a short chapter or a few pages), and analyse it in detail.

As you move through the passage, you can pick out interesting word choices made by the author and try to interpret why they have made this choice. Doing a close analysis will immensely strengthen your metalanguage analysis skills, and also give you the opportunity to stand out from other students because you can offer unique and original analysis and evidence in your essay. I know this can be a bit confusing, so this video below shows a full close analysis of a Macbeth passage in action:

c) Read and watch Lisa's Study Guides' resources

Doing this study all by yourself can be rather daunting, so we've got your back. We specialise in supporting VCE English by creating helpful videos, study guides and ebooks. Here are some just to get your started:

YouTube Videos

We create general Text Response advice videos like this:

We also create text-specific videos:

And if you just need general study advice, we've got you covered too:

Check out our entire YouTube channel (and don't forget to subscribe for regular new videos!).

Study Guides

Our awesome team of English high-achievers have written up study guides based on popular VCE texts. Here's a compilation of all the ones we've covered so far:

After Darkness by Christine Piper

Cosi by Louis Nowra

‍ ‍ Extinction by Hannie Rayson

‍ Flames by Robbie Arnott

False Claims of Colonial Thieves by Charmaine Papertalk Green and John Kinsella

‍ Go Went Gone by Jenny Erpenbeck

‍ Like a House on Fire by Kate Kennedy

‍ Measure for Measure by William Shakespeare

‍ Old/New World Selected Poems by Peter Skrzynecki

‍ ‍ On The Waterfront by Elia Kazan

‍ Ransom by David Malouf

‍ Rear Window by Alfred Hitchcock

‍ Runaway by Alice Munro

‍ Station Eleven by Emily St John Mandel

Sunset Boulevard by Billy Wilder

‍ The Crucible by Arthur Miller

‍ The Complete Maus by Art Spiegelman ‍

The Erratics by Vicki Laveau-Harvie (Setting)

The Erratics by Vicki Laveau-Harvie (Breakdown of Themes & Quotes)

‍ ‍ The Golden Age by Joan London

‍ The Lieutenant by Kate Grenville

‍ The Secret River by Kate Grenville

‍ To Kill a Mockingbird by Harper Lee

‍ William Wordsworth: Poems Selected by Seamus Heaney

‍ ‍ Women of Troy by Euripides (Don Taylor's version)

‍ Year of Wonders by Geraldine Brooks

Tip: You can download and save many of these study guides for your own study use! How good is that?

And if that isn't enough, I'd highly recommend my How To Write A Killer Text Response ebook.

Most people seem to the think the most difficult part of Text Response is the writing component - and they're not completely wrong. However, what I've found is that not even students place emphasis on the brainstorming, preparation and planning of Text Response.

Think about it - if you don't come to the table with the best ideas, then how can you expect your essay to achieve A+? Even if you write an exceptional essay, if it doesn't answer the prompt, your teacher won't be sticking a smiley face on your work. We need to avoid these common teacher criticisms, and I have no doubt you've experienced at least once the dreaded, 'you're not answering the prompt', 'you could've used a better example' or 'more in-depth analysis needed'.

Enter my golden strategy - the THINK and EXECUTE strategy . This is a strategy I developed over the past 10 years of tutoring, and I've seen my students improve their marks every time. The THINK and EXECUTE strategy breaks up your Text Response into two parts - first the THINK, then the EXECUTE. Only with the unique THINK approach, will you then be able to EXECUTE your essay to its optimum potential, leading yourself to achieve those higher marks.

To learn more about the THINK and EXECUTE strategy, download my ebook sample on the shop page or at the bottom of this blog, or check out the video below:

‍ d) Get your hands on essay topics

Often, teachers will provide you with a list of prompts to practice before your SAC. Some teachers can be kind enough to hint you in the direction of a particular prompt that may be on the SAC. If your teacher hasn’t distributed any, don’t be afraid to ask.

We have a number of free essay topics curated by our team at LSG, check some of them out. Also go scroll back up to our list of study guides above, as most of those also have essay prompts included:

‍ ‍ All the Light We Cannot See Essay Topics ‍ Like a House on Fire Essay Topics ‍ ‍ The Handmaid's Tale Essay Topics ‍ ‍

e) Brainstorm and write plans

Once you've done some preliminary revision, it's time to write plans! Plans will help ensure you stick to your essay topic and have a clear outline of what your essay will cover. This clarity is crucial to success in a Text Response essay.

Doing plans is also an extremely time-efficient way to approach SACs. Rather than slaving away hours upon hours over writing essays, writing plans can will save you the burnout and will get you feeling confident faster.

I've curated essay topic breakdown videos based on specific VCE texts. In these videos, I explore keywords, ideas and how I'd plan an essay with corresponding examples/evidence.

f) Write essays

Yes, sad, but it’s a fact. Writers only get better by actually writing . Even if you just tackle a couple of essays then at least you will have started to develop a thinking process that will help you to set out arguments logically, utilise important quotes and time yourself against the clock. It will help you write faster as well – something that is a major problem for many students. With that said, let's get into how to write a Text Response next.

Take a look at some of the essays our amazing LSG team have written:

After Darkness Essay Topic Breakdown

All the Light We Cannot See Essay Topic Breakdown

‍ Extinction A+ Essay Topic Breakdown

‍ Station Eleven Essay Topic Breakdown ‍ ‍

Women of Troy Essay Topic Breakdown ‍

If you need any more tips on how to learn your text in-depth, Susan's (English study score 50) Steps for Success in Text Study guide provides a clear pathway for how to approach your text and is a must read for VCE English students!

And, if you're studying a text you hate (ugh!) be sure to check out Lavinia's guide which teaches you how to do well even when you don't like your text !

5. How To Write a Text Response

Before you start writing, make sure you're familiar with The Five Types of Text Response Prompts . Understanding the different types will help you move beyond a 'basic' one-size-fits-all structure.

Introduction

In an introduction, you're expected to have the following:

• Context (or background)
• Author's name
• Title of text
• Main arguments

Here's an example from Vindhya (English study score 46), in her post Dissecting an A+ Essay Using 'The Golden Age' by Joan London :

Perhaps nothing exemplifies the power of love and recognition more than the bond between Albert Sutton and his older sister, Lizzie, in Joan London’s ‘The Golden Age’. Many of London’s characters exhibit suffering that requires compassion and support to heal and grow, to distinguish present from past. However, London explores the perspectives of such characters from different aspects of trauma, and emphasise that love and recognition do not always work to heal and mature. Frank Gold, the novel’s resident “sneaky” boy who adjusts to newfound life in the Golden Age Convalescent Home seeks love as an adult, rather than eliciting sympathy as a supposed victim. Here love and recognition are unsuccessful in amending Frank’s troubles when given from the perspective of an outsider, a judgemental onlooker. In a similar sense, Ida Gold seeks recognition not from Australia, who she views as a ‘backwater’, but validation in herself after having been ousted from her Hungarian identity. London, however, makes sure to emphasise the impact that Sullivan has on Frank Gold’s life. Sullivan, a boy only a few years older than Frank, seems content with his future, with his fate, despite his sacrifice of rugby and conventional life. There is a lacking sense of urgency for love and recognition in Sullivan’s life, rather, it appears that Sullivan accepts his fate, regardless of his father’s sympathy or support. Thus, London explores a myriad of ways in which love and recognition may or may not heal wounds inflicted upon individuals.

Try to keep your introduction to the point. There's no need to prolong an introduction just to make a set number of sentences. It's always better to be concise and succinct, and then move into your main body paragraphs where the juicy contents of your essay resides.

Body Paragraph

Most of you will be familiar with TEEL. TEEL can stand for:

• T opic sentence
• L inking sentence

If your teacher or school teaches you something slightly different - that's okay too. At the end of the day the foundations are the same.

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

Conclusions should be short and sweet.

Although trauma is often treated with love and compassion, London details different perspectives on this idea. Whilst Frank Gold requires a specific kind of recognition, Ida and Meyer seek validation in themselves and their relationship, whilst Sullivan is at ease with his fate and does not yearn sympathy from his father.

For further detail from Sarah (English study score 45), read her advice on 5 Tips for a Mic-Drop Worthy Essay Conclusion .

That's it for the Ultimate Guide to VCE Text Response . Good luck!

*Originally posted in 2011, this blog post has been revised for the latest English study design.

Get our FREE VCE English Text Response mini-guide

Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps. Click below to get your own copy today!

Struggling to answer the essay topic?

Has your teacher ever told you:

"You're not answering the prompt"

"You're going off topic"

Then you're not alone! If you struggle to understand and stay on topic, learn how to answer the prompt every time with our How To Write A Killer Text Response study guide.

This blog was updated on 23/10/2020.

2. Historical Context

3. Part 1: Plot

4. Part 1: Quotes and Analysis ‍

5. Themes, Motifs, and Key Ideas

6. Character Analysis

7. Structure

8. Sample Essay Topics

9. Essay Topic Breakdown

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

Set in Dungatar, a barren wasteland of traditionalism and superstition, isolated amidst the rapidly modernising post-World War II Australia, acclaimed author Rosalie Ham’s gothic novel, The Dressmaker , provides a fascinating window into 1950s Australia. I find it to be one of the most intriguing texts of our time - managing to weave together a historical narrative with humour, wit, and modern-day social concerns regarding patriarchy, class, and the effects of isolation.

The Dressmaker is one of those texts which reinforces why studying English can be so great when you give it a proper chance. This subject isn’t just about studying books and writing essays, it’s also about learning new insight you’ll carry with you throughout your life. Specifically, The Dressmaker offers real insight into some of the most pressing issues that have been around for centuries - how communities respond to crisis, why certain groups are marginalised, and how we should respond to tyranny and intolerance. Ham’s novel is layered with meaning, character development, and a moving plot which really helps us reflect on who we are as people. Not every book can do that - and, seemingly, on a surface level, you wouldn’t expect a novel about fashion and betrayal to do it either. But somehow, it just does, and it’s what makes The Dressmaker one of my favourite books of all time.

Historical Context

Before we move on to looking at The Dressmaker’s plot and delving deep into analysis, it’s really important to understand the main historical context which underpins the novel. By ‘historical context’, all we mean here is the factual background which tells us why Rosalie Ham wrote her novel, and why she chose the particular setting of Dungatar. After all, Dungatar is a fictionalised community, but its references to post-World War II Australia are very real. The main message I want you to take from this section is that understanding 1950s Australia is essential to understanding Dungatar.

Australian Geography and the Great Depression

Before we delve into talking about this historical theme, I’d like to first acknowledge that Australia was colonised against the wishes of its First Nations peoples, and also recognise that sovereignty was never ceded. This discussion broadly reflects the experiences of colonised Australia because that is the frame which Rosalie Ham provides. However, at Lisa’s Study Guides, we acknowledge the traditional owners of the land on which this study guide was written, edited, and published, and pay our respects to elders past, present, and emerging. 

Ham’s fictional setting of Dungatar is a perfect example, as it is placed in the Australian Outback. The ‘Outback’ doesn’t exactly have any borders, so which regions of Australia count as part of the 'outback' will be slightly different from person to person. A general rule to help us understand the Outback is that it is way out in the centre of the country, far away from urban Australia. Its main industry is pastoralism, which refers to the grazing of cattle, sheep, and other species such as goats. This is a tough lifestyle, and as such small towns and a lot of room for livestock is preferable. These communities are often isolated, and don’t really communicate with the outside world unless it’s about trading their livestock into the cities. Isolation tends to create its own culture, practices, and social standards. For Dungatar, we see massive economic divides and strict expectations around the role of men and women. For instance, the McSwineys live in absolute poverty, yet Councilman Evan and his family are relatively wealthy. Most of the women in the town either care for children or stay at home, reflecting the outdated idea that it is the role of the man to work, and the role of the woman to be a homemaker. As much as we can look at these ideas and realise how flawed they are, for Dungatar it is a way of life to which they’ve stuck for decades. Changing this way of life would be dangerous for them because it means they have to completely reconsider the way they live.

Part 1: Plot

• Myrtle Dunnage arrives in Dungatar after many years, seeking to care for her mother Molly Dunnage. 
• Myrtle, who now wishes to be known as Tilly, reconnects with Sergeant Farrat, Dungatar’s eccentric local policeman who is doing his evening lap in the town. He takes Tilly through the town and up ‘The Hill’, which is where Molly lives. 
• While Tilly is caring for Molly, mental and physical illness causes her to believe that Tilly is an outsider who wishes to poison her. Tilly perseveres in order to shower, feed, and clothe the woman, as well as clear out the house.
• The perspective changes to Sergeant Farrat, who is patrolling the town centre a day later. He sees a returned William Beaumont sitting in a car. Moving into Muriel and Alvin Pratt’s General Store, Farrat claims to be buying fabric for his house. Their daughter Gertrude, who is reading a fashion magazine, realises that the material he is buying fits with the latest skirt designs across Australia.
• After learning about Mr Almanac’s pharmacy, the footballers move into Purl and Fred Bundle’s pub. 
• The readers are introduced to the McSwiney family, who with Edward and Mae as the father and mother, have 11 children. They’re said to live in the tip at the edge of town. 
• The following weekend Tilly and Molly leave The Hill to attend the football match played in Dungatar between the two neighbouring towns, Itheca and Winyerp. Lois Pickett and Beula Harridene give her an immediately negative reaction, taking offence when Molly questions whether their cakes are poisoned.
• After getting medicine from Mr. Almanac and his assistant Nancy, Tilly and Molly run into Irma, his sickly wife. Her arthritis makes mobility difficult, and as such she is found sitting on the bank of the river, where she asks Tilly not to let the town know that she had been cooking meals for Molly in Tilly’s absence.
• Nancy and Sister Ruth Dimm are shown to be having a secret relationship in the back of the phone exchange building before the perspective moves back to Buela Harridene, who demands that Sergeant Farrat investigate the McSwiney children for supposedly pelting her roof with stones.
• Tilly sits on the riverbank, remembering her memories and trauma in Dungatar, with the crucial event being when Stewart Pettyman attempted to headbutt Tilly, but she moved out of the way, causing him to ram into a wall, snap his neck and die.
• Marigold and Evan Pettyman are introduced to the audience, with Marigold being a nervous individual who is put to sleep by Evan with pills every night and sexually assaulted.
• Following Dungatar’s victory in the grand finale, which sends frivolity and celebration throughout the town, a package arrives for Tilly. Ruth reads through all its contents after picking its lock whilst Tilly reluctantly meets with Teddy, who continues to visit her. 
• Tilly and Molly visit the Almanacs for dinner, wherein Tilly’s medicine causes Irma’s pain to disappear. Although Mr Almanac is unpleasant – stating that Tilly can never be forgiven for Pettyman’s death – the night moves on, Tilly returns home and is visited by Teddy yet again. 

Part 1: Quotes and Analysis ‍

“She used to have a lot of falls, which left her with a black eye or a cut lip.”

Here, Ham subtly hints that Irma Almanac’s injuries were not solely due to ‘falls’, as it is also said that once her husband grew old the ‘falls’ progressively ceased. Abuse of women is common in Dungatar, and it is almost expected that women will be subservient to men and do as they demand.

“His new unchecked gingham skirt hung starched and pressed on the wardrobe doorknob behind him.”

Sergeant Farrat subverts social expectations placed upon 1950s men by adoring feminine fashion. However, the fact that he is forced to hide his passion reveals how, in conservative towns such as Dungatar, individuals are forced to suppress their true selves in order to fit in with the broader population. There is no room for individuality or creative expression, as this is seen as a challenge to Dungatar’s social order and the clear separation between the roles of men and women.

“What’s the point of having a law enforcer if he enforces the law according to himself, not the legal law?”

Buela Harridene pretends to care about the enforcement of the law, but her true concern is bending the law to her own will to make those who step outside of their socially defined roles suffer. She is at odds with Sergeant Farrat as he seeks to control the townspeople’s worst instincts, yet people like Buela ensure that vengeance, rumour, and suspicion are still the defining features of Dungatar.

“Well let me tell you if he’s got any queer ideas we’ll all suffer.”

Although this specifically refers to William Beaumont, it alludes to the broader picture that the people of Dungatar believe that any outside ideas fundamentally threaten everything about the way they live. Even before Beaumont has opened his mouth, he is already a threat since he may have witnessed another way of living disconnected from Dungatar’s conservatism.

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

Themes, Motifs, and Key Ideas

Isolation and modernisation.

One of the central conflicts in The Dressmaker is between the isolated town of Dungatar, and the rapidly modernising surroundings of post-depression 1950s Australia, as we established in Historical Context . Ham uses this dichotomy (meaning when two opposing factors are placed right next to each other) to question whether isolated communities like Dungatar really have a role in the modern world . 

Our clearest indication that Dungatar is not only traditionalistic, but absolutely reviles change and outside influence , is right at the start of the novel, when a train conductor laments that there’s “naught that’s poetic about damn [progress].” Here, we see the overriding contention of Rosalie Ham’s novel - that because a community like Dungatar has been isolated for so long, it has become absolutely committed to maintaining its traditionalism at all costs. There are more symbolic reflections of how stagnant the town has become, such as the fact that Evan Pettyman, the town’s elected Councillor, has been in the role for multiple decades without fail - or that the same teacher who ostracised Tilly as a child, Prudence Dimm, is still in charge of the town’s school. 

Social Class

The Dressmaker speaks extensively about social class. By class, what I mean is the economic and social divisions which determine where people sit in society. For instance, we could say that the British Royals are ‘upper class’, whilst people living paycheque to paycheque and struggling to get by are ‘lower class’. 

It's also important to introduce the notion of a classist society. A classist society is one where all social relations are built on these aforementioned economic and social divides - in other words, everything you do in life, and everything you are able to do , is built on where you sit in the class structure. 

For The Dressmaker , the question then becomes - "how does class relate to Dungatar?" Well, Dungatar is one of the most classist societies around, where societal worth is explicitly based on one’s position in the class structure.

Femininity, Fashion, and Patriarchy

By now, you’ve probably realised that The Dressmaker ’s title is significant. Fashion and ‘dressmaking’ are absolutely essential to understanding the life of Tilly Dunnage, and how she interacts with the people of Dungatar . We’ll go into this further, but Ham specifically delves into the power of fashion as a form of expression which empowers people and their femininity , yet she also examines how, in a community like Dungatar, fashion nonetheless ends up being entirely destructive.  Dungatar and Femininity

The idea of femininity describes, on a basic level, the ability of a woman to express herself independent of any man. Others would describe femininity in more definitive terms, but it’s really in the eyes of the beholder. What’s explicitly clear, however, is  that, in order to suppress femininity, women in Dungatar are repressed and kept under the control of men. Marigold Pettyman is raped by her husband, Evan Pettyman every night, while the “ladies of Dungatar…turn their backs” when they see the Councillor coming - knowing his crimes, but being too afraid to challenge him. Above all else, Dungatar exists within a patriarchal framework, which is one where men hold structural power and authority, and that power relies on keeping women silent and subservient. In such a society, the role of women in Dungatar is vacuous (meaning that they don’t have any real purpose) - they frill about, spread rumours, and otherwise have no set roles other than to be obedient to their husband. 

Fashion as Empowerment

Within this context, Rosalie Ham explores the power of fashion to empower femininity, and, even if it’s in a limited sense, give the patriarchy its first real challenge. Gertrude is a perfect example, as Tilly’s dressmaking sees her eventually transform at her wedding, even though she is initially described as a “good mule” by Sergeant Farrat; symbolically being stripped of her humanity and beauty by being compared to an animal. However, Gertrude becomes the spectacle of the town at her wedding, wearing a “fine silk taffeta gown” and presenting an elegant, empowered image. The townspeople even note that Tilly is an “absolute wizard with fabric and scissors”, and, with the use of the word ‘wizard’, it becomes evident that the women of Dungatar are absolutely unaccustomed to having any form of expression or individuality - a patriarchal standard which Tilly challenges through her work. 

Think also about Sergeant Farrat. Even if he isn’t a woman, he nonetheless is able to embrace his feminine side through fashion. Indeed his “gingham skirt” and secretive love of female fashion is utilised by Ham to demonstrate that, even in a patriarchal settlement like Dungatar , fashion is immensely empowering and important.

Fashion and Destruction

However, as always, Ham elucidates that there too exists a dark side to fashion in a town like Dungatar. Ultimately, the women of Dungatar, in their elegant dresses, end up looking like a “group of European aristocrats’ wives who had somehow lost their way”. What this quote tells us is that, despite a temporary possibility for empowerment, the women of Dungatar did not fundamentally change their identities. As “aristocrats’ wives”, they are still tied to a patriarchal system in which, even if they were better dressed, nothing was ultimately done to overcome their tradition for rumour, suspicion, and ostracising outcasts. Indeed, this becomes most evident at the Social Ball, where, despite wearing Tilly’s dresses, her name is “scrubb[ed] out” from the seating list - symbolically expressing a desire for Tilly’s modernising, urban, outside influence to be removed from Dungatar, even as they simultaneously wear her dresses! 

Character Analysis

Tilly dunnage .

Tilly, or Myrtle Dunnage, is the protagonist of The Dressmaker , and an acclaimed dressmaker trained in Paris . Analysing Tilly requires an understanding that she believes she is cursed: starting with being exiled from Dungatar after the accidental death of Stewart Pettyman, and then finding her “seven month old” baby Pablo “in his cot...dead”, as well as witnessing the deaths of Teddy and Molly. In her own words, she is “falser than vows made in wine”, and does not personally believe she can be trusted. This pessimistic perspective on life inspires Tilly to adopt an incredibly individualistic understanding of the world; believing that the only way for her to survive is embracing her individual worth and rejecting toxic communities. Indeed, although Tilly initially arrived in Dungatar to care for her mother - a selfless act - the town spiralling into vengeance only confirmed Tilly’s pessimism. Her modern dressmaking ultimately could not change a fundamentally corrupt community predicated on “nothing ever really chang[ing]”, and therefore the maintenance of a culture of rumour and suspicion . Indeed, in “raz[ing Dungatar] to the ground”, Rosalie Ham reminds us that Tilly is an unapologetically individually-focused person, and will not tolerate anyone, or anything, which seeks to make her conform to the status quo and repress her individuality.

Molly Dunnage 

Molly Dunnage is Tilly’s mother, a bedridden, elderly woman whose sickness drives Tilly back into Dungatar. Molly is commonly known as ‘Mad Molly’ by the townspeople, but what this hides is the fact that Molly was not born mentally insane. Rather, after being “tormented” by Evan Pettyman into having his illegitimate child and seeing Tilly exiled from Dungatar, the malicious actions of the community drive her into insanity. Even in her incapacitated and crazed state, Molly holds such love for Tilly that she attempts to stop her engaging with the community, and thus the symbolism of Molly “dismant[ling] her sewing machine entirely” was that, due to her experiences, she did not believe that the people of Dungatar would ever accept Tilly, either as a dressmaker or a person . Molly’s death is ultimately a pivotal event, and awakens Tilly to the fact that only “revenge [could be] our cause”, and thus that Dungatar is fundamentally irredeemable.

Teddy McSwiney 

Teddy McSwiney is the eldest son of the McSwiney family, Dungatar’s poorest residents. Teddy is a unique case, as although he’s a McSwiney, he is noted for being incredibly well-liked in the town - even going so far as to be described by Purl as the town’s “priceless full forward” in Dungatar’s AFL team. Nonetheless, as we discussed under the Social Class theme, Dungatar remains an unashamedly classist society, and as such, despite Teddy being valued in his usefulness as a footy player and the “nice girls lov[ing] him”, he “was a McSwiney” - discounted from the town’s dating scene or any true level of social worth. Teddy becomes essential to the plot when he and Tilly spark a budding romance. Whereas the majority of Dungatar rejects Tilly or refuses to stand against the crowd, Teddy actively seeks to remind Tilly of her worth - saying that he “doesn’t believe in curses”. However, his death after suffocating in a “sorghum mill” reiterates a sad reality in Dungatar; it is always the most vulnerable townspeople who pay the price for classist discrimination, ostracisation, and suspicion.  

Sergeant Farrat 

Sergeant Farrat is one of The Dressmaker’s most interesting characters. On the surface, he’s nothing but a police officer who manages Dungatar. However, Farrat’s position is far more complex than meets the eye - as a police officer, he is entrusted with enforcing the “legal law”, yet must also contain the influence of malicious individuals such as Buela Harradine who would otherwise use the enforcement of that law to spread slander about individuals like the McSwineys, who she considers “bludgers” and “thieves”. Despite Dungatar’s complications, Farrat considers the townspeople “his flock”, and this religious, Christ-like imagery here tells us how he is essentially their protector. Farrat is, in essence, entrusted with preventing the townspeople from destroying themselves (by now, we all know how easily the townspeople slide into hatred and division!). Here’s the interesting thing though - at the same time Sergeant Farrat is protecting Dungatar, he is also personally repressed by its conservative standards. Rosalie Ham establishes Farrat as a man with a love for vibrant, expressive, female fashion, and from his “gingham skirts” which he sews in private to his time spent with Tilly while she sews, Ham demonstrates to us that Dungatar’s conservatism affects everyone. Even though he tries to defend Tilly as the townspeople descend on her after Teddy’s death, Tilly destroys his house along with Dungatar anyway - signalling that, no matter how hard Sergeant Farrat tried to reconcile his position as protector of Dungatar and his own person, the town could not be saved.

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The Dressmaker is written in the Gothic style, which means it combines romance with death and horror, particularly horror of the emotional kind. The Dressmaker is divided into four sections, each named after a type of fabric Tilly uses in her work. You can use these in your essays to show how important dressmaking and fashion is to the plot’s progression, especially considering each section starts with fabric. The four types are:

A fabric made from cotton or yarn, with a checkered shape. Gingham is often used as a ‘test fabric’ in designing fashion or for making tablecloths. This gives it a rustic, imperfect feel signifying Tilly’s return to her hometown and complicated past. The name is thought to originate from a Malay word meaning ‘separate’, mirroring Tilly’s feelings of isolation from the rest of Dungatar. In this section of the novel, Sergeant Farrat also buys gingham fabric to secretly make into a skirt, symbolising how the town is still rife with secrets and a disparity between the public and private personas of its inhabitants. 

2. Shantung

A fabric used for bridal gowns. Gertrude is married in this section and her dress, which Tilly makes, is the first instance where the town witnesses her work. Shantung originates from China, matching this notion of exoticism and foreignness which seeing the dress spreads among the townspeople. 

A fabric noted for its ability to be used for a wide variety of purposes. This is the section in which the ball occurs and a variety of Tilly’s dresses are unveiled for the town to see. 

A richly decorative fabric made with threads of gold and silver. Brocade is used primarily for upholstery, drapery, and costumes. This is a reference to the costumes of Dungatar’s play, the climax of the novel which occurs in this section.

Sample Essay Topics

1. “They looked like a group of European aristocrats’ wives who had somehow lost their way.” Fashion is both liberating and oppressive. Discuss.

2. How does Rosalie Ham represent the power of love throughout The Dressmaker?

3. Gender repression is rife in The Dressmaker . To what extent do you agree?

4. “Damn progress, there’s naught that’s poetic about diesel or electric. Who needs speed?” What is Ham’s essential message about progress in The Dressmaker?

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

Essay Topic Breakdown

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

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based Prompt: Rosalie Ham’s The Dressmaker condemns fundamentally oppressive communities. Discuss.

Step 1: analyse.

We’ve got a theme-based prompt here, which really calls for your essay to be explicitly focused on the theme at hand. That means that we shouldn’t stray from the idea of ‘oppressive communities’. Keep it as the centre of your essay and look at how events relate to this idea - we’ll break it down more in Step 2 so you can properly explore it.

Because there’s a ‘Discuss’ qualifier added to the end of the prompt, a clear and concise contention is really important. What you’re being asked to do is, again, stick with the topic frame. That means that going for the usual “two agree, one disagree” structure is decent, but I wouldn’t suggest it as the most efficient way to go. Instead, what you’ll see that I do with this essay is ‘discuss’ how the topic is present throughout all three of our arguments.

Step 2: Brainstorm

Let’s start by breaking down the key words of the topic.

We have the idea of an ‘oppressive community’, which refers to communities that are built on marginalising certain individuals so the majority can maintain power . This is quite a clear reference to Dungatar, but expect that most essay questions for The Dressmaker won’t directly reference Tilly or the town, even if they’re quite clearly talking about them. Something for which you should look out – don’t let the wording phase you!

The addition of the word ‘fundamentally’ doesn’t change that much, but what it does tell us is that the essay is asking us to agree that Dungatar is oppressive to its core. In other words, its ‘fundamentals’ are based on oppression. I would not recommend trying to disagree with this basic premise, as it means you’re going against the topic in a ‘Discuss’ prompt which, as we discussed above, isn’t the best option in my view.

Step 3: Create a Plan

One of the most logical ways to approach this topic is a chronological structure. By that, what I mean is following the text in the order events occur; before Tilly’s arrival, during Tilly’s time in Dungatar, and the consequences that arise after they make her an outcast once again.

This way, you can stay on topic and look at how Dungatar is oppressive even before Tilly shows up again, how that ramps up as she establishes her dressmaking business, and what Ham’s final message is on rejecting oppressive communities and embracing individual worth.

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

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How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion

Text Response can be difficult because there are many different aspects of the text you need to discuss in an intellectual and sophisticated manner. The key points you need to include are stated in the VCAA Text Response criteria as shown below:

• the ideas, characters and themes constructed by the author/director and presented in the selected text
• the way the author/director uses structures, features and conventions to construct meaning
• the ways in which authors/directors express or imply a point of view and values
• the ways in which readers’ interpretations of text differ and why.

We have explored some of the different criterion points in past blog posts, but this time we’ll be focusing on number 3,

the ways in which authors/directors express or imply a point of view and values.

Views: How the author  sees  something

• Perspective
• Way of thinking
• Observation

Values: How the author  thinks  about something

In VCE, simply exploring themes and character development is not enough to score yourself a higher-graded essay. This is where discussion on ‘views and values’ comes in. Essentially this criterion urges you to ask yourself, ‘what are the author’s beliefs or opinion on this particular idea/issue?’ All novels/films are written to represent their author’s views and values and, as a reader it is your job to interpret what you think the author is trying to say or what they’re trying to teach us. And it’s not as hard as it seems either. You’ve instinctively done this when reading other books or watching movies without even realising it. For example, you’ve probably walked out of the cinemas after thoroughly enjoying a film because the ideas explored sat well with you, ‘I’m glad in  Hunger Games  they’re taking action and rebelling against a totalitarian society’ or, ‘that was a great film because it gave insight on how women can be just as powerful as men!’ Therefore, it is possible in this case that the author of this series favours the disintegration of tyrannical societies and promotes female empowerment.

Views and values are also based on ideas and attitudes of when it was written and where it was set – this brings both social and cultural context into consideration as well. Issues commonly explored include gender roles, racial inequality, class hierarchy, and more. For example, Margaret Atwood’s  Cat’s Eye , is set during the 20th century and explores feminism through women’s roles during World War II while Emily Bronte’s Wuthering Heights  depicts the divide between social classes and challenges the strict Victorian values of how society condemns cross-class relationships, in particular between Catherine and Heathcliffe.

Questions to ask yourself when exploring views and values:

• Is the author supporting or condeming/critising this idea?
• Through which literary devices are they supporting or condemning/critising the idea?
• Which characters represent society’s values? Which ones oppose them? Do we as readers favour those that represent or oppose society’s values?
• Does the author encourage us to support the morals and opinions displayed by the characters or those supported in that setting/time?

Here’s a sample discussion on the author’s views and values:

‘…Dickens characterises Scrooge as being allegorically representative of the industrial age in which he lived. Scrooge describes the poor as ‘surplus population’, revealing his cruel nature as he would rather they die than having to donate money to them. Dickens critiques the industrial revolution whereby wealth lead to ignorance towards poor as the upperclassmen would easily dismiss underclassmen, feeling no responsibility to help them as they believed they were of no use to society. ‘ ( A Christmas Carol,  Charles Dickens)

Here’s a list of some sample essay prompts you may get in regards to exploring ‘views and values’:

• ‘Cat’s Eye shows us that society’s expectations are damaging to women.’ To what extent do you agree? ( Cat’s Eye , Margaret Atwood)
• ‘Bronte criticises the social class conventions of her time as she demonstrates that those in the lower classes can succeed.’ ( Wuthering Heights,  Emily Bronte)
• ‘Social criticism plays a major role in A Christmas Carol.’ ( A Christmas Carol,  Charles Dickens)
• ‘Hamid shows that it is difficult to find our identity in modern society, with the ever-changing social and politics surrounding us.’ ( The Reluctant Fundamentalist , Mohsin Hamid)
• ‘In  Ransom  Malouf depicts war as the experience of grief, loss and destructive waste. The event of war lacks any heroic dimension. Discuss.’ ( Ransom,  David Malouf)

When it comes to studying a text for the text response section of Year 12 English, what may seem like an obvious point is often overlooked: it is essential to  know your text . This doesn’t just mean having read it a few times either – in order to write well on it, a high level of familiarity with the text’s structure, context, themes, and characters is paramount. To read a detailed guide on Text Response, head over to our Ultimate Guide to VCE Text Response .

Authors  structure  their texts in a certain way for a reason, so it’s important to pick up on how they’ve used this to impart a message or emphasise a point. Additionally, being highly familiar with the plot or order of events will give you a better grasp of narrative and character development.

It’s also a good idea to research the  life of the author , as this can sometimes explain why certain elements or events were included in the text. Researching the  social and historical setting  of your text will further help you to understand characters’ behaviour, and generally gives you a clearer ‘image’ of the text in your mind.

The  overarching themes  of a text usually only become apparent once you know the text as a whole. Moreover, once you are very familiar with a text, you will find that you can link up events or ideas that seemed unrelated at first, and use them to support your views on the text.

For each  character , it is important to understand how they developed, what their key characteristics are and the nature of their relationships with other characters in the text. This is especially crucial since many essay questions are based solely on characters.

With all this said, what methods can you use to get to know your text?

Reading the text itself:  while this may seem obvious, it’s important to do it right! Read it for the first time as you would a normal book, then increase the level of detail and intricacy you look for on each consecutive re-read.  Making notes ,  annotating  and  highlighting  as you go is also highly important. If you find reading challenging, try breaking the text down into small sections to read at a time.

Discussion:  talk about the text! Nothing develops opinions better than arguing your point with teachers, friends, or parents – whoever is around. Not only does this introduce you to other ways of looking at the text, it helps you to cement your ideas, which will in turn greatly improve your essay writing.

External resources : it’s a good idea to read widely about your text, through other people’s essays, study guides, articles, and reviews. Your teacher may provide you with some of these, but don’t be afraid to search for your own material!

Not gonna lie, this novel is a bit of a tricky one to introduce. World War II, arguably one of the darkest events of human history, has been the basis of so much writing across so many genres; authors, academics, novelists have all devoted themselves to understanding the tragedies, and make sense of how we managed to do this to one another. Many reflect on the experiences of children and families whose lives were torn apart by the war.

In some ways, Doerr is another author who has attempted this. His novel alludes to the merciless anonymity of death in war, juxtaposes individualism with collective national mindlessness, and seeks out innocence amidst the brutality of war.

What makes this novel difficult to introduce is the way in which Doerr has done this; through the eyes of two children on opposite sides of the war, he explores how both of them struggle with identity, morality and hope, each in their own way. Their storylines converge in the bombing of Saint-Malo, demonstrating that war can be indiscriminate in its victims—that is, it does not care if its victims are children or adults, innocent or guilty, French or German. However, their interaction also speaks to the humanity that lies in all of us, no matter how deeply buried.

A very quick history lesson

Fast Five Facts about World War II:

• Lasting 1939-1945, the war was fought between the Axis powers (Germany, Japan and Italy) and the Allies (basically everyone else, but mainly England, France, and later the US). Whilst it was Germany who started the war, the intervention of the US at the end of five long years of fighting ultimately helped the Allies win.
• Various forms of technology were first used, or found new uses, during the war. Aircraft carriers and various planes (fighters, bombers etc.) became more important than ever, while Hitler’s use of tanks allowed him to take over much of Europe very quickly.
• Other forms of new technology included one of the world’s first electronic computers that was used to codebreak (stop reading now and watch The Imitation Game if you haven’t already! Totally counts as studying, right?), as well as radio and radar, used to communicate and also to detect enemies in the field.
• World War II is also referred to as the Holocaust, the name given to Hitler’s attempted genocide of the Jewish people. 6 million Jews died in the war, and as many as 15 million others died in total.
• Germany’s initial conquest of Europe was swift and brutal. Within a month, Poland had already surrendered and within a year, so had France. However, there were also resistance groups all over these countries which sought to undermine the Nazi regime in a number of ways, both big and small.

My best attempt to give a general plot overview of this very long book

Disclaimer: this is a very, very broad overview of the novel and it is absolutely not a substitute for actually reading it (please actually read it).

Chronologically, we start in 1934, five years before the war. Marie-Laure is a French girl who lives with her father Daniel Leblanc, working at the Museum of Natural History in Paris. As she starts to go blind, Daniel teaches her Braille, and makes her wooden models of their neighbourhood to help her navigate. Six years later, the Nazis invade France, and they flee the capital to find Daniel’s uncle Etienne, who lives in the seaside town of Saint-Malo; Daniel was also tasked with safeguarding a precious gem, the Sea of Flames, from the Nazis.

In Saint-Malo, Daniel also builds Marie-Laure a model of the town, hiding the gem inside. Meanwhile, she befriends Etienne, who suffers from agoraphobia as a result of the trauma from the First World War. He is charming and very knowledgeable about science, having made a series of scientific radio broadcasts with his brother Henri (who died in WWI). She also befriends his cook, Madame Manec, who participates in the resistance movement right up until she falls ill and dies.

Her father is also arrested (and would ultimately die in prison), and the loss of their loved ones prompts both Etienne and Marie-Laure to begin fighting back. Marie-Laure is also given a key to a grotto by the seaside which is full of molluscs, her favourite kind of animal.

On the other side of the war, Werner is, in 1934, an 8 year-old German boy growing up in an orphanage with his sister Jutta in the small mining town of Zollverein. They discover a radio, which allows them to listen to a broadcast from miles away (it was Henri and Etienne’s), and Werner learns French to try and understand it. One day, he repairs the radio of a Nazi official, who recruits him to the Hitler Youth on account of his ingenuity (and his very blonde hair and very blue eyes, considered to be desirable traits by the regime). Jutta grows increasingly distant from Werner during this time, as she questions the morality of the Nazis.

Werner is trained to be a soldier along with a cohort of other boys, and additionally learns to use radio to locate enemy soldiers. He befriends Frederick, an innocent kid who was only there because his parents were rich—Frederick would eventually fall victim to the brutality of the instructors, and Werner tries to quit out of solidarity. Unfortunately, he is sent into the army to apply his training to actual warfare. He fights with Frank Volkheimer, a slightly ambiguous character who a tough and cruel soldier, but also displays a capacity to be kind and gentle (including a fondness for classical music). The war eventually takes them to Saint-Malo.

Also around 1943 or so, a Nazi sergeant, Reinhold von Rumpel, begins to track down the Sea of Flames. He would have been successful ultimately had it not been for Werner, who stops him in order to save Marie Laure.

As America begins to turn the war around, Werner is arrested and dies after stepping on a German landmine; Marie-Laure and Etienne move back to Paris. Marie-Laure eventually becomes a scientist specialising in the study of molluscs and has an extensive family of her own by 2014. Phew.

What kind of questions does Doerr raise through this plot? To some degree, the single central question of the novel is one of humanity, and this manifests in a few different ways.

Firstly, to what extent are we in control of our own choices? Do we truly have free will to behave morally ? The Nazi regime throws a spanner in the works here, as it makes incredibly inhumane demands on its people. Perhaps they fear punishment and have no choice—Werner, for instance, does go along with everything. At the same time, his own sister manages to demonstrate critical thinking and moral reasoning well beyond her years, and it makes you wonder if there was potential for Werner to be better in this regard. There’s also the question of whether or not he redeemed himself in the end.

That being said, Werner is far from the only character who struggles with this—consider the perfumer, Claude Levitte, who becomes a Nazi informer, or even ordinary French citizens who simply accept the German takeover. Do they actually have free will to resist, or is it even moral for them to do so?

Hannah Arendt famously coined the phrase “the banality of evil,” referring to how broader movements of inhumanity (such as the Holocaust) can be compartmentalised until individual actions feel perfectly banal, commonplace and ordinary. This is what allowed people to do evil things without actually feeling or even being inherently evil—they were just taking orders, after all. Consider the role of free will in this context.

This brings us to the broader ‘theme’ of war in general: in particular, what kinds of acts are  suddenly justifiable in war? Etienne and Madame Manec, for instance, even disagree on the morality of resistance, which can frequently involve murder. Etienne’s pacifist stance is a result of the scale of deaths in the previous world war. At the same time, the climactic event of the novel is an allied bombing of Saint-Malo, a French town, just because it had become a German outpost. Risking lives both French and German, this also highlights the ‘necessity’ of some inhumane actions in times of war.

On a more optimistic note, a human quality that Doerr explores is our natural curiosity towards science . This is abundant in the childhoods of both protagonists, as Werner demonstrates dexterity with the radio at a very young age, and Marie-Laure a keen interest in marine biology. In particular, her blindness pushes her into avenues of science which she can experience without literal sight, such as the tactile sensations of mollusc shells. The title may hint at this—for all the light she cannot see, she seeks enlightenment through knowledge, which in turn gives her hope, optimism and purpose.

At the same time, the human desire to better understand the world can also be used inhumanely—Werner used radio to learn through Etienne and Henri’s broadcasts, but he would later in life also use it to help his compatriots murder enemy soldiers. This alludes to the banality of evil again; by focusing on his very technical role and his unique understanding of the science behind radios, he is able to blind himself to the bigger picture of the evils he is abetting. Science is something that is so innately human, yet can also be used inhumanely as well.

For these reasons, I’d suggest humanity is at the heart of the novel. There is a certain cruel randomness to death in war, but just because so many did perish doesn’t mean that there aren’t human stories worth searching for in the destruction. This is the lens that Doerr brings to the WWII narrative.

Some symbols

To some degree, a lot of these symbols relate to humanity, which I’ve argued is the crux of the novel. I’ll keep this brief so as to not be too repetitive.

One major symbol is the radio , with its potential for good as well as for evil. On one hand, it is undoubtedly used for evil purposes, but it also acts as a source of hope, purpose, conviction and connection in the worst of times. It is what ultimately drives Werner to save Marie-Laure.

Along the same vein, whelks are also a major symbol, particularly for Marie-Laure. While an object of her fascination, they also represent strength for her, as they remain fixed onto rocks and withstand the beaks of birds who try to attack them. In fact, she takes “the Whelk” as a code-name for herself while aiding the resistance movement. It’s also noteworthy that, given the atrocities of war, maybe animals are the only innocent beings left. As Saint-Malo is destroyed and the Sea of Flames discarded, it is the seaside ecosystem that manages to live on, undisturbed. In this sense, the diamond can be seen as a manifestation of human greed, harmless once removed from human society.

Finally, it’s also worth considering the wooden models that Daniel builds for Marie-Laure. They represent his immense love for her, and more broadly the importance of family, but the models also attempt to shrink entire cities into a predictable, easily navigable system. As we’ve seen, this is what causes people to lose sight of the forest for the trees—to hone in on details and lose track of the bigger picture around them. The models are an oversimplification of life, and an illusion of certainty, in a time when life was complicated and not at all certain for anyone.

Identity, morality and hope—these things pretty much shape what it means to be human. Throughout All the Light We Cannot See though, characters sometimes struggle with all three of them at the same time.

And yet they always manage to find something within themselves, some source of strength, some sense of right and wrong, some humanity in trying times. Doerr explores this capacity amply in this novel, and in this sense his novel is not just another story about WWII—it’s a story about the things that connect us, always.

Essay prompt breakdown

Transcription

Through the prompt that we’ll be looking at today, the main message I wanted to highlight was to always try and look for layers of meaning. This could mean really being across all of the symbols, motifs and poetic elements of a text, and it’s especially important for a novel as literary as this one.

You might not have been particularly happy to find out you’re going to have to study All The Light We Cannot See— it is probably the longest text on the entire text list—but it’s also a really beautiful, well-written book that deservedly took out the Pulitzer Prize for fiction in 2015.

In this novel, Anthony Doerr tells the World War 2 story through a unique lens, or rather a unique combination of lenses, as he sets a 16-year-old French girl and a 17-year-old German boy on an unlikely path of convergence. Through the dangers and difficulties that they face, Doerr’s novel is one of growth and self-assuredness in a time when this seemed virtually impossible.

The essay topic we’ll be looking at today is:

All The Light We Cannot See is a literal title for the novel, in that it exposes the darkness, evil and cruelty of which humans are demonstrably capable. Is this an accurate interpretation?

As usual, let’s define some keywords.

I want to leave ‘darkness’ for a little later, but let’s start with ‘evil and cruelty.’ By themselves, they generally just mean immorality or inhumanity, but also keep in mind how they come across in characters’ actions, since those will be the focus of our analysis. The word ‘demonstrably’ highlights this, since it means that any ‘evil’ you discuss needs to be demonstrated or proven.

With ‘darkness’, that’s a bit more of a tricky term because it can mean any number of things. Here, it might be taken to mean bad intentions, corruption or anything like that, because it fits with ‘evil and cruelty’. However, this is where the ‘interpretation’ aspect of the prompt comes in—an interpretation being a way of explaining meaning, how do you explain the meaning of ‘darkness’ in relation to the title? Darkness in this sense could be any number of things.

Now, how should we plan for this topic? Let’s first consider if there’s any room to challenge, since the prompt seems to only focus on the more negative, pessimistic side of the book. I’d argue that with darkness, there is also some light in the form of kindness, charity and hope.  

This all sounds pretty profound, but I’m just trying to link it back to the book’s title! I mean, that’s what the topic is asking about, right?

Let’s break this down into paragraphs.

For our first paragraph, a good starting point might be analysing the literal forms of darkness in the novel, and seeing what other interpretations we can get from those. A character that comes to mind is Marie-Laure, the French girl who cannot see any ‘light’ due to her blindness. The title could be seen as an allusion to her character and by extension, the hopelessness that blindness might cause in the midst of a war. We could compare Marie-Laure’s situation with that of Werner, who faces the industrialization of his childhood town, watching it become more and more enveloped in ‘darkness’ and as such, hopelessness.

For our next paragraph, we might drill down to deeper levels of interpreting darkness, because it’s often used as a metaphor for inhumanity. It isn’t difficult to find inhumanity in the novel. There’s plenty of it peppered throughout Werner’s storyline, particularly at Schulpforta, where the Hitler Youth were ‘trained’, (to put it lightly). He and his peers are routinely drilled to “drive the weakness from the corps” in humiliating exercises led by cruel instructors. They are also sometimes driven to cruelty towards one another, and Frederick, Werner’s bunkmate, is relentlessly bullied for his perceived weakness.

So by now, it’s clear that the novel demonstrates the human capacity for experiencing ‘darkness’ as well as inflicting it upon others. But, across these two layers of meaning, could there perhaps be some room to challenge these interpretations? This is something we should look at for our final paragraph.

Here, I would probably argue that just as Doerr explores various forms of darkness, there is also enough ‘light’ which allows some characters to overcome or escape from the darkness. These manifestations of light also require you to think about the different symbolic layers of the novel. On one level for example, looking at light literally, there’s the message on Werner’s radio that teaches us that, even though the brain is sealed in darkness, “the world it constructs…is full of light.” A deeper level of meaning to this may refer to the sense of scientific wonder and discovery which sometimes brings light to Werner, and also Frederick, his bunkmate at Schulpforta, when their lives there are at their most dark.

Consider how, just as darkness has levels of interpretation and symbolism in this book, so does light and hope and joy, rather than just evil and cruelty.

And that’s it! Always delving deeper for meaning helps you to really make use of the symbols, imagery and motifs in a text, and I hope this novel in particular illustrates that idea.

Regardless of whether you’re writing a Text Response , Comparative , or even an Argument Analysis essay, it is easy to see the introduction as something inconsequential, that won’t change your overall mark. And as a result, far too many students view the intro as a mere convention of writing that simply needs to ‘tick off’ certain criteria before they get into the ‘meat’ of the essay. But, from my experiences in VCE English, I’ve found taking some time to write a concise, yet original, considered, and insightful intro (with a bit of flair when appropriate) can be hugely beneficial. 

Why Your Teacher Says You Can’t Earn Any Marks in an Introduction

‍ Everyone has heard it before:

You can’t win/lose marks in an introduction or conclusion

I’ll be the first to admit that in some ways, this is true. The purpose of a Text Response essay is to show an understanding of a text through analysis. So, it is natural that your essay is marked based on the quality of your analysis of the text. And, because very little of this analysis occurs in the introduction, it’s easy to think that an intro can’t influence or change your final mark. While this may be true in theory, the reality is that your introduction serves as a foundation for your analysis...and just like a house, without a solid foundation coming first the rest of your essay is more liable to be weak and fragile. In my mind, the introduction provides a basis for everything that you’re going to analyse in your body-paragraphs which can build upon the assertions you have made regarding the topic in your intro. In other words, the introduction sets the direction for your essay, which overall acts as a backbone allowing for a cogent argument to be presented in your piece.

How an Introduction Can Help You

‍ Now that we have established how an introduction helps contribute to the overall cohesiveness of an essay, let’s have a look at how an intro can help you while you’re writing. Especially when writing under timed conditions, it can be difficult to produce a detailed plan which lays out the structure of an essay. Here's where your intro can be of great help. When considered carefully, your introduction can set the parameters within which your essay will be contained. In other words, your intro can define the scope of your essay, outlining which themes and characters you are going to explore, and most importantly what arguments you are going to posit throughout your script. This means that if you get lost, or go blank trying to figure out what you should write next you can refer back to your intro to find a sense of direction and regain a foothold in your essay and. In this way, the intro not only acts as a foundation for your body-paragraphs but also provides a blueprint for them which can guide you from point to point. 

At the same time, although an introduction cannot explicitly earn you marks, I would argue that a quality introduction can help position your assessor to immediately categorise your essay as belonging in a higher mark bracket. At the end of the year, exam assessors have hundreds of scripts to mark. And the truth is, they will not dedicate more than a couple of minutes to read your essay. As such, if you can impress your assessor with a powerful opening, they are more likely to see your piece as one that should earn a high mark. The reality is that assessors can often tell a lot about an essay based on the quality of its introduction. Therefore, if you can write a 9-10/10 introduction, your assessor will already be leaning towards awarding you a mark in that range without even having read your body-paragraphs yet. 

So, How Can You Write an Original Introduction That Doesn’t Sound Like Everyone Else's?

If there’s one thing English teachers and assessors hate, it’s reading essays that have been memorised and recited (though, if you absolutely insist, then here's a middle-ground option where you could use' templates' ). What is crucial, then, is that from the very first line of your introduction you are responding directly and unswervingly to the topic. I would suggest trying to avoid starting with a cliche contextual statement in favour of a bold response to the topic. 

For example, in response to the topic ‘Shakespeare’s Vienna is a world devoid of balance.’ I would try to avoid starting my introduction with a vague and easily memorisable statement such as... 

‘ Shakespeare’s Jacobean tragicomedy Measure for Measure explores the concept of balance in his extremest characters.’ 

Instead, a bold opening statement is preferable... 

‘Whether it is in Vienna’s abject lasciviousness, Angelo’s ascetic self-governance, or even Isabella’s hyper-rectitude, Shakespeare’s conception of Vienna in Measure for Measure is one laced with problematic extremism.’ 

Consider opening with a quote which captures your take on the topic. In the Comparative task, most definitely try to avoid staring with the word ‘Both’, and instead consider shedding light on a theme or concept common to both texts. 

For example, in response to the topic ‘ Both Invictus and Ransom suggest empathy is key to creating unity.’... 

Whether it is between African and Afrikaner or Trojan and Achaean, the capacity for human understanding is upheld as paramount to overcome societal fissures.  After you have put forward a broad response to the topic in your opening sentence, your introduction can then proceed to ‘zoom in’ and offer more specific arguments. These specific ideas should essentially signpost the distinct arguments you are going to present in each of your body paragraphs.

And, as suggested in the 2019 VCAA Exam Report : 

‘ One characteristic of high-scoring essays was recognition of the ways in which the ideas the student intended to discuss were connected.’ 

This means that the ideas you flag for discussion in your intro, should be logically connected to both the prompt and each other, and you should aim to outline these connections.

The specific ideas which you offer set the parameters for the rest of your essay, so it is a good idea to ensure that these insights take into consideration the implications of the key-terms of the topic, and attempt to take the topic further. This allows you to consider the text in a sophisticated and conceptual way while maintaining rock-solid links to the topic.

After you have ‘zoomed into’ the specific arguments you will be mounting in your essay, the final step is to ‘zoom back out’ and offer an incisive, and powerful overall contention which responds explicitly to the terms of the topic. We talk about this 'zoom in' and 'zoom out' technique in How To Write A Killer Text Response .

Ultimately, the introduction provides you with a great opportunity to show off to your assessors that you can write incisively, fluently, and with confidence.

How To Write an A+ Language Analysis Introduction

Introductions for EAL Language Analysis, To Write or Not To Write?

VCE Literature Close Analysis: Introduction

5 Tips For A Mic-Drop Worthy Essay Conclusion

The Ultimate Guide to VCE Comparative

The Ultimate Guide to VCE Language Analysis ‍

The Ultimate Guide to VCE Literature

The Ultimate Guide to VCE EAL

Metalanguage is language that describes language. In films, we also need to consider cinematography – the technical side in the making of the film. For a detailed discussion, see  What is metalanguage?  

The prospect of writing a Text Response or Comparative essay on a film can be daunting—it’s difficult to know how to identify filmic devices let alone analyse why the director has used them to give meaning to particular scenes. To start us off, below are some filmic devices commonly used by directors that all students should be aware of when studying films.

Filmic devices

Camera shots.

This refers to the amount of space that is seen in one frame, which can be used to emphasise different aspects of the film’s setting or characters.

Example: An extreme close up of a character’s face to portray their emotions.

Camera angles

The way in which the audience is positioned to view the setting or character/s. This can enhance the audience’s understanding of the relationship between characters, or the way in which a character is feeling in a particular situation.

Example: a low camera angle can be used to demonstrate how a character is feeling empowered at a particular point in the film.

Any sound where the source of it can be seen in the scene (or is implied to be present) 

Example: Voices, are diegetic. Any sound that comes from outside the scene itself, for example, soundtrack, is non-diegetic. We can analyse the way in which sound enhances the mood of the film.

In the Made in Dagenham clip above, diegetic sound such as the pouring rain, spoons tapping on cups, radio in the background are all used to offer viewers a 'real' sense that we're in the cafe too.

The way in which the scene is lit can create interesting effects in what it suggest about the characters in the scene.

Example: if the main source of light comes from the side of the screen, lighting up one side of a character’s face, this can create a sense of mystery.

How a character is dressed in any given scene is very important; their clothes can say a lot about their present state of mind or their physical situation.

In-depth analysis using Mabo

Even once we know all this, it can still be difficult to use these devices as evidence to support our ideas in a text response essay. So let’s put our knowledge into practice and take a look at a few scenes from the film Mabo, directed by Rachel Perkins.

Opening scene:  Perkins uses a series of  long shots  of Murray Island in the opening scenes of the film, with  high camera angles . This is done to contextualise the setting, as well as foreshadow the great significance the land will have on the events of the film. The subsequent  low camera angle shots  of the trees on the island present them as being tall and majestic. Paired with the upbeat, vibrant native  music  (non-diegetic sound) that is playing, it is evident that Perkins is celebrating the beauty of the land and emphasising its importance, not just in the film, but in the islanders’ lives.

Benny Mabo and a young Eddie walking the beach: a  mid-shot  is initially used in this scene to show father and son walking in the water. This alludes to the strength of the connection that the Mabos have to the island in depicting them as being immersed in water. The subsequent  close ups  of their faces, conveying their contentment, with the waves of the ocean in the background, indicate that this connection to the land goes beyond the mere fact that they live there; the pair are shown to have a profound spiritual and emotional connection with the island. This is emphasised by the soft, peaceful  music  that plays alongside Benny’s recital of Malo’s law.  

Killoran exiles Eddie off Murray Island: side  lighting  is used in this scene to shadow some of Killoran’s face. This has a sinister effect. It suggests that his intentions toward Eddie are not honest, and further symbolises the corruption and lack of transparency in the Australian government in their dealings with the Indigenous. The cloud of cigarette smoke that surrounds him further highlights he toxicity of his presence on Murray Island, as does the solemn, foreboding  music  that plays throughout his conversation with Eddie. The  close up shots  of Eddie’s face convey the strength of his resolve in refusing to “[work] as a slave” for Killoran in penance for his crime.

Eddie on the railway tracks: this scene is all about Eddie’s internal conflict; his desire to return to his homeland, and the allure of the opportunities that the ‘mainland’ offers him (in particular, Bonita). The  high camera angle  is used to show him dancing across the railway tracks, which is heavy with symbolism, representing the choice between his old and new life. The  close ups  of his face as he sings his native  song  convey his emotional attachment to Murray Island and the depth of his despair at

not being able to return to it. His  costume  is comprised of old, dirty clothing, which is representative of his confused, weary and sorrowful state of mind. Yet the use of  backlighting  as he dances suggests that his decision to embrace his new life on the mainland will empower him. It further foreshadows the significance of this choice in enabling him to pursue the land rights case.

The Indigenous protest: Perkins deliberately uses  archival/stock footage  in this scene to enhance the viewer’s experience of the Indigenous’ protest at the Mayday march. By using real life footage from this actual historical event, Perkins adds authenticity to this scene, in order to effectively convey the importance of Eddie’s decision to participate. The  high angle shots , and  long shots , are used to show the sheer number of people who were fighting for change. The  music  quickens in pace to indicate a change, a turning point in Eddie’s life, in which he can no longer overlook the racism that his people have suffered. The  close ups  of his and his wife’s face during this scene express their passion and determination in supporting this cause, as well as their strong love for each other.

List of film techniques

These are just a few examples of the way in which you can use the techniques discussed to make your ideas more credible in text response essays. Some teachers may say that these filmic devices are a secondary source of evidence, but I believe they are equally as important as quotes in demonstrating a thorough understanding of the text—as long as you analyse why the director has chosen to include them.

Remember: the director only has a certain amount of time to tell the story, so every scene is important, and every technique is deliberate. That being said, don’t use these devices at the expense of quotations! 

This study guide is written by Gabrielle O'Hagen (Mabo examples), and Lisa Tran.

Choosing an Oral Presentation topic can be tough. Finding an idea that’s unique, relevant and interesting all at once can sometimes feel impossible; but don’t worry, this is where we come in! Below is a list of 12 potential Oral Presentation topics for you to draw inspiration from, selected in reference to the VCE assessment criteria .

Remember, this blog is not a resource to give you a finished speech idea , these are just jumping-off points. Plagiarism is very harshly punished in VCE and many other students will currently be reading this very same post, meaning it's up to YOU to figure out how you’ll form a unique angle if you pick one of these topics. To help you do this, each section provides an overview of the cultural events that make this topic relevant. Additionally, possible contentions are included, ensuring you can see how arguments about these topics can be effectively made. 

1. Kanye’s blow-up - The necessity of the media to stop platforming celebrities spreading harmful ideas

American rapper Kanye West has always been a controversial figure, but since his endorsement of Trump in 2016 he’s seemingly been on a particularly bad downward spiral. His descent into increasingly more extremist right-wing politics has led to the question of whether the news media, detached and neutral as they might claim to be, should even be reporting on him. 

As of writing (late 2022), Kanye’s recent appearances on far-right talk shows to voice support for Hitler and question the existence of the Holocaust (which has no doubt been topped by something equally controversial by the time this gets published) pushes this question right to its limit. 

Events like this are undoubtedly big stories that many people would like to know about, but does reporting on them do more harm than good? Do we realistically all have the self-control to ignore these figures when so much of modern news already revolves around controversy and gossip? Possible Contentions:

• Major media companies should reach an agreement to actively avoid covering celebrity behaviour that spreads dangerous ideas. 
• News media should make an extra effort to disprove the dangerous ideologies of those they cover, rather than presenting them in a ‘neutral way’.

2. Amber Heard - How online discourse can villainise marginalised groups and encourage ‘dogpiling’

A similar celebrity controversy that dominated 2022 headlines was the two-way public defamation lawsuit between actors Johnny Depp and Amber Heard, which involved accusations of abuse on both sides. One of the most notable parts of this case was the online depiction of Heard, on social media platforms such as Facebook and Youtube. 

Heard emerged as the internet’s new favourite punching bag, with an endless stream of videos and memes where her ‘ allegations of domestic violence and sexual assault were mocked for entertainment ’. Crucially, these were made to criticise her in a way that most clearly mirrored historical sexist stereotypes about emotionally manipulative women. You probably came across examples of these yourself, as platforms like Youtube have a history of directing users to this kind of content. 

As such, key issues were identified in terms of how social media warps online discussions of allegations of abuse. Additionally, like the last topic, the very fact that this legal dispute was publicly broadcast raises questions as to whether the media’s focus on this event may have worsened the issue. 

Possible Contentions:

• Personal legal proceedings between celebrities are not something that should be broadcast to the public.
• The online discussion regarding this trial demonstrates the need for increased regulation of hateful and abusive content on social media platforms.

3. Should Australia be made a republic in the wake of the Queen’s death?

The death of Queen Elizabeth II in September of 2022, among many other things, drew Australia back into a debate it's been having for decades; should we become a republic? This would be a shift from our current state of (effectively) being overseen by the United Kingdom as a ‘constitutional parliamentary monarchy’, with the ‘head of state’ now being an Australian citizen rather than the UK monarch. 

Although the replacement of the Queen with the new head of state (King Charles III) shouldn’t really shift people’s perspective on this issue, it most likely will. Queen Elizabeth has been the welcoming and approachable symbol of the monarchy for many Australians. Her death could be the catalyst for a shift in public opinion, severing the connection that many citizens still had to the UK monarchy. 

This issue can be approached from many different angles, inducing discussion on HOW the process of Australia becoming a republic should occur (especially how the new head of state should be chosen), as well as stepping back and assessing the positives and negatives of making this shift.

• Australia’s transition to a republic is a necessary step in helping honour the country’s Indigenous population and rejecting its colonial past
• Australia’s transition to a republic, although often framed as an act of national unity, will actually worsen the cultural divides within our country. 
• Although Australia should transition to a republic, the current rise of nationalist politics makes a public election of the new head of state extremely risky.

4. Are NFTs a positive advancement in contemporary technology? 

Whether or not you understand what it actually means, the phrase ‘NFTs’ has probably been inescapable on your social media feeds over the last year. Without getting too detailed, these ‘Non-Fungible Tokens’ are essentially investments into non-replicable representations of artwork , which will (supposedly) increase in value over time. 

Despite seemingly being an exciting new technology that could have given control back to artists through copyright ownership, NFTs have instead been heavily criticised for commercialising artwork by reducing it to a literal piece of digital currency. Further issues have arisen in terms of how this technology can easily be used to scam people through misrepresenting the value of individual NFTs, or NFT owners simply taking the money and running.

What do you think? All new technology seems shaky and uncertain at the start, and maybe we should recognise that the current negative impacts of NFTs must simply be overcome with time. How do we weigh the benefit this technology has for individual artists against its potential drawbacks?

• For their many flaws, NFTs give the power back to creators and, therefore, need to be improved rather than roundly rejected. 
• Despite preaching democratisation, NFTs and Bitcoin are both a part of a technological trend that will further increase wealth inequality.

5. How much can Western citizens really do to fight injustice via social media activism?

The effect of the COVID pandemic on developing countries, the Russian invasion of Ukraine, and human rights abuses by the nation of Qatar - this year has seen an innumerable number of news stories that would make any reasonable person jump to their phones to see what they could do to help, like signing an online petition or sharing a public post to spread awareness.

However, as you probably know, these forms of social media 'slacktivism’ have historically drawn criticism for their ineffectiveness and self-serving nature. Increasingly though, this debate has become more complicated, moving away from the simplified dismissal of any social media activism that emerged around the turn of the century . Others have rightly pointed out that many influential contemporary social movements, that have had real-world impacts, did emerge from social media, such as the BLM and #MeToo movements. 

As such, there’s a lot of room for different arguments here regarding whether a critical perspective of ‘social media slacktivism’ has become outdated in a world that is increasingly unavoidably based on the internet.

Possible Contentions: 

• Social media activism is unavoidably the way that young people are going to engage with political issues, and a rejection of it is naive and impractical. 
• Political activism should distance itself from the online world if it wants to make real-world change that doesn’t fit neatly under existing power structures.

6. Is the overload of various media streaming service subscriptions sustainable?

‘Streaming fatigue’ has emerged as a 2023 talking point that may have seemed unthinkable just a few years ago. Remember when we just had Netflix offering us a new way of consuming film and TV that was both more convenient and cost-effective than ‘pay TV’ packages (which were often heavily inflated in price and packed with unwanted channels )?

However, as we move into 2023, many have argued that the current subscription landscape now mirrors the previous pay-TV model. Consumers once again find themselves having to pay for an increasingly large amount of services if they want to conveniently access their film and TV shows. Predictably, this has seen a re-emergence of video piracy . 

Does this mean that it's fundamentally impossible for us to access our media as conveniently as we’d like to, and the years of Netflix being the only streaming service that had all we wanted were never sustainable? Or maybe corporations are unfairly squeezing every dollar they can out of us, and piracy is a fair and just consumer response?  

• Through offering convenience that is unparalleled by any other previous technology, streaming services are still worth the cost. 
• Consumers should actively engage in digital piracy until media corporations create a more affordable streaming environment.

7. Is a post-COVID work-at-home model healthy for the next generation of workers?

Although 2020 and 2021 may be remembered as the ‘years of COVID’, 2022 onwards is perhaps when we will see which long-term impacts of the pandemic continue to stick around. Aside from the permanent placement of public hand sanitiser stations, working from home has emerged as one of the most prominent main-stays from our lockdown years. 

Is this something that we should embrace? A lot was said during the lockdown about the mental health effects of being deprived of human connection; is this something we should just forget about when it comes to work? As with many of these issues, the question arises as to whether this shift is an inevitable effect of technological advancement, which we can either accept or fruitlessly battle until it becomes the new normal. 

However, the fact that this ‘work from home’ dynamic only emerged due to a pandemic complicates this idea, making it possible that we may have accidentally all become accustomed to a new economic model of work that we would be better off without. 

Possible Contentions:  

• We must actively push back against the ‘work from home’ model; if we don’t, we will suffer both mentally and financially into the future.  
• Working from home is a win-win; it's more convenient and cost-effective for both employer and employee.

8. How can gentrified and aestheticised versions of social movements be avoided?

I wonder whether you saw the Indigenous name for Victoria’s capital city (Naarm) appear more frequently on your social media feeds this year, with people adding it to their Instagram bios or referring to it on TikTok? What started as a conscious choice to respectfully refer to the city by its original Indigenous name quickly became criticised as a trendy aesthetic for outwardly progressive white Victorians, with terms like ‘naarm-core’ becoming short-hand for a specific kind of trendy fashion that was ‘ devoid of any ties to First Nations people ’. 

‘Naarm-core’, therefore, stands as another example of a movement that may have started with admirable aims, but was drowned out by those who just wanted the social benefits of participating in progressive politics. Think of the recent similar debates about ‘rainbow capitalism’, with similar criticisms being made of brands that co-opt progressive concepts like LGBQTI+ identity purely for social (and financial) capital. The question naturally emerges as to how we can avoid this for future political movements. 

Or maybe you disagree with all these critiques? Political discussion moves so fast these days that it can feel like people are in such a rush to criticise things that they miss actual progress being made. After all, the use of the term ‘Naarm’ to refer to Melbourne was undeniably popularised on the back of this trend. 

‍ Possible Contentions: 

• The criticism of political movements that deal with race being tokenised by white people can only be solved by allowing people of colour at the centre of these movements.
• People are too cynical about social movements and trends; virality and popularity, despite ‘inauthentic intentions’, often do more good than harm. 

9. How can the highly polarised discussion concerning COVID vaccines become more productive?

Another thing you may have witnessed from living in a post-COVID world is an increase in how divided simple issues seem to make us. Ever tried to convince a relative or friend that, no, in fact, vaccines are not designed to implant us with microchips - seems impossible right? 

For many people, the pandemic was a tipping point into full-blown conspiracy communities, meaning people are increasingly able to exist within their own social-media realities that don’t need to be bound to scientific truth or objective fact. This all creates a division between those with different beliefs that is somehow wider than before, where we can’t even agree on simple statements of truth. 

The debate around what to do about this deals with questions of human psychology, social media (again), but also freedom of speech. Should spreading (potentially dangerous) false information that conflicts with scientific consensus be allowed on social media? Most importantly, how do we encourage actual communication between different sides?

Possible contentions:

• Talking in person is the only way for people with vastly different beliefs to find common ground.
• Those spreading dishonest and dangerous conspiracy theories about public health cannot be reasoned with, and need to be actively shut down wherever they appear.

10. With the infamous Oscar slap, what ‘consequences’ should comedians and satirists face for what they say?

Here’s a news story that you’re probably tired of hearing about! Actor Will Smith’s act of violence against Oscar host and comedian Chris Rock for a joke about his wife’s alopecia (hair loss) caused many different conversations to happen at once; about toxic masculinity, celebrity culture, violence as a spectacle. These are all totally valid angles for your Oral Presentation, but let’s focus on maybe the most common debate; did Chris Rock deserve this?  

Functioning as a comedian hosting an awards night, Rock’s job was to poke fun at everyone participating, and these sorts of roles have often involved controversial comments and jokes . Does this mean they have immunity from any consequences for their words though? What should these consequences look like? And, if we excuse smaller acts of violence, what does that normalise? 

The 2015 terrorist shooting of the staff of satirical French magazine ‘Charlie Hebdo’ for their depiction of the Islamic prophet may seem a world away from Will Smith’s slap, but some may argue that this is the logical end-point for a world that believes physical violence is the way to deal with jokes people don’t like. 

• The idea of comedians actually being threatened by violence is overblown; the slap was an isolated incident.
• Protecting the safety of those who make controversial jokes is paramount to maintaining freedom of speech.

11. With Optus and Telstra’s recent data breaches, is placing all our valuable personal information in virtual spaces sustainably safe? 

This year saw a record-level data breach from one of Australia’s leading telecommunications companies, Optus. The personal details of almost 10 million customers were given to the hackers. 

Then, two weeks later, a similar data breach happened at Telstra. Yes, this time, no customer information was leaked, but information on the company’s employees was again released. 

All of this may disturb the image we all have in our heads of online databases as relatively unbreachable, locked away behind thousands of firewalls somewhere in the cloud. In fact, much of modern society operates on this assumption. Maybe you’ve added your credit card details to your Chrome tab because it makes online purchases easier? This convenience comes with the implicit assumption that online personal info is pretty much always safe when protected by a big tech company, but these events arguably prove otherwise.  

Cyberattacks are ‘ increasing as a threat ’, yet danger for the sake of convenience is something that all of us deal with. Maybe you think there are degrees to this; should we draw a line at information that can cause us legitimate harm if given to a malicious party?  

• Our society is already too technologically dependent to try and ‘go offline’ for the sake of data safety.
• Valuables of any kind are always going to run the risk of being stolen, and digital piracy is no different.

12. What is the role of Western countries in resisting the unlawful Russian invasion of Ukraine?

As already mentioned, the Russian invasion of Ukraine was one of the biggest news stories of 2022. Putin’s unlawful decision to attack the country’s capital in February of 2022 has left more than 10,000 people dead and millions displaced from their homes. Virtually all world leaders condemned this act immediately. Yet, almost a year later, the war continues, and documented war crimes occur on Ukrainian soil.

Thinking larger than just social media, the question of what can actually be done to help by the countries who condemn this war has naturally emerged. Many nations have supported Ukraine financially, including the US giving nearly $20 billion . Some may argue that this is not nearly far enough, and that all world powers have a responsibility to wage direct war against Russia in support of Ukraine. Naturally though, many are strongly against Western intervention in this form, believing that countries like the US should not see themselves as all-knowing powers that can intervene in other nations based on their ideological beliefs. 

‍ Possible Contentions:

• Any attempt to guilt individual citizens about their need to ‘do something about Ukraine’ is completely unfair; the responsibility for any meaningful action is entirely on the government.
• The West, particularly the US, has a long history of militarily invading smaller nations for their own purposes; their condemnation of the Russians is hypocritical.

If you haven’t already done so, check out our Ultimate Guide to Oral Presentations for some general tips and tricks to get you started!

Written by Milo Burgner

We've curated essay prompts based off our All the Light We Cannot See Study Guide which explores themes, characters, and quotes.

LSG-curated All the Light We Cannot See Essay Topics

• Contrary to what the title might suggest, All the Light We Cannot See explores light more so than darkness. Is this true?
• How does Doerr’s narrative structure highlight the similarities and differences between Marie Laure and Werner in All the Light We Cannot See?
• All the Light We Cannot See demonstrates that war brings out the best and worst in humanity. Discuss.
• Explore the forms of courage demonstrated in All the Light We Cannot See.
• What is the role of family in All the Light We Cannot See?
• Werner’s character is defined by his cowardly and harmful conformity to the Nazi regime. To what extent do you agree?
• All the Light We Cannot See is a warning against unethical and selfish scientific pursuits. Discuss.
• Who deserves our sympathy in All the Light We Cannot See and why?
• Throughout All the Light We Cannot See, various forms of guilt are shown to be emotionally crushing. Is this true?
• “Don’t you want to be alive before you die?” Explore the value and meaning of human life as evinced in All the Light We Cannot See.
• No character from All the Light We Cannot See is totally monstrous, just as no character is totally pure. Do you agree?
• In All the Light We Cannot See , Doerr suggests that nobody truly has agency over themselves. Discuss.
• More so than any other object, it is the radio which drives the plot of All the Light We Cannot See . Is this an accurate statement?
• All the Light We Cannot See posits that strength must come from within. Discuss.
• “Open your eyes and see what you can see with them before they close forever.” To what extent do characters exhibit this sentiment in All the Light We Cannot See ?

If you'd like to see a fully planned, written and annotated essay, see our All the Light We Cannot See Essay Topic Breakdown .

All the Light We Cannot See is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Writing an Analysing Argument (or Language Analysis) essay can be difficult, and sometimes selecting language that won’t sound repetitive is the tricky part. If you’re looking for ways to overcome that hurdle and make your writing sound more formal, then this is the blog for you. 

In these tables are simple sentence starters you can use to formalise and clarify your ideas in a non-repetitive way. This blog takes into account the most important elements of a Language Analysis, such as analysing visuals and connecting a technique back to the author’s intention (that is, what they want the audience to think/feel/do). 

Within these tables, I’ve included a sentence example for each phrase. The examples are in response to a fictional article by Samantha Pearson, What’s wrong with using online lingo in everyday life?. The article is about Gen Z's use of online lingo and argues that the concern surrounding its potential implications is unfounded. If you’d like to see the entire original article and an A+ essay written in response (along with a number of other sample articles and high-scoring essays), you’ll find all of this and more in How To Write A Killer Language Analysis .

If you’d like to see a detailed guide on Language Analysis, including what you're expected to cover, how to prepare for your SAC and Exam and more, check out our Ultimate Guide to VCE Language Analysis .

For an overview of the EAL study design plus tips and tricks for reading comprehension, time management and more, check out The Ultimate Guide to EAL .

The listening tasks of the EAL exam are worth 20% of the total exam marks.  Since this section was introduced to the exam fairly recently, limited past exam questions are available for students to practice. In my blog post EAL Listening Practice and Resources , I provide you with some awesome listening resources that you should definitely check out! And more importantly, I teach you a step-by-step approach for how to use those listening resources to help you better prepare for EAL listening. If you haven’t already read that blog post, go and check it out before coming back to this one so that you understand the steps we’re following.

Here we’ll be working through another exam-style practice to help us improve on the EAL listening section. We will be adopting the same strategies introduced in EAL Listening Practice and Resources . For more advice on how to boost your skills in the listening section, check out Tips on EAL Listening .

Use this link to access the audio clip that we’ll be using in this listening practice: Hospital Parking Fees - Classroom - BTN (abc.net.au)

Download this worksheet so that you can work through this listening task on your own too!

1st Time Listening

Step 1:  read and annotate background information (below).

• Highlight the name of the speakers.
• Underline important information.

Step 2:  Read and Annotate the Questions 

Develop a system that works well for you personally. For example, I usually underline the keywords that give me information on ‘what’, ‘why’, ‘how’, ‘where’, ‘when’. I highlight the speakers in the example below. 

Step 3: Listen to the Audio (Without the Visual)

Hospital Parking Fees - Classroom - BTN (abc.net.au)

Step 4: Write Down Side Notes

2nd Time Listening  

Step 1: Fill in the blanks and try to be aware of words you don’t quite ‘get’.

This is where you have the opportunity to fill in the blanks for the challenging words that you did not pick up in the first round. For example: petition, democratic, campaign, rare. 

COMMON MISTAKE: check the spelling for ‘rare’, not ‘rear’

Step 2: Note down how the speakers convey their attitude, feeling, ideas, etc.

Let's take a look at this section of the audio clip:

GIDON: ‘ It gives me a really good feeling to know that I've made a change, that change has happened. I think what I would like to say to all the other people, especially kids who want to start change, is that it really does sometimes seem impossible that someone that doesn't have a vote and who doesn't have as much democratic power really as adults do, I think what this has shown is that it really is possible to do these things that we still can affect our country and that small people can make great change.’  

Here’s one way I analysed the delivery of the audio:

The cheerful and hopeful tone used to deliver the message that the change brings him ‘a really good feeling’ demonstrates Gidon’s approval of the change in parking fees. Furthermore, Gidon states this in a high pitch and fast pace, unveiling that he is pleased and satisfied about the reduction in hospital parking fees . 

Step 3: Interaction between speakers. 

This step does not apply to this particular audio clip since the audio/ video is a recount of the event rather than direct conversation between two or more speakers. 

3rd Time Listening  

The transcript is available HERE . 

Whilst reading through the transcript with the audio on, try and pick up any information that you missed in previous rounds of listening and also words that you might have spelt incorrectly. 

Sample Questions and Answers

Have a go at these VCAA-style questions that I wrote up, and then check out my sample answers to see how your own answers compare. You will probably notice that a lot of the information you gather from the ‘W’ words actually provides you with the answers to the majority of the questions here.

Sample Questions

Sample answers.

1.  Gidon’s petition is about lowering the fee for parking in hospitals and putting a limit on how much the hospital can charge.

2. Gidon has a rare blood condition which means he visits the hospital quite regularly. Since his diagnosis, Gidon’s family paid more than ten thousand dollars just to visit the hospital.

3.  When hospital parking fees are too expensive, patients will buy food and other necessities instead of going to the hospital. Thus, patients may not go to the hospital because parking is too expensive, these poor patients need to choose between paying parking fees and buying food. 

4. Regular hospital attendants will receive a 90% discount on what they are currently paying.

 5. Families, patients and carers for regular visitors of public hospitals.

COMMON MISTAKE: check the spelling for ‘carer’, not ‘career’ or ‘carrier’

6. Gidon is very happy and proud of the change in hospital fees. Gidon uses a cheerful and hopeful tone (1st mark) to deliver the message that the change brings him ‘a really good feeling’ and he feels ‘unbelievably proud’ that ‘small people can make great change’ (2nd mark). In addition, Gidon states this in a high pitch and fast pace, demonstrating that he is pleased and satisfied with the reduction in hospital parking fees (3rd mark).

--- I hope you found this guide handy! For further tips and tricks on tackling the EAL Listening Exam, check out How To ACE the EAL Listening Exam .

We've explored themes, characters, literary devices and historical context amongst other things over on our Women of Troy by Euripides blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out as well as our Ultimate Guide to VCE Text Response .

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

Step 1: A nalyse Step 2: B rainstorm Step 3: C reate a Plan

Without further ado, let’s get into it!

The Prompt: ‘“We are loot my son and I, soldiers’ plunder.” Discuss how Euripides highlights the plight of women taken as slaves in war.’ 

The first thing to note about this prompt is that it is a 'how’ question , it is essentially asking us to identify the literary techniques Euripides has employed in order to ‘highlight’ the women’s ‘plight’. The noun ‘plight’ is defined as a troublesome or unfortunate situation, yet we must consider this word in the context of war. How do the women suffer? In other words, how does Euripides demonstrate to his reader just how dejected the women are as slaves?

It is relatively simple to identify the literary techniques which consistently appear throughout Euripides’ play, such as imagery, metaphor and simile ( not entirely sure what literary techniques are? We have a list of them for you here ). However, keeping in mind we have to form three paragraphs, we should consider Euripides’ authorial voice more broadly. For example, the women consistently lament their disillusionment with the gods. This is not a literary technique in itself, but it is still a literary choice which Euripides has made and which has been deepened with more specific literary devices like metaphor. The same could be said for the women’s struggle for hope, and the contrast between their joyous pasts and dismal futures.

Unlike a ‘to what extent’ question, we do not have to form an argument. Instead, we must forge a discussion of Euripides’ literary decisions as a playwright.

P1: Euripides juxtaposes the triumphant pasts of the Trojan women with their tragic futures. The 'shining citadels of Troy' are now a 'black smokened ruin’.

P2: Euripides illuminates the women’s attempts to retain futile hope. Note that hope also comes in the form of revenge.

P3: The dramatic irony of the play renders the women’s desperate calls upon the gods all the more tragic. Here, we can also make reference to the prologue, and Athene’s ploy to create a storm on the Greeks’ journey home which also ultimately affects the women.

At the heart of the conflict in The Women of Troy , lies the anguished 'suffering' (1) of the Trojan women as they confront their fates as 'slaves', and remember their pasts as wives and mothers. In his tragedy, first performed in Athens circa 415 BCE, Euripides amplifies the conflicted voices of the Trojan women, voices which are by contrast suppressed and disregarded in the Homeric works the Iliad and the Odyssey . Euripides’ stark dichotomy between the glories and 'rituals' of the past, and the sombre 'grief' of the present, elucidate the magnitude of their losses, both material and moral. For as Andromache laments, these women have been objectified as 'loot', mere spoils of war to be abused and exploited. (2) The women’s tendency to clutch onto chimerical (3) hopes and values only serves to further illuminate the profundity of their suffering once these ambitions have been brutally quashed in the 'dust' of their 'smoke blackened ruin' of Troy. Perhaps most significantly, Euripides juxtaposes the lingering though pitiful hope of the women with the gods’ complete 'desert[ion]' of Troy, positioning the women in an ironic chasm of cruel abandonment. Thus, the plight of women as wartime captives is dramatised by Euripides, corralling the audience into an ultimate stance of pity and empathy.

Annotations: (1) It is often useful to embed short/one word quotes in your essay (we teach you how in How To Embed Quotes in Your Essay Like a Boss ). It shows you have a great understanding of the text, and reads fluidly as opposed to overly long quotes.

‍ (2) Here, I have addressed the quote in the prompt in a single sentence, unpacking Euripides’ analogy of Andromache and Astyanax as ‘loot’. By comparing the two characters to war spoils, he is suggesting that they have been stripped of their free will and autonomy.

‍ (3) It is really important to vary your vocabulary in order to increase the sophistication of your essay. The adjective ‘chimerical’ refers to an ideal which is impossible to achieve.  

Euripides’ juxtaposition between the dismal future of the Trojan women and the zenith of their pasts, further illuminates the chasm of their sufferings and losses as the ultimate victims of wartime atrocities. Chiefly, Euripides contrasts Hecuba’s former royal status with the demoralizing fate of her captivity, encapsulating this tragic fall from nobility with the ironic imagery, 'throned in the dust’. Yet perhaps what truly emphasises her plight as a slave is her enduring role as a maternal figure of leadership, encapsulated in her regard of the chorus as '[her] children' and her reciprocated address as 'dear queen' and 'your mother'. Despite the 'death agony' she feels, she chooses to maintain her nobility through the depth of her morality, dramatizing the pitiful nature of her plight (4) . Moreover, Euripides’ juxtaposition between the 'shining citadels of Troy' and the 'misery' of the chorus elucidates the significance of 'home', a source of solace which has been barbarically stripped away from them. Likewise, Andromache laments her past as a dutiful and faithful wife, contrasting her fidelity against her fate as a 'concubine' to the formidable Neoptolemus (5) . Euripides implies that Andromache must abandon her reputation as the 'perfect wife' – the very attribute for which she was chosen especially – doomed to confront a life of sexual slavery, an unwilling mother of Neoptolemus’ children.

Annotations: (4) Here, I have used the word ‘plight’, making sure I am engaging directly with the prompt. It is often easy to fall into the trap of creating a generalised essay which only loosely adheres to the question. 

‍ (5) It is more sophisticated to specify the name of Andromache’s husband (Neoptolemus), rather than to just simply state ‘Andromache’s husband’ (even though he is not featured as a character in Euripides’ play).

Euripides (6) characterises the women by their tendency to clutch on to 'hope[s]' and ideals that are impossible to fulfil. Almost a coping mechanism of sorts, the chorus paradoxically romanticise the Greek landscape in the first episode, lauding the 'sacred halls', 'green fields', 'beautiful river[s]' and 'wealth' of Hellas. Yet, their ardent critiques of their future 'home[s]' rejects any notion that the women truly believe these glorifications of the Greek realm. Similarly, Hecuba is motivated by her futile hope that Astyanax may one day seek vengeance and be 'the savior of Troy' by 'rebuild[ing]' the city. Yet tragically, this doomed hope is violently quashed by Odysseus 'blind panic' and acute lack of rationality: the 'liar' and 'deceiver' who 'lead the Greek council' in their debate. Though this hope initially provides her with some form of solace, all comfort is dashed with the announcement of his 'butchery'. Likewise, Cassandra is motivated by her own pursuit for revenge, lauding her 'sacred marriage' to Agamemnon as an event worthy of 'praise' and 'celebration'. Yet her hope is also jaded, for she must in the process 'flout all religious feeling' as a slave of Agamemnon’s 'lust', until she meets her painful hour of death at Clytemnestra’s hands.

Annotations: (6) Notice that several of the sentences have begun with ‘Euripides characterises’ or ‘Euripides illuminates’, engaging with the ‘how’ part of the prompt. We are showing what the author has done and why.

Ironically, Euripides illuminates the plight of the Trojan women through his dramatic elucidation of the gods’ callous abandonment of the ruined Troy. Euripides juxtaposes the past 'rituals', 'dances', 'songs', 'sacrifices', 'offerings' and 'ceremonies' of the chorus with their bitter laments that 'the gods hate Troy' and that they are ultimately characterised by avarice. They are neither answered not consoled in their ultimate time of mourning, for the audience is aware that Poseidon has fled the scene in the prologue, disillusioned by the 'ceas[ing]' of 'worship', leaving 'nothing (…) worth a god’s consideration' in the fallen city. What is also rendered ironic by Euripides, is Athene’s formidable ploy to 'make the Greeks’ return home a complete disaster.' Regardless of Athene’s true motives for instigating this ultimate pursuit of comeuppance, the fact remains that the women too must endure this perilous journey to Greece. Not only are the despairing wives, mothers and daughters condemned to 'abject slavery' on foreign soil, they are 'innocent: victims who may – alongside the Greeks – find themselves on the shores of Euboea, among the 'float[ing] (…) corpses' of the Greek soldiers. They are not simply abandoned by the gods, they are, directly or indirectly, punished. (7)

Annotations: (7) This is a more original point which other students may not automatically think of. We often view Athene’s ‘ploy’ as a deserved punishment of the ‘murderous’ Greeks, yet there is no true justice, for the women too are ultimately affected.

In a play which serves to fill the silence of the Trojan women in the legendary works of the Iliad and the Odyssey (8) , Euripides augments the pitiful plight of the Trojan women with agonizing references to past 'happiness', and equally unbearable forecasts of their roles as 'slaves' of Greek lust. They are indeed 'loot' and they are indeed 'plunder' – as Andromache so bitterly laments – yet their plight is recorded in the works of 'poets' to come, remembered as a legacy of stoicism 'a hundred generations hence.' Taken as our 'great theme', these women are 'sufferer[s]', yet they are also heroes.

Annotations: (8) Just as I have done in the introduction, I have referred to the context of the play in the conclusion. The Iliad and the Odyssey provided the framework for Euripides’ play, so by referencing Homer’s works we are showing the examiner that we have an understanding of the historical context. 

If you'd like to dive deeper into Women of Troy, check out our A Killer Text Guide: Women of Troy study guide. In it, we teach you how to how to think like a 50 study scorer through advanced discussions on topics such as views and values and metalanguage, we provide you with 5 A+ sample essays that are fully annotated and everything is broken down into easy-to-understand concepts so that students of all levels can understand and apply what we teach!!

1. Summary 2. Themes 3. Symbols and Analysis 4. Quotes 5. Sample Essay Topics 6. Essay Topic Breakdown

Alice Munro is a Canadian Nobel-Prize-winning author of short stories , and Runaway , first published in 2004, is a collection of eight such stories (though kind of actually only six, because three of them are sequential). These stories examine the lives of Canadian women throughout the last century, but not all of them are necessarily realistic to what daily life actually looks like. Rather, Munro uses borderline-supernatural events (which some critics say feel staged or contrived) to shed light on the tensions and challenge s of gender in modern life.

This can mean that some of the stories are quite hard to follow; they go through all these twists and turns, and the lines between stories start blurring after a while. Let’s go through each in a bit more detail before jumping into our analysis.

2. Story-by-Story Characters and Summary

The titular story is about a woman Carla , her husband Clark , their goat Flora , and their elderly neighbour Sylvia Jamieson . There are many runaways in the story: Carla ran away from her middle-class home to marry Clark, Flora the goat literally runs away, a scandalous lie about Sylvia’s late husband gets a bit out of hand, and now Sylvia is helping Carla run away once again, this time from Clark. Few of these runaways are really very successful: this story is really interrogating why and how.

Chance/Soon/Silence

The next three stories are sequential, and revolve around Juliet , a well-educated classicist who is working as a teacher in the first story, ‘Chance’ - it is set in 1965 and she is 21. In this story, she meets her lover Eric Porteous on a train, then finds him again six months later. Eric is sleeping around with a few women in light of his wife’s declining health and eventual passing, but by ‘Soon’ he and Juliet have settled down and had a baby together - Penelope .

‘Soon’ focuses more on the relationship between Juliet and her parents, in particular her mother Sara . Juliet feels a bit out of place now at home, and feels guilty about not being more present for Sara. In turn, ‘Silence’ depicts her own daughter running away from her. Juliet returns to her studies and only hears about Penelope’s life through a chance encounter with a friend who reveals that Penelope is now a mother herself.

The next story is about Grace , an older woman revising the family home of her husband Maury Travers . Their marriage never had a lot of passion in it really - Grace was always more interested in Maury’s family - but both of them were just doing what was expected of them. The contrast comes from Maury’s brother Neil , a doctor who accompanies Grace on a hospital trip when she cuts her foot. This trip becomes longer and more sensual, feeling adulterous even though very little actually transpires between them - the story raises questions around what counts as cheating, and what marriages should entail. 

‘Trespasses’ is slightly deliberately disorienting from the start (which is actually the end of the story). We go on a flashback in the middle to learn about a father, Harry , and his daughter Lauren . One day when moving house, Lauren finds a cardboard box - Harry explains that it contains the ashes of a dead baby who he and his wife Eileen (Lauren’s mother) had had before Lauren. This leads to Lauren questioning if she was adopted, which is further complicated by Delphine , a worker at a hotel who seems to think Lauren is her biological daughter. The ending (which was teased at the beginning) is the evening of confrontation between the four characters where the truth is finally revealed. 

Conversely, ‘Tricks’ has a more linear plot to follow. Robin is a carer for her asthmatic sister Joanne , but she’s taken to watching Shakespeare plays in the next town once a year. One year, she meets a European clockmaker Danilo who plans to meet her next year when she is back in town - but this doesn’t go to plan at all. It’s only 40 years later that Robin finds out Danilo had a twin brother, which is why the plan had gone downhill.

The last story in the collection is arguably the most complex, and it’s broken into 5 parts to reflect that complexity. It follows Nancy as she ages from a fresh high school graduate to an old woman by the end of the sequence, including her marriage to the town doctor Wilf . Importantly, the stories also cover her friendship with Tessa , who has the supernatural powers mentioned in the title. However, by the third story, Tessa has been abandoned in a mental hospital and she has lost her powers. Throughout the stories, we also see Ollie , Wilf’s cousin (or a figment of Nancy’s imagination according to this analysis), who seems to be responsible for Tessa’s demise.

Let’s start tracing some of the common themes between the stories.

A key theme explored throughout many of the stories is marriage and domesticity . There’s a strong sense that it’s an underwhelming experience : it doesn’t live up to expectations and it particularly dampens the lives of the women involved. Nancy’s marriage to Wilf in ‘Powers’ only happens because she feels guilty - 'I could hardly [turn him down] without landing us both in…embarrassment' - but, as a result, she loses her fun, intellectual streak as he tells her to put down her book, 'give Dante a rest'. A similar fate befalls Juliet, who gives up her study in the process of becoming married.

 Marriage is also sometimes explored as a deliberate choice , even if it might have unintended consequences - for example, Carla’s marriage to Clark is described as a life that she 'chose'. This interpretation is more unclear though, and is contradicted in other stories like Passion, where Grace’s marriage is described as 'acquiescence ', acceptance without protest. It’s even contradicted to some extent in the same story: Munro compares Carla’s marriage to a 'captive' situation, where she might’ve chosen to enter the marriage, but after that has little say in how it goes.

This sounds a bit trite, but the title is a key theme as well - just not necessarily in the physical sense . Consider all of these different definitions and how they pop up in the stories. In ‘Runaway’, Carla and the goat run away, but also the lie Carla tells Clark about Leon, a runaway lie that taints his relationship with Sylvia completely. Some runaways are described as accidents - 'she – Flora – slipped through' - while others are much more deliberate. The question here is how much control we actually have over our own lives . Not a lot, it would seem.

The other side of runaway/s is to think about who the victim in each runaway is. Does somebody run away because they are 'in a bad situation, the way it happens', a victim of circumstance , or do they run away because they feel guilty , or because they’re abandoning someone else, the true victim of being left behind? Carla does seem like more of a victim of circumstance with good reason to run away, but think about Nancy leaving Tessa behind in ‘Powers’: ‘“I’ll write to you”, she said…she never did.’

This question about who the real victim is might be the hardest to answer for ‘Silence’. Juliet’s daughter abandons her, but it’s not like there’s a strong history of positive mother-daughter relationships in their family: Juliet wasn’t able to give Sara what she needed ( 'she had not protected Sara') and in turn isn’t able to quite give Penelope what she needs either (Penelope having a 'hunger for the things that were not available to her in her home '). At the same time, Penelope’s abandonment does feel quite callous and inexplicable , even if Juliet feels like it’s what she deserves; Munro suggests at the end of the story that a reunion would be an 'undeserved blessing[]'. The intertextuality with Aethiopica reveals Juliet’s good intentions, her similarity to the 'great-hearted queen of Ethiopia', but it doesn’t quite give us the satisfaction of a neat resolution either.

Ethics and Morality

Finally, Munro’s stories also raise questions around morality . Besides what we’ve already covered - adultery, runaways - there are further questions raised around parenthood , particularly in ‘Trespasses’. Harry seems to share a bit too much information with his child, who really doesn’t need to know about the dead baby just yet. Lauren is 'not short of information', and it’s worth questioning where that boundary should be for a child of her age.

But not all ethical questions have simple answers : as in ‘Tricks’ they can sometimes just have 'outrageous', cruel punchlines that don’t reveal themselves for decades. Munro doesn’t necessarily have all the answers on this one. She brings up complex moral situations but does not pass judgment on any.

4. Symbols & Analysis

Greek elements.

Throughout the stories, Munro brings in a few elements of Greek mythology or literature . The intertextuality in ‘Silence’ is one example, drawing on the classical text Aethiopica , but there are a few more scattered throughout the stories: the constellations of Orion and Cassiopeia in ‘Chance’ and an oracle-like figure in Tessa, a main character in ‘Powers’. All of these elements have some significance:

• Cassiopeia is known for her arrogance and vanity, which parallels with the way Juliet detaches herself from her life ('she had made herself into a rather superior, invulnerable observer' - despite her very real vulnerabilities)
• Orion is known for his forbidden romance with the virgin goddess Artemis, which parallels with Eric’s romance with Juliet (Juliet being relatively inexperienced with men herself, with all of her experiences being 'fantasy')
• Oracles in mythology are like mouthpieces of the gods who can prophesy about the future. They were often women, so oracles were unusually influential in their male-dominated societies. The question is whether this parallels with Tessa at all: even though she has these supernatural powers, are there other forms of power she might lack instead?

In general, intertextuality is a way to enrich a text by drawing parallels and linking characters to existing stories or archetypes. Here, Munro uses classical texts to add dimension to her characters in a way that is almost-but-not-quite commentary. Pre-existing Greek myths are a way for us to see what’s really going on .

(Rail)Roads and Transit

The other symbol that comes up a few times in the stories is roads or railroads - basically places where runaways might happen . ‘Chance’ is set in the middle of a train journey, ‘Tricks’ involves a couple of train journeys, ‘Runaway’ maps the roads leading in and out of Carla’s home, and almost all of ‘Passion’ takes place on the road. If we broaden ‘places where runaways might happen’ to include planes as well, then we can add ‘Powers’ and ‘Silence’ to the list.

All of these spaces are what might be called liminal - they’re ‘in-between’ spaces with an air of suspense about what can happen. It’s probably most prominent in ‘Passion’, where Grace describes the events of that road trip as a 'passage” in her life, both physically and metaphorically. In general though, they’re the settings where the wildest and most significant events tend to happen.

• 'She—Flora—slipped through.'
• 'She (referring to Carla) chose this life with Clark.'
• 'She is just in a bad situation, the way it happens.'
• 'She saw him as the architect of the life ahead of them, herself as the captive, her submission both proper and exquisite.'
• 'She might be free.' - this is the second last line in the story. Note the ambiguity here (and through all these quotes, to be honest) about which ‘she’ is being referred to (Carla, Flora or even Sylvia)
• 'Juliet was twenty-one years old and already the possessor of a B.A. and an M.A. in classics.'
• 'The problem was that she was a girl. If she got married—which might happen…—she would waste all her hard work.'
• 'She had made herself into a rather superior, invulnerable observer.'
• '…the two of them (referring to Sara and Juliet) intertwined. And then abruptly, Juliet hadn’t wanted any more of it.'
• 'But she had not protected Sara. When Sara had said, soon I’ll see Juliet , Juliet had found no reply. Could it not have been managed?…She had put everything away.'
• Penelope supposedly had a 'hunger for the things that were not available to her in her home.'
• 'Penelope does not have a use for me.'
• 'She hopes as people who know better hope for undeserved blessings, spontaneous remissions, things of that sort.'
• Grace, watching a movie with Maury, felt 'rage…because that was what girls were supposed to be like. That’s what men - people, everybody - thought they should be like. Beautiful, treasured, spoiled, selfish, pea-brained. That was what a girl should be, to be fallen in love with.'
• 'It was not in her nature, of course, to be so openly dumbfounded, so worshipful, as he was.'
• 'Describing this passage, this change in her life, later on, Grace might say - she did say - that it was as if a gate had clanged shut behind her. But at the time there was no clang - acquiescence simply rippled through her.'
• Lauren 'had been brought up to believe that children and adults could be on equal terms with each other.'
• 'How could she be sure that they had not got her as a replacement? If there was one big thing she hadn’t known about, why could there not be another?'
• 'Forgive us our trespasses' - note the ambiguity of ‘trespasses’ (does it mean sins as in the prayer, or overstepping boundaries, or both?)
• 'Some of the best-looking, best-turned-out women in town are those who did not marry.'
• 'A means to an end, those tricks are supposed to be.'
• 'I couldn’t stand for the poor man (referring to Wilf) to have had two girls turn him down’
• 'I used to have a feeling something really unusual would occur in my life, and it would be important to have recorded everything. Was that just a feeling?'
• 'She could be upset to see you leave without her. So I’ll give you an opportunity just to slip away.'
• 'He has nearly forgotten that he ever believed in her powers, he is now only anxious for her and for himself, that their counterfeit should work well.'

Having great quotes is one thing, but you also want to make sure you know How To Embed Quotes in Your Essay Like a Boss !

6. Sample Essay Topics

• What does Runaway teach us about romance?
• Carla, Grace and Tessa are more similar than different in terms of their relationships with the men in their lives. Do you agree?
• How does Munro contrast younger and older women in Runaway ?
• What does the setting contribute to the overall effect of Runaway ?
• 'Forgive us our trespasses.' What types of boundaries are created and overstepped in Runaway ?

7. Essay Topic Breakdown

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

‘Forgive us our trespasses.’ What types of boundaries are created and overstepped in Runaway ?

This quote is from ‘Trespasses’ and captures the double meaning of the word as both overstepping physical boundaries and sinning in the moral or religious sense . It’s likely we’ll want to talk about both interpretations - physically trespassing but also encroaching on boundaries in immoral ways. Note that the prompt also includes the action words ‘created’ and ‘overstepped’, meaning that there’ll be a pretty diverse range of examples that we’ll need to use to answer this prompt comprehensively.

Let’s start with physical boundaries : Carla’s marriage and the fences on her property and the US-Canada border in ‘Powers’ come to mind. Then, we’ve got non-physical boundaries: emotionally as in ‘Chance’ and ethically as in ‘Trespasses’. This is where we start getting into whether these boundaries are created or overstepped .

Clark creates boundaries for Carla and her attempts to break free from them are unsuccessful. The border in ‘Powers’ is more of an excuse for Nancy to neglect Tessa, a boundary she creates and never makes the effort to overstep. Finally, the ethical boundaries in ‘Trespasses’ are overstepped from the get-go. How can we synthesise these ideas into one essay?

I think the trick with questions like this is not to just allocate different types of boundaries and/or different action words to each paragraph. Try to think of creative ways to string these ideas together that also build towards a bigger picture or overall contention about the text as a whole. This example plan explores physical and emotional boundaries but makes a bigger argument that they are often associated with regret in Munro’s stories.

‍ Paragraph 1 : Physical boundaries are both the most intentional and the most difficult to overstep.

• Carla’s farmstead is isolated and bordered by roads; her marriage to Clark and her life on this farmstead is likened to a 'captive' situation, with Clark being the 'architect' of it all
• Munro ends Runaway on a pessimistic note about Carla’s ability to leave this boundary: 'She might be free'
• International borders also constitute physical barriers, and these are used by Nancy in ‘Powers’ to avoid responsibility; because this is an active decision (‘“I’ll write to you”, she said…she never did.’), it’s a barrier that never really gets broken. Similar to Penelope in ‘Silence’

Paragraph 2 : Munro’s stories, however, focus more on emotional boundaries , and the way these are applied varies greatly. This variation underscores their complexity .

• Emotional boundaries when created can prevent intimacy: Juliet 'ma[kes] herself into a rather superior, invulnerable observer' so as to avoid commitment. These boundaries come back to bite when she has a daughter
• Conversely, they cause a great deal of harm when overstepped: for example, ‘Trespasses’ sees 'crazy and dangerous' adults toy with the life of a child, constantly assuming that she 'can take it' when in fact this is not the case

Paragraph 3 : Regardless, Munro’s characters often come to regret the boundaries they erect or overstep.

• Carla’s ambivalence about her marriage is tinged with regret either way: when she’s there, she wants to escape, and when she escapes, she questions if she has 'anything left in [her]'
• Juliet reflects on the boundaries she puts up between herself and Penelope and realises that 'spontaneous remissions' between them are undeserved and impossible
• In ‘Powers’, Nancy struggles with the guilt of abandoning Tessa: many years later, she still wants to 'open [the past] up' and understand her motives. However, it is too late, and the boundaries are already there
• Munro does not suggest that boundaries are inherently good or bad, but her stories show how they can be sources of regret when treated improperly

Runaway is usually studied in the Australian curriculum under Area of Study 1 - Creative Response. Check out Audrey's blog on how to approach Runaway as a Creative Response for more.

For a detailed guide on Creative Response as a whole, check out our Ultimate Guide to VCE Creative Writing .

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How to Write a Text Response Essay: Structure & Tips 

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

What is a text response essay?

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

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

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

How do you structure a Text Response Essay?

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

How to Write a Text Response Introduction

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

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

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

How to Write a Text Response Body Paragraph

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

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

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

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

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

Here is an example of a text response body paragraph: 

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

How to Write a Text Response Essay Conclusion

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

Text Response Essay Writing Tips

When writing text responses essays, you should:

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

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

Want to Excel in Your Text Response Essay Writing?

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

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

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

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How to Write a Response Paper: Understanding the Basics

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

Defining What is a Response Paper

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

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

Purpose of Crafting a Response Paper

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

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

Types of Response Papers

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

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

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How to Write a Response Paper: Pre-Writing Steps

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

Carefully Read and Analyze the Text

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

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

Take Notes and Highlight Key Points

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

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

Develop a Thesis Statement

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

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

Create an Outline

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

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

Actual Writing Process with a Response Paper Format

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

Engage the Reader In Your Introduction

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

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

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

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

Provide Context and Background Information

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

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

Present Your Thesis Statement

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

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

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

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

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

Crafting the Body

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

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

Concluding Your Paper

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

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

Response Paper Example

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

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

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

Take the Stress Out of Writing Response Essays!

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How to Write an Effective Text Response Essay: A Step-by-Step Guide

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• Writing Articles & Reviews
• September 16, 2023

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How to Write an Effective Text Response Essay: A Step-By-Step Guide

Introduction.

A text response essay is a critical analysis and interpretation of a text, usually literary, such as a novel, play, poem, or film. IT requires you to engage with the text on a deeper level and demonstrate your understanding and analysis within your writing . However, many students find this type of essay challenging and confusing. This step-by-step guide will provide you with all the necessary tools and techniques to write an effective text response essay.

Step 1: Understand the Text

The first step in writing an effective text response essay is to fully understand the text you are analyzing. Read and re-read the text carefully, making note of key themes, ideas, and characters. Pay close attention to the author’s style, tone, and techniques used to convey their message. This deep understanding will form the foundation of your essay.

Step 2: Analyze the Text

Once you have a strong understanding of the text, IT is important to analyze its various elements. Look for literary devices such as symbolism, imagery, metaphors, and foreshadowing. Consider the author’s use of language and how IT contributes to the overall meaning of the text. Take note of any significant quotes or passages that you can use to support your arguments.

Step 3: Develop a Thesis Statement

A thesis statement is a concise summary of the main argument or point you will be making in your essay. IT should be clear, specific, and debatable. Your thesis statement should directly relate to the text and address the prompt or question you are responding to. Use your analysis of the text to develop a strong and compelling thesis statement that will guide your essay.

Step 4: Plan Your Essay Structure

Before you begin writing , IT is essential to plan the structure of your essay. This will ensure a logical flow of ideas and make your essay easier to read and understand. Start by outlining your main points or arguments, using your thesis statement as a guide. Then, organize these points into a clear and coherent structure, determining the order in which you will address them.

Step 5: Write Your Introduction

The introduction is the first impression you make on your reader, so IT is essential to make IT engaging and compelling. Start with a hook to grab the reader’s attention, such as an interesting quote or a thought-provoking question. Provide some background information on the text and briefly outline the main points you will be discussing. Finally, end your introduction with a clear and concise thesis statement that previews the arguments you will be presenting in your essay.

Step 6: Develop Your Body Paragraphs

The body paragraphs of your essay will expand on the arguments you presented in your thesis statement. Each body paragraph should focus on one main point or argument and include supporting evidence from the text. Start each paragraph with a topic sentence that introduces the main idea of the paragraph. Then, provide evidence in the form of quotes or examples from the text to support your argument. Analyze and explain the significance of the evidence, relating IT back to your main point.

Step 7: Write Your Conclusion

Your conclusion is your final opportunity to leave a lasting impression on your reader. Summarize your main points, restating your thesis statement in different words. Make sure to avoid introducing new information or arguments in your conclusion. Instead, reflect on the significance of your analysis and its implications. End with a thought-provoking sentence that leaves the reader with something to ponder.

writing an effective text response essay is not an easy task, but by following this step-by-step guide, you can improve your skills and produce a well-structured and compelling essay. Remember to carefully analyze the text, develop a strong thesis statement, and plan your essay structure before you begin writing . Additionally, ensure that each body paragraph focuses on one main point and provides evidence and analysis to support IT . Finally, craft an engaging introduction and a thought-provoking conclusion to leave a lasting impression on your reader.

Q: How long should my text response essay be?

A: The length of your essay will depend on the specific requirements given by your teacher or professor. However, as a general guideline, a text response essay is usually around 800 to 1200 words long.

Q: Can I express my personal opinion in a text response essay?

A: While a text response essay requires you to analyze the text, IT is important to remember that your essay should be an objective analysis rather than a personal opinion. Focus on interpreting and evaluating the author’s message rather than expressing personal preferences.

Q: How do I incorporate quotes from the text into my essay?

A: When incorporating quotes into your essay, IT is important to introduce them properly and provide context. Use quotation marks to indicate that the words are directly taken from the text. Additionally, provide an analysis or explanation of the quote’s significance in relation to your main point.

Q: Should I use present tense or past tense when writing my text response essay?

A: When writing about literature, IT is generally preferable to use the present tense. This helps to create a sense of immediacy and allows your reader to experience the text as they are reading your analysis.

Q: Can I use personal anecdotes in my text response essay?

A: Personal anecdotes should generally be avoided in a text response essay. While they may be interesting, they often distract from the main analysis of the text. Instead, focus on using evidence and examples directly from the text to support your arguments.

By following this step-by-step guide, you will be well-equipped to write an effective text response essay that showcases your understanding and analysis of the text.

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How to Write a Critical Response Essay With Examples and Tips

• Icon Calendar 16 January 2024
• Icon Page 4397 words
• Icon Clock 20 min read

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

Definition of a Critical Response Essay

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

Source Analysis

1. Questions That Guide Source Analysis

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

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

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

2. Techniques of Critical Reading

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

3. Creating a Critical Response

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

Writing Steps of a Critical Response Essay

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

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

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

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

B. Research and Documentation

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

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

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

Step 2: Writing a Critical Response Essay

A. organization..

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

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

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

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

Step 3: Post-Writing

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

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

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

Sample Outline Template for a Critical Response Essay

I. Introduction

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

A. First body paragraph

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

B. Second body paragraph

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

C. Third body paragraph

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

III. Conclusion

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

Uniqueness of a Critical Response Essay Outline

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

Expanding an Outline Format Into a Critical Response Essay

1. introduction.

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

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

A. Writer’s Idea

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

B. Evidence

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

C. Interpretation.

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

D. Concluding Sentence

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

3. Conclusion

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

Example of Writing a Critical Response Essay

Topic: American Capitalism: The New Face of Slavery

I. Sample Introduction of a Critical Response Essay

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

II. Example of a Body in a Critical Response Essay

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

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

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

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

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

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

III. Sample Conclusion of a Critical Response Essay

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

Citing Sources in a Critical Response Essay

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

In-text citation:

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

Works Cited:

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

3. Harvard Referencing

• Parenthetical: (Desmond 2019).

Reference List:

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

4. Chicago/Turabian

In-text citation (footnote):

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

Bibliography:

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

Final Provisions on a Critical Response Essay

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

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Conclusions

What this handout is about.

This handout will explain the functions of conclusions, offer strategies for writing effective ones, help you evaluate conclusions you’ve drafted, and suggest approaches to avoid.

About conclusions

Introductions and conclusions can be difficult to write, but they’re worth investing time in. They can have a significant influence on a reader’s experience of your paper.

Just as your introduction acts as a bridge that transports your readers from their own lives into the “place” of your analysis, your conclusion can provide a bridge to help your readers make the transition back to their daily lives. Such a conclusion will help them see why all your analysis and information should matter to them after they put the paper down.

Your conclusion is your chance to have the last word on the subject. The conclusion allows you to have the final say on the issues you have raised in your paper, to synthesize your thoughts, to demonstrate the importance of your ideas, and to propel your reader to a new view of the subject. It is also your opportunity to make a good final impression and to end on a positive note.

Your conclusion can go beyond the confines of the assignment. The conclusion pushes beyond the boundaries of the prompt and allows you to consider broader issues, make new connections, and elaborate on the significance of your findings.

Your conclusion should make your readers glad they read your paper. Your conclusion gives your reader something to take away that will help them see things differently or appreciate your topic in personally relevant ways. It can suggest broader implications that will not only interest your reader, but also enrich your reader’s life in some way. It is your gift to the reader.

Strategies for writing an effective conclusion

One or more of the following strategies may help you write an effective conclusion:

• Play the “So What” Game. If you’re stuck and feel like your conclusion isn’t saying anything new or interesting, ask a friend to read it with you. Whenever you make a statement from your conclusion, ask the friend to say, “So what?” or “Why should anybody care?” Then ponder that question and answer it. Here’s how it might go: You: Basically, I’m just saying that education was important to Douglass. Friend: So what? You: Well, it was important because it was a key to him feeling like a free and equal citizen. Friend: Why should anybody care? You: That’s important because plantation owners tried to keep slaves from being educated so that they could maintain control. When Douglass obtained an education, he undermined that control personally. You can also use this strategy on your own, asking yourself “So What?” as you develop your ideas or your draft.
• Return to the theme or themes in the introduction. This strategy brings the reader full circle. For example, if you begin by describing a scenario, you can end with the same scenario as proof that your essay is helpful in creating a new understanding. You may also refer to the introductory paragraph by using key words or parallel concepts and images that you also used in the introduction.
• Synthesize, don’t summarize. Include a brief summary of the paper’s main points, but don’t simply repeat things that were in your paper. Instead, show your reader how the points you made and the support and examples you used fit together. Pull it all together.
• Include a provocative insight or quotation from the research or reading you did for your paper.
• Propose a course of action, a solution to an issue, or questions for further study. This can redirect your reader’s thought process and help them to apply your info and ideas to their own life or to see the broader implications.
• Point to broader implications. For example, if your paper examines the Greensboro sit-ins or another event in the Civil Rights Movement, you could point out its impact on the Civil Rights Movement as a whole. A paper about the style of writer Virginia Woolf could point to her influence on other writers or on later feminists.

Strategies to avoid

• Beginning with an unnecessary, overused phrase such as “in conclusion,” “in summary,” or “in closing.” Although these phrases can work in speeches, they come across as wooden and trite in writing.
• Stating the thesis for the very first time in the conclusion.
• Introducing a new idea or subtopic in your conclusion.
• Ending with a rephrased thesis statement without any substantive changes.
• Making sentimental, emotional appeals that are out of character with the rest of an analytical paper.
• Including evidence (quotations, statistics, etc.) that should be in the body of the paper.

Four kinds of ineffective conclusions

• The “That’s My Story and I’m Sticking to It” Conclusion. This conclusion just restates the thesis and is usually painfully short. It does not push the ideas forward. People write this kind of conclusion when they can’t think of anything else to say. Example: In conclusion, Frederick Douglass was, as we have seen, a pioneer in American education, proving that education was a major force for social change with regard to slavery.
• The “Sherlock Holmes” Conclusion. Sometimes writers will state the thesis for the very first time in the conclusion. You might be tempted to use this strategy if you don’t want to give everything away too early in your paper. You may think it would be more dramatic to keep the reader in the dark until the end and then “wow” them with your main idea, as in a Sherlock Holmes mystery. The reader, however, does not expect a mystery, but an analytical discussion of your topic in an academic style, with the main argument (thesis) stated up front. Example: (After a paper that lists numerous incidents from the book but never says what these incidents reveal about Douglass and his views on education): So, as the evidence above demonstrates, Douglass saw education as a way to undermine the slaveholders’ power and also an important step toward freedom.
• The “America the Beautiful”/”I Am Woman”/”We Shall Overcome” Conclusion. This kind of conclusion usually draws on emotion to make its appeal, but while this emotion and even sentimentality may be very heartfelt, it is usually out of character with the rest of an analytical paper. A more sophisticated commentary, rather than emotional praise, would be a more fitting tribute to the topic. Example: Because of the efforts of fine Americans like Frederick Douglass, countless others have seen the shining beacon of light that is education. His example was a torch that lit the way for others. Frederick Douglass was truly an American hero.
• The “Grab Bag” Conclusion. This kind of conclusion includes extra information that the writer found or thought of but couldn’t integrate into the main paper. You may find it hard to leave out details that you discovered after hours of research and thought, but adding random facts and bits of evidence at the end of an otherwise-well-organized essay can just create confusion. Example: In addition to being an educational pioneer, Frederick Douglass provides an interesting case study for masculinity in the American South. He also offers historians an interesting glimpse into slave resistance when he confronts Covey, the overseer. His relationships with female relatives reveal the importance of family in the slave community.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Douglass, Frederick. 1995. Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself. New York: Dover.

Hamilton College. n.d. “Conclusions.” Writing Center. Accessed June 14, 2019. https://www.hamilton.edu//academics/centers/writing/writing-resources/conclusions .

Holewa, Randa. 2004. “Strategies for Writing a Conclusion.” LEO: Literacy Education Online. Last updated February 19, 2004. https://leo.stcloudstate.edu/acadwrite/conclude.html.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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VCE ENGLISH: Write a Text Response Introduction

One of the most important pieces of knowledge to any Year 12 English student is how to write a text response essay. Commonly seen as the easiest essay, the method of structuring a text response is often overly simplified, or simply not understood by students! The introduction to an essay is the very first thing your examiner/teacher will read, and is therefore very important to helping you immediately stand out and differentiate yourself from the crowd.

Firstly, your introduction is important because it is a key aspect to fulfilling the criterion of appropriate structure. Be clear and concise: it is always better to be clear than to use lots of big words which are not appropriate for the situation.

An introduction can be divided into three steps:

• Firstly, briefly set up context . This might include the type of text (e.g. play, novel, short stories, poem collection etc.), very basic historical context (time period, subject matter), and any very important information which is the basis to the essay. Definitely do not spend more than one sentence doing so, as the most important part of the essay is to show your own opinion/knowledge of the given text, not just summarising what it is about.
• Explicitly outline your contention . Your contention must be clearly addressing all aspects of the topic you are given, and it also needs to demonstrate that you can think independently (if you are aiming for top grades), even uniquely. Your angle on the topic is the single most important aspect to the essay.
• Finally, briefly signpost the upcoming arguments in your essay. These are the points, or mini-contentions, forming the basis of each body paragraph. You should aim for at least 3 body paragraphs, up to 5 if you are ambitious. These mini-contentions must each relate both to the overall contention, and thus to the topic, which will add a feeling of cohesion and continuity to the essay

Overall, there is no need to write more than three or four or so sentences! If you write these sentences well, however, you will immediately create a positive impression of the essay, crucial to gaining the reader's attention.

If you loved this article, you will LOVE all of our other articles, such as: Effective Study Techniques , The ATAR and The Importance of Practice .

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Is It Safe to Use Chat GPT for Essays

Artificial Intelligence (AI) has quietly crept into almost every part of our lives, and academia isn’t immune. Tools like ChatGPT are transforming the way students approach tasks like writing essays. These AI assistants offer impressive advantages – they brainstorm ideas, help refine the structure, and even generate entire paragraphs of text. 

But with all this convenience comes a burning question: Can I use ChatGPT for essays? Is it safe, or are there ethical lines we shouldn’t cross? The truth is that there are both benefits and risks with AI writing tools. They can be amazing for sparking creativity or breaking through writer’s block, but there’s a fine line between helpful assistance and simply outsourcing your essay. This raises issues about academic integrity and the authenticity of your work. 

In this article, we won’t simply give a yes-or-no answer about using AI for essays. We aim to present a balanced perspective, exploring the potential benefits and serious concerns you should consider before relying on AI to write academic writing. Let’s dive in!

AI Tools: Understand the Limitations

While AI writing assistants can be tempting, it’s essential to acknowledge their limitations before using them for academic work. Tools like ChatGPT, while impressive, aren’t replacements for thorough research and critical thinking. They lack the nuanced understanding needed to craft academically sound essays.

For concrete examples, look at MyEssayWriter.ai reviews since they often expose factual errors and misleading statements generated by AI. Relying on such unverified information undermines the quality of your essays and could even lead you to build arguments on a flawed foundation. Another critical risk is plagiarism. AI-generated text might inadvertently replicate existing online content, leading to unintentional plagiarism issues. This is another reminder that AI output can’t be used unchecked.

The key takeaway isn’t to abandon AI tools altogether. Instead, consider them tools to be used wisely and integrated with your research, analysis, and writing skills. If you want to understand how to ask ChatGPT to write an essay, focus on using it for idea generation, outlining, and overcoming writer’s block. 

The Ethics of AI in Essays: A Slippery Slope

The emergence of AI writing tools like ChatGPT has sparked serious ethical debates within academia. The question: Can ChatGPT write essays? is on the minds of students and educators alike. While these tools offer a semblance of convenience, relying on AI to write essays raises the risk of academic dishonesty. When students submit AI-generated work as their own, they circumvent the intended learning process and undermine principles of integrity.

This issue is making headlines. The Santa Cruz Sentinel’s article, AI vs Human Writing: The Enduring Value of Human Quality , explores how AI threatens developing essential writing skills. Similarly, the Jerusalem Post’s piece AI writing vs human: Short-term gains are deceiving argues against the long-term consequences of relying on such tools.

Over-reliance on AI creates serious dependency issues. Without engaging in research, constructing arguments, and forming original thoughts, students miss out on cultivating critical thinking and problem-solving abilities that are cornerstones of a meaningful education.

The long-term effects paint a concerning picture. If AI becomes a crutch, we risk a future with graduates lacking the fundamental skills needed for independent thinking and knowledge creation. To protect the integrity of education and prepare students for authentic intellectual challenges, we must use AI responsibly, not as a shortcut to avoid the hard work that true learning demands.

Need Help, But AI Feels Wrong? EssayService is the Ethical Alternative

The rise of AI writing tools raises valid concerns about the authenticity and integrity of student work. While the question how to use ChatGPT to write an essay might be tempting, serious downsides exist. If you want support with your essays but want to avoid the ethical pitfalls of AI, EssayService offers a safe, ethical, and personalized alternative.

Unlike AI, which generates generic text, EssayService provides tailored assistance based on your needs and requirements. Whether you’re struggling with a topic, need research guidance, or want feedback on your writing, their service connects you with experts for targeted support.  

Essays produced through EssayService are original works that showcase your understanding and critical thinking. They’re not pieced together from AI algorithms; instead, they benefit from the input of qualified writers who bring subject-matter expertise and academic rigor to the process.

EssayService is committed to ethical practices. This means focusing on collaboration and guidance to help you grow as a writer and scholar. They aim to enhance your work, not replace it, ensuring that every essay you submit is authentically yours and aligns with the highest academic standards.

The Risks of Overreliance on AI in Education

The ease of using AI tools for academic tasks, including essay writing, can be deceptively appealing. So, is using ChatGPT cheating? This is a complex question, but overreliance on this technology carries significant risks that can affect students in the long run. One major concern is the potential stunting of skill development. When AI tools replace independent research, critical thinking, and the writing process, students don’t get the practice to master these cornerstone academic skills.

While AI excels at tasks like pattern recognition and text generation, it lacks the nuanced understanding of complex subjects essential for true learning. Essays written predominantly by AI could be superficially sound but lack the depth of analysis and original thought that comes with genuine effort and engagement.

The long-term impact of this trend is worrying. Suppose AI becomes a primary crutch for learners. In that case, we risk a future where graduates are ill-equipped to handle independent reasoning, critical problem-solving, and deep intellectual work that drives innovation.

Using AI Responsibly in Education: Finding the Right Balance

The integration of AI into education requires a thoughtful and balanced approach. AI can potentially serve as a valuable supplement to traditional educational methods. It can help provide personalized feedback, generate ideas, and help students overcome writing obstacles. 

However, it’s equally important for educators to understand how to check if something was written by ChatGPT or similar tools. Services like EssayService offer a prime example of how technology can be used ethically to maintain academic integrity while supporting students’ progress.

The key is to ensure AI remains a tool used in the service of authentic learning. It should support the development of essential research, critical thinking, and independent writing skills. Educators and students must be aware of the ethical considerations, available detection tools and approaches that balance AI with the need for original work.

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